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Pandemic Genres
No full textAs HIV/AIDS emerged as a public health crisis across sub-Saharan Africa, it became the subject of international interest that was at once prurient, benevolent, and interventionist. Meanwhile, the experience of living with HIV/AIDS became an object of aesthetic representation in multiple genres produced by Africans themselves. In Pandemic Genres, Neville Hoad investigates how cultural production—novels, poems, films—around the pandemic engaged public discourse. He shows that the long historical imaginaries of race, empire, and sex in Botswana, Kenya, and South Africa underwrote all attempts to bring the pandemic into public representation. Attention to genres that stage themselves as imaginary may forecast new possibilities. “Unique and genre-busting, Pandemic Genres takes as foundational the importance of colonialism to intimacy and health, cleverly traversing a vast terrain that spans mining, state biometrics, beauty contests, American AIDS interventions, and South African AIDS denialism.” — Mark Hunter, author of Race for Education “Shows us vividly that pandemics are not created in a vacuum but are anticipated and constructed in ways that solidify those uneven geographies of power that govern our world system. In times of pandemics, the consequences of this unevenness are laid bare.” — Kwame Edwin Otu, author of Amphibious Subjects “Unavoidably interdisciplinary and unapologetically intimate, these reflections move beyond HIV/AIDS to illuminate how to unravel the connection between genres and any pandemics.” — Naminata Diabate, author of Naked Agency “Eschewing a conventional survey of the literature of AIDS, Neville Hoad instead offers an original and deeply moving take on the poetics of documentary genres and the integral place of imagination and affect in political life.” — Ann Cvetkovich, author of Depressio
“Wherever I could move around”: The worldmaking work of gays and girls in the archived photographs and testimony of Kewpie of District Six
Get PDFIn 1998, the recently established Gay and Lesbian Archive of South Africa acquired 600 photographs and three interviews conducted with their original collector, Kewpie. The Kewpie Collection, as it is now known, remains the only official archival resource that depicts and was created by the collective of people from District Six, Cape Town, who described themselves as gays and girls and referred to each other using she/her pronouns after being assigned male at birth. Classified “Coloured” under apartheid, the girls were forcibly removed from District Six after it was declared “Whites Only” in 1966. Three decades later, as legal apartheid was being dismantled, the constitution of the Kewpie Collection as such was informed by a proliferation of historiographical and archival practices coupled with the urgent emergence of the question of gay rights within the public sphere. Notwithstanding its intentions and successes, one effect of the Collection’s archivalisation has been to obscure the fundamental work gays and girls undertook to both survive and imagine other ways of being in the world.
As it is discernible in the Kewpie Collection, this necessarily collaborative labour is elaborated in this thesis as a theory-practice of worldmaking. Seeking to expand available possibilities and make diverse forms of existence more possible, the girls of District Six were not only producers of gay counterpublicity, but key agents in multiple and expansive projects to reformulate inherited conditions of social existence into new possible worlds. Worlds thus created may have been actualised, contingently and ephemerally, in the scenes of their creation. Because they were non-hegemonic, they could not be sustained. Yet these worlds are indexed, in virtual form, by the Kewpie Collection. Because they transform inherited conditions, meanings and materials the girls produce risk recuperation as evidence of enabling past or indeed present conditions. Ultimately, however, this worldmaking continues to unfold as the materials are circulated
Labors in Time and Subjectivity: Gender Nonconformity and Racial Capitalism in the Making of Eighteenth-Century New Orleans
No full textCentered around and bringing forth the resistive remnants of Black and Indigenous gender nonconformity in a distinct socio-temporal context of racial capitalist regulation of sites of labor in eighteenth-century New Orleans, this chapter engages the temporality of work in its violent, extractive modes. It critically reads the archive to demonstrate that gender nonconforming individuals and communities of color were dispossessed in colonial Louisiana not only due to their perceived race and class, but also their gender difference. Hamzić insists that to understand work and livelihood—past or future—we must search for and engage these forms of embodiment
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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Patriarchs, pugilists, and peacemakers : interrogating masculinity in Irish film
Get PDFtextExamining representations of gender from a postcolonial feminist perspective, Patriarchs, Pugilists, and Peacemakers: Masculinity in Irish Film analyzes select works of three popular filmmakers whose careers, taken together, span the period from 1939 to the present.1 I argue that these three artists--John Ford, Jim Sheridan, and Paul Greengrass--explore fundamental questions about patriarchy and violence within Irish and Irish-American contexts, and that, in the process, they upset conventional notions of masculine authority. Investigating alternative conceptions of manhood presented in these films, as well as these filmmakers’ complex engagement with Hollywood film genres, I offer a fuller understanding of their subtle critiques of patriarchy. I contend that their illustrations of socially sanctioned male dominance in the lives of women, as well as their portrayals of male and female resistance to patriarchy, constitute a subversive challenge to traditional order. In the process, I address gendered archetypes that are prevalent in Irish and American cinemas and analyze the ways in which Ford, Sheridan, and Greengrass employ and critique these masculine types through their portrayals of fathers, sons, boxers and pacifists. Ultimately, I argue that the recent Irish films of Sheridan and Greengrass gesture toward future modes of manhood that completely disavow patriarchy and violence. In sum, this project plots a trajectory of Irish cinema during the twentieth and early twenty-first centuries, charting a progression from ambivalent critique of patriarchy (in the films of John Ford) to outright rejection of patriarchal masculinity (in Jim Sheridan’s work) to reconceptualization of manhood and the family (in the Irish films of Sheridan and Paul Greengrass).Englis
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Translated Bodies: Gender Variance, Sexual Desire, and Legal Liberalism
No full textIn the Social Theory first guest lecture, Dr. Hoad discusses Nkunzi Zandile Nkabinde\u27s memoir, Black, Bull, Ancestors and Me: My Life as a Lesbian Sangoma (2008). The memoir offers a series of powerful mediations on embodiment in terms of conceptual binaries that it deploys, refutes and sometimes reworks. Nkabinde elaborates an intricate relationship between embodiment and subjectivity that must hold both the living and the dead, old histories and new geographies, male and female, homo and heteronormativities, urban and rural experience, continuity and rupture in a political order, alienation and belonging, and the competing feelings of being simultaneously possessed and free. By analyzing this memoir, Dr. Road\u27s talk troubles contemporary representations of the intersections of indigenous sexualities and genders, customary law, and democratic sovereignty
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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