Trans*: A Quick and Quirky Account of Gender Variability (American Studies Now: Critical Histories of the Present) (Volume 3)

In the last decade, public discussions of transgender issues have increased exponentially. However, with this increased visibility has come not just power, but regulation, both in favor of and against trans people. What was once regarded as an unusual or even unfortunate disorder has become an accepted articulation of gendered embodiment as well as a new site for political activism and political recognition. What happened in the last few decades to prompt such an extensive rethinking of our understanding of gendered embodiment? How did a stigmatized identity become so central to U.S. and European articulations of self? And how have people responded to the new definitions and understanding of sex and the gendered body? In Trans*, Jack Halberstam explores these recent shifts in the meaning of the gendered body and representation, and explores the possibilities of a nongendered, gender-optional, or gender-queer future.

Trans: A Quick and Quirky Account of Gender Variability (Volume 3) (American Studies Now: Critical Histories of the Present)

History

HALBERSTAM, JACK

Americas

University of California Press

In this examination of the monster as cultural object, Judith Halberstam offers a rereading of the monstrous that revises our view of the Gothic. Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as Silence of the Lambs, Texas Chainsaw Massacre, and Candyman, Skin Shows understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference.Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time. She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor. The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality. Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations. As a result, her readings of familiar texts are radically new. She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature. Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.

Skin Shows: Gothic Horror and the Technology of Monsters

Humor & Entertainment

Movies

Duke University Press Books

In this examination of the monster as cultural object, Judith Halberstam offers a rereading of the monstrous that revises our view of the Gothic. Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as Silence of the Lambs, Texas Chainsaw Massacre, and Candyman, Skin Shows understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference. Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time. She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor. The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality. Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations. As a result, her readings of familiar texts are radically new. She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature. Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.

Masculinity without men. In Female Masculinity Judith Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances. Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. She rereads Anne Lister’s diaries and Radclyffe Hall’s The Well of Loneliness as foundational assertions of female masculine identity. She considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. She also explores issues of transsexuality among “transgender dykes”—lesbians who pass as men—and female-to-male transsexuals who may find the label of “lesbian” a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators. Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.

Female Masculinity

Politics & Social Sciences

Social Sciences

The Queer Art of Failure is about finding alternatives—to conventional understandings of success in a heteronormative, capitalist society; to academic disciplines that confirm what is already known according to approved methods of knowing; and to cultural criticism that claims to break new ground but cleaves to conventional archives. Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

The Queer Art of Failure (a John Hope Franklin Center Book)

The Queer Art of Failure is about finding alternatives—to conventional understandings of success in a heteronormative, capitalist society; to academic disciplines that confirm what is already known according to approved methods of knowing; and to cultural criticism that claims to break new ground but cleaves to conventional archives. Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

Reference

This special double issue of Social Text reassesses the political utility of the term queer. The mainstreaming of gay and lesbian identity—as a mass-mediated consumer lifestyle and an embattled legal category—demands a renewal of queer studies that also considers the global crises of the late twentieth century. These crises, which are shaping national manifestations of sexual, racial, and gendered hierarchies, include the ascendance and triumph of neoliberalism; the clash of religious fundamentalisms, nationalisms, and patriotisms; and the return to “moral values” and “family values” as deterrents to political debate, economic redistribution, and cultural dissent. 
In sixteen timely essays, the contributors map out an urgent intellectual and political terrain for queer studies and the contemporary politics of identity, family, and kinship. Collectively, these essays examine the limits of queer epistemology, the potentials of queer diasporas, and the emergence of queer liberalism. They rethink queer critique in relation to the war on terrorism and the escalation of U.S. imperialism; the devolution of civil rights and the rise of the prison-industrial complex; the continued dismantling of the welfare state; the recoding of freedom in terms of secularization, domesticity, and marriage; and the politics of citizenship, migration, and asylum in a putatively postracial and postidentity age. Contributors. Michael Cobb, David L. Eng, Roderick A. Ferguson, Elizabeth Freeman, Gayatri Gopinath, Judith Halberstam, Janet R. Jakobsen, Joon Oluchi Lee, Martin F. Manalansan IV, José Esteban Muñoz, Tavia Nyong’o, Hiram Perez, Jasbir K. Puar, Chandan Reddy, Teemu Ruskola, Nayan Shah, Karen Tongson, Amy Villarejo

Social Text 84-85: What's Queer about Queer Studies Now?

Literature & Fiction

Muñoz, José Esteban

Eng, David L.

History & Criticism

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Books by HALBERSTAM, JACK

See the best price to sell, buy, or rent books by HALBERSTAM, JACK. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Trans: A Quick and Quirky Account of Gender Variability (Volume 3) (American Studies Now: Critical Histories of the Present)

Trans*: A Quick and Quirky Account of Gender Variability (American Studies Now: Critical Histories of the Present) (Volume 3)

Skin Shows: Gothic Horror and the Technology of Monsters

Skin Shows: Gothic Horror and the Technology of Monsters

Female Masculinity

Female Masculinity

The Queer Art of Failure (a John Hope Franklin Center Book)

The Queer Art of Failure (a John Hope Franklin Center Book)

Social Text 84-85: What's Queer about Queer Studies Now?

Female Masculinity