Colonization,coloniality and bio-power: biopolitics in Queensland,Australia

This essay illustrates how a Foucauldian theory of power could re-examine postcolonial, coloniality or colonization contexts, as opposed to the current structuralist and hierarchal theories of understanding power that colonization studies, such as coloniality/modernity or postcolonial studies, use to theorize colonization and race. I argue that a structuralist and hierarchal conceptualization of power relations in understanding colonization and its relationship with racism can be problematic, and that the Foucauldian heterarchical (non-hierarchal) understanding of power relations instead draws a more complete picture of the operation of colonization. In order to demonstrate this claim, I firstly briefly explain how colonization has been mainly theorized through postcolonial and coloniality studies. Then I introduce the relevance of Michel Foucault’s work in the problem of colonization, focusing on his theories of racism and the idea of biopolitics. Then I illustrate how a heterarchical theory of biopolitical power was used against Indigenous Australians in Queensland via the implementation of the Queensland Aboriginals Protection and Restriction of the Sale of Opium Act of 1897. Lastly, I offer some preliminary notes for conceptualizing the global assemblage of the ‘State of Exception’ in the context of colonial Queensland, Australia.     

‘Can you get more American than Native American?’: drag and settler colonialism in RuPaul’s Drag Race

ABSTRACT

Many scholars argue for an epistemological shift from romanticizing marginalized politics and praxis to understanding them within a spectrum of resisting and reproducing normative and dominant power structures. Scholarship on drag demonstrates that drag as a performative practice that seeks to challenge gender and sexual normativities is often not beyond the logics of hegemony and normativity. Drawing on these critiques, this paper contends that drag as an art form can reproduce the racial and colonial logics of the settler state. The paper traces the workings of settler colonialism that shape drag creativity through the TV show RuPaul’s Drag Race. To do so, I theorize how Raja, the winner of season 3, performed, imitated, and appropriated indigeneity. I argue that Raja’s act as the ‘Native,’ after Lumbee drag queen Stacy Layne Matthews’s elimination from the show, demonstrates how queer people of colour can become complicit in settler colonial processes. The paper is a call to rethink drag creativity beyond assumed transgressive aesthetics, and to critically engage with racial and settler colonial formations.     

Recipes,love, and forgetting: a sparse domestic archive from colonial Natal

This essay uses the genre of creative nonfiction to tell the story of two particular women, and to explore the inextricable relations between femininity, food and love as experienced in one family who lived in a neighbourhood of colonial Natal at the beginning of the twentieth century. Beginning as a conversation with the speaker’s ageing and forgetful mother, the narrative becomes an attempt to discover more about her mother, Madge Smallie. In the process, it unpacks a small domestic archive in which the only published books are a colonial recipe book and an early feminist novel, and the only words written in Madge’s hand are recipes for food and domestic preparations.     

Nikolai Gogol'’s Self-Fashioning in the 1830s: The Postcolonial Perspective

This study examines Gogol'’s complex self-fashioning during the time of the creation and reception of his Ukrainian tales Vechera na khutore bliz Dikan'ki [Evenings on a Farm near Dikan'ka] (1831–1832) in light of the postcolonial concept of mimicry. Gogol'’s self-fashioning is studied through his submission to the symbolic power responsible for branding him as the Other in imperial Russian culture, as well as through his deliberate strategy of mimicry. Not only did Gogol'’s marginal social status and his Ukrainian ethnicity create a social hierarchy responsible for fashioning him as “an outsider within” imperial culture, Gogol' himself engaged in the colonial mimicry, trying to reverse the colonial gaze that imagined him as a “sly” Ukrainian. Challenging the accepted view of Gogol' as one who internalized the colonial stereotype of a “sly” Ukrainian, this study treats Gogol'’s identity as strategic, positional, and ambivalent. The first part of the study focuses on the manipulation of stereotypes of the Other within the Russian nationalist imagination in the early 1830s; the second part examines Gogol'’s ambivalent visual self-representation and social performance that simultaneously mimicked and menaced the colonial authority.     

Relational resources, gender consciousness and possibilities of change in marital relationships

Investigating the possibilities of change in marital relationships, we argue, involves examining the interplay of gender consciousness, relational resources and material circumstances in their concrete, interactional manifestations. The attempt to address this interface is grounded in the idea that understanding gender relations necessarily involves both institutional and interactional dimensions. While much research has been devoted to the influence of material or structural resources on indicators such as the domestic division of labour, relatively little direct attention has been given to the issue of differing ‘relational’ or interpersonal resources. We use a multi-method approach based on interviews with women in different occupations to analyse possibilities of change in marital communication and the domestic division of labour in relation both to women's material and to their relational resources. We conclude that a combination of increased gender consciousness and the development of particular inter-personal skills facilitates negotiation and change in the boundaries regulating both communication and the domestic division of labour within the marital relationship.     

Assembling the refugee anthology

ABSTRACT

There has been a sudden proliferation of short story anthologies published in direct response to the refugee ‘crisis’ of 2015 and the US travel ban of 2017. This article focuses on two of these collections (The Displaced and Banthology, both published in 2018) in order to theorize the reasons behind this phenomenon. What makes an anthology better equipped than a single authored piece of writing to respond to such contemporary themes as migration and displacement? I argue that the answer might lie in the precise nature of their heterogeneous form, which allows anthologies to be assembled and reassembled by various stakeholders during their production and reception so that they mean differently in different times and places. My analysis of the anthology as assemblage brings Deleuze and Guattari’s original concept into dialogue with newer notions of queer curation and postcolonial reading in order to conceive of processes of selecting and fitting elements together as deliberate tactics. I pay particular attention to how such processes highlight the agentic role of the reader, allowing them to make their own assemblages from the multiple interrelations that emerge between the anthology’s composite elements, and I show through specific examples from primary texts of how this might be done. Developing this concept of assemblage reading (which is here also transnational by nature) allows me to extend the framework of the refugee anthology to encompass a much wider range of acts of collective creation in my conclusion.     

History,Politics, and the Cartography of Sexed Bodies in Iurii Illienko’s A Prayer for Hetman Mazepa

Abstract

This article explores the “corporeal” dimension of Iurii Illienko’s reconstruction of cultural and historical discourses in the 2002 film Molytva za het'mana Mazepu [A Prayer for Hetman Mazepa], which focuses on the hetman’s drama, his relationship with Peter I, and the defeat of Swedish and Ukrainian joint forces at the Battle of Poltava in 1709 that signified Ukraine’s submergence into a supranational, imperial community. Illienko’s cinematic space, in which plots of history and sexual politics are mapped onto one another, allows for conceptualizing the body as a site of political and cultural construction, contestation, and radical resistance. Demanding an intertextual approach that involves an open exchange between his cinematic domain and a “universe” of intersecting historical, cultural, ideological and political discourses, his multilayered re-memoration strategies expose both the fictionality and the political dogma surrounding the inherited mythologies. As a decentred reflection of the past, the film poses critical questions about competing histories and the dynamics of historical agency in colonial and postcolonial contexts, thus making a contribution to the protracted process of decolonization in Ukraine.     

Return to Gender: An Analysis of Women’s Disadvantage in Postal Work

The workplace is a crucial locale for understanding three important issues in contemporary debates on gender and organizations; the processes by which work becomes gendered, the origins and nature of gender segregation and the role of trade unions in delivering gender equality. This article presents data from a study of workplace transformations in Royal Mail, and demonstrates the dynamic interplay of factors over time, which have sustained postal work in the UK as a gendered occupation and continues to disadvantage women in the workforce. The article shows that the position of women in postal work has been historically and contemporaneously linked to the relations between the trade union, management, male and female workers. The data illustrate that the power relations between the main actors have sustained the dynamic of women’s disadvantage. Furthermore, the processes that have sustained postal work as a gendered job continue to segregate men and women’s work at the level of the workplace.     

Ambivalent memories of imperial legacies: Asmara as ‘beautiful' and ‘segregationist' from Ethiopia

ABSTRACT

This paper discusses how the capital town of Eritrea, Asmara, is depicted alternately as Italian, Eritrean and Ethiopian thus showing the competing claims of ‘ownership’ that traverses its colonial and postcolonial histories and a multifaceted identity. It focuses specifically on how the Italian architecture of Asmara is depicted both as a sign of modernization and oppression. Literary and oral- sources are analysed to illustrate Asmara as a site of cultural encounter and a historical palimpsest such as the poems Asmara (1958, included in the collection Esat Wey Abeba) by Tsegaye Gebremedihin, and And Nebis (1992, included in the collection Efta 60 Tirekawoch) by Haile Melekot Mewael. The novels Oromay (1984) by Bealu Girma, Ye Burqa Zimita (1992) by Tesfaye Gebreab. These contemporary literary and oral reminiscences of Asmara show how Asmara’s architectural legacies are remembered to express memories of ambivalence between beauty and inhibition; being modern and segregated. Whereby, Asmara gets represented as a model town for other African cities, and a city of colonial decay and segregation, in these contradictory accounts of memories of Asmara, a de-colonial method of engagement seems to emerge.     

The “baboon boy” of the Eastern Cape and the making of the human in South Africa

Abstract

This paper examines the early twentieth century story of Lucas, the so-called “baboon boy” of the Eastern Cape, in order to unpack some of the mechanisms (social, ideological, racial and physical) that underlie the shaping of the idea of the human in a local context. By exhuming the material details in Lucas’s story, I aim to establish a form of relation between past and present that enables a deeper understanding of the tensions underscoring contemporary public discourse around the formation of the human in South Africa. First, I draw on Agamben’s notion of the anthropological machine to contextualise my thoughts on the mechanics of ideation that underpin the creation of legitimate forms of the human. Then I situate my argument according to Baucom’s articulation of the conflict in postcolonial and ecocritical thought between the historical need for redress and the universalising demands of the Anthropocene. After considering Lucas’s story, I close by referring to the recent public opinion fracas surrounding the discovery of the fossilised remains of a new subspecies of human, Homo naledi, in order to demonstrate the continued relevance for contemporary social thought of the stuff that lies submerged in the story of the “baboon boy.”     

Subalterns ‘speak’: migrant bodies,and the performativity of the arts

ABSTRACT

The contemporary globalizing world has unleashed new flows of migrant labour, among which are young women working in homes. As is well known, many find themselves in a situation of virtual slavery, having no juridical protections against both physical and emotional abuse, and against being held in servitude against their wills. While the situation of migrant domestic workers is increasingly well known, there has been little analysis of how their precarious lives look from their points of view and the complex set of affects and relations that make their lives meaningful. The following investigation treats the way their precarity can become political critique. It focuses on a critical locus of enunciation supplied by the conditions of migrant female domestic workers as it is articulated not in ethnographic work that solicits their actual voices, but through a focus on literary and cinematic texts in which the female protagonists compare domestic servitude to colonialism (in the case of Ousmane Sembene’s film Black Girl) and to war crimes (in the case of Zadie Smith’s story, The embassy of Cambodia). Mediated with some thoughts from Gayatri Spivak’s Can the subaltern speak and Mahasweta Devi’s short story The breast-giver, we also reflect on the ethical significance of aesthetic interruptions through other genres as illustrated by our reading of images from Ramiro Gomez’s Happy Hills painting and cardboard cutting series. In effect, the artistic texts we analyse raise an important ethico-political question regarding the effect of capitalist modernization on ethical life while provoking us to recognize the ethical weight of proximate and distant others.     

Sofiia Andrukhovych’s Felix Austria: the postcolonial neo-Gothic and Ukraine’s search for itself

ABSTRACT

Sofiia Andrukhovych’s 2014 novel Felix Austria (Feliks Avstriia) became Ukraine’s most critically acclaimed and commercially successful work of literature published in the immediate aftermath of the Euromaidan revolution of 2013–14. It combined an ambitious historical reconstruction of daily life in the year 1900 in a mid-size city in the Habsburg-ruled part of Ukraine and an engaging plot skilfully employing multiple devices associated with the Gothic tradition, especially in its latter-day and postmodernist reinterpretations. The novel’s success is especially telling in the context of the rising interest in the Gothic in Ukrainian culture. Told by an unreliable narrator, the novel prompts readers to interrogate their assumptions. In the context of Ukraine, it is particularly subversive in its engagement with the nostalgic myth of the Habsburg Empire as a multi-ethnic utopia of tolerance, and by implication it challenges all imperial myths. The novel’s emphasis on the quest for (self-)discovery strongly resonated with readers in the context of a socio-political crisis, which highlighted the relevance of the distinct postcolonial overtones in its message.     

TERROR AND THE COLONIAL IMAGINATION AT WORK IN THE TRANSNATIONAL CORPORATE SPACES OF JAKARTA,INDONESIA

This article examines the role of the imagination in the construction of meaningful places out of economically defined and organized spaces. It seeks to understand the processes through which a colonial imagery is deployed in the negotiation of a complex and continually transforming transnational corporate order. This article is based on research conducted while working as a cross-cultural trainer within a transnational corporate office space in Jakarta, Indonesia. I discuss cross-cultural training as a space within which a colonial discourse based on terror and uncertainty persists, producing an ambivalent understanding of foreign overseas labor. I argue that a colonial approach to the social relations that take place within trans-national spaces persists for both Western-born and Indonesian members of the transnational capitalist class and is central to their perspective on capitalist expansion.     

Fanon on Decolonization and Revolution: Bodies and Dialectics

This article sets up a conversation with Frantz Fanon about his stretching of dialectics. Against a backdrop where multiple dominant epistemologies of political theory and international relations presume and are shaped by a segregation of the world into anarchy and the desire for an ordered global, Fanon's reading of imperialism's effects in the Wretched of the Earth is of utmost relevance. First, Fanon's work allows us to think dialectics along with ‘globality’ and to confronting dominant presumptions about a Manichean world: anarchy, order, and ‘bodies.’ He focuses on colonization and the White–Black relation and the radical dehumanization of the Other (Black, colonial slave, non-European, etc.). Second, his engagement of colonial violence pushes him to stretch dialectics, reactivating the ‘partially neutralized antagonisms.’ In addition, Fanon wants to think revolutionary practice as a kind of internationalism which will reunite into its own humanness in an open-ended-way—a world where no human being will be subject to dehumanization. I conclude with some ideas on what a revolutionary thinking about a revolutionary subjectivity, movement and thought entails for revolutionary struggles and dialectics today.     

Hybridizing the canon: Russian-American writers in dialogue with Russian literature

Since the beginning of the twenty-first century, Russian-American writers – that is, Russian-speaking Jews who immigrated to North America from the late 1970s to the early 1990s – have garnered both a wide readership and critical acclaim. Although they live in the United States and write in English, their works manifest a marked focus on Russian-related themes, including the frequent employment of Russian literature. Three Russian-American texts engage in sustained intertextual play: Irina Reyn’s What Happened to Anna K. with Lev Tolstoi’s Anna Karenina; Lara Vapnyar’s Memoirs of a Muse with the diary of Fedor Dostoevskii’s mistress, Polina Suslova; and Anya Ulinich’s Petropolis with Osip Mandel’shtam’s poem “Na strashnoi vysote bluzhdaiushchii ogon'” (“At a terrifying height a wandering fire”). This article has two interrelated aims. The first is to demonstrate that, similar to postcolonial and other diasporic writers, Russian-American writers’ intertextual use is inextricably linked with a negotiation of cultural identities. The second is to offer a close analysis of the ways in which Reyn’s What Happened to Anna K., Vapnyar’s Memoirs of a Muse, and Ulinich’s Petropolis recast Russian texts as Russian-American elaborations of cultural hybridity and immigrant sensibility.     

OWING THE SEED: THE DISCURSIVE ECONOMY OF SEX MIGRATION AMONG TURKISH-SPEAKING MINORITY URBANITES IN THE POSTSOCIALIST BALKAN PERIPHERY

This article explores postsocialist change in a non-postsocialist context. It is concerned with discourses on sex and cultural change as articulated by members of the Turkish minority group living in the northern Greek town of Komotini, in an area of northern Greece where, after the collapse of the Soviet Union, immigration from eastern Europe has risen noticeably. The impact of this migration is explored with reference to çapk?nl?k and k?l?b?kl?k, two concepts guiding notions of masculine failure. By analyzing the relations of these to other concepts used to articulate social change (e.g., ‘tradition’ and ‘modernity’), the article exemplifies how the effects of political change on the global level can be subsumed under localized power structures. The article argues that the inconsistencies between informants' physical encounters with eastern European immigrants and their discourses on ‘Russian women’ show that it is their marginal location within local Greek society that is central to their identity conceptualizations. This, in turn, leads to the argument that such discourses can shed considerable light on our understanding of internal and external relations with reference to particular politicized groups, primarily because they offer an understanding of power relations, that foregrounds not one domain of difference over another, but the interplay of gender, ethnic, and economic differentiations.     

Abelove’s Historical Vision: Gentle Warnings Against Moralism,Colonialism, and an Apolitical Identity Politics

Henry Abelove’s insightful and carefully researched book, Deep Gossip (2003), creatively opens up many important topics for exploration. I address 3 of these topics: Abelove’s appreciation of Freud’s refusal to moralize about homosexuality, the crucial difference between moralism and a hermeneutic vision of moral understandings, and Abelove’s discussion of the historical shift from gay liberation to a more recent postmodern identity politics and with it the loss of a more explicitly political anticolonialism. Compulsory heterosexuality can be understood as a key element that holds in place current arrangements of gender and the military-industrial-educational-surveillance state, which is currently justified by and in step with neoliberal economic theory and subjectivity, colonial wars of occupation, and the use of at-a-distance airpower.     

Eating heritage: caste,colonialism, and the contestation of adivasi creativity

ABSTRACT

This paper uses a multiple colonialisms approach to study cultural production in India and argue that coloniality is not a casteless structure of violence. In discursive and planning rhetoric, ‘creativity is in India’s DNA.’ This discourse incites the poor to harness and develop their tangible and intangible cultural heritage in order to feed themselves. Foregrounding anti-caste, Dalit scholarship in conversation with extant formulations of decolonial aesthetics focuses urgent attention on the fact that caste domination and violence structure inter-state political systems of development planning and post/colonial state discourses of heritage that claim to feed the caste-oppressed poor with their own creativity. This article attends to the political histories and critiques of Indigenous Chhara performance artists because their expressive cultures foreground anti-caste struggles against simultaneous state erasure and capture of Indigenous creativity. Against planning’s compensatory solution of eating heritage, anti-caste scholarship and the creative politics of Budhan Theatre refute the apparent castelessness of what counts as creativity and heritage, demonstrating that optimistic global creative economy discourses actually rely upon caste and colonial histories to entrench caste-based definitions of heritage within international and national development regimes. Budhan Theatre’s decolonizing cultural production avoids the mistakes of postcolonial scholarship and its erasure of caste histories. They prompt a multiple colonialisms approach which refuses labels of postcolonial or settler colonial states to privilege instead attention to the actually existing contemporary ways in which caste violence structures inter-state systems of violence, policies, and discourses.     

E.H. Duckworth’s Clean-Up Lagos Campaigns: the political use of ex-centric colonial discourse on African dirt

Abstract

On April 3 1952, former colonial Inspector of Education, Edward Harland Duckworth (1894–1972) – founding editor of the cultural magazine Nigeria – announced the birth of a sanitation venture he christened “The Clean-Up Lagos Campaign” in a Nigerian Broadcasting Corporation radio programme. The initiative declared war on “squalor and filth” in Nigeria’s colonial capital, Lagos. Duckworth urged Nigerian citizens to join his army of “volunteers” to wipe Lagos clean of literal dirt, and by extension, eliminate the moral stench exhaled by advertising bills plastered on buildings and monuments. The short-lived campaign was amply disseminated in the Nigerian press and (alongside its two encore performances of 1960 and 1967) featured in confidential Commonwealth Office papers of enormous political import at the height of the Nigerian Civil War. However, it was not Duckworth’s first intrusion into Lagos’ sanitary arena. This article examines Duckworth’s ex-centric discourse on dirt as a remarkable permutation of more generalised colonial standpoints. While Duckworth’s ambivalently enunciated views on dirt respond to his personal eccentricity and undisguised quest for power and recognition, his campaigns, rather than mere asides to an eccentric colonial life, shed light on one of the most understudied dimensions of Nigerian colonial history – the political use of deviance.