Seminar, Monday 17 November 2014: Shaka McGlotten, ‘The Political Aesthetics of Drag’

Shaka Poster Final

‘Political Aesthetics of Drag’

Shaka McGlotten (SUNY)

Monday 17 November 2014, 5.15pm-7pm, Room G16, Martin Harris Centre, University of Manchester

The Centre for the Study of Sexuality and Culture (CSSC, University of Manchester) with the Granada Centre for Visual Anthropology

Drag can be a means of touching queer and other publics, or of mediating one’s economic precarity. It can function as art by other means, or by any means necessary. And like politics, drag can be a duty, a contentious pleasure, or something to dread. In the talk, I present drag aesthetics as an ethics, focusing specifically on the ways artists and activists use drag to respond to, or reframe, some of the pressing political crises of our times, including racism, austerity, and police and military violence, among others. The project is constructed as a series of interlocking ethnographic portraits of contemporary drag across three sites, New York City, Berlin, and Israel/Palestine. These stories foreground some of my interlocutors’ competing desires for doing drag—for some it provides a stage from which they can articulate a radical politics, while for others it is a sensual refuge away from politics as they are ordinarily understood. I thereby seek to show how the desires that animate the drag personas and performances of my informants reflect a diverse array of lived conditions and political aesthetic orientations.

Shaka McGlotten, currently living and working in Berlin as a Fellow of the Alexander von Humboldt Foundation, is Associate Professor of Media, Society and Arts at Purchase College-SUNY, where he teaches courses on ethnography, digital culture and queer studies. He is co-editor of Black Genders and Sexualities (Palgrave, 2012) and Zombie Sexuality: Essays on Sex and the Living Dead (McFarland, 2014). He has written and spoken widely about public sex, virtual worlds, gaming, and hook up aps, preoccupations that appear in his monograph, Virtual Intimacies: Media, Affect, and Queer Sociality (SUNY Press, 2013).

Today, Thursday 16 October: ‘Differently Queer: Sexuality and Aesthetics in Pier Paolo Pasolini and Elsa Morante’

Manuele Gragnolati (Oxford)
16 October 2014 4pm – 7pm
University Place 3.211, University of Manchester
This paper explores the analogies and differences in the aesthetics of the late works by Pier Paolo Pasolini and Elsa Morante. Both authors mobilise a contorted, inverted, and suspended temporality that resists linearity and teleology and, instead, allows for the articulation of paradoxical pleasures that cannot be inscribed in a normative logics of development, conversion, or productivity. In this sense the late aesthetics of Pasolini and Morante replicates a queer form of sexuality, but while in the case of Pasolini it enacts self-shattering and oblivion, it embraces inversion, fluidity, and memory in the case of Morante.
 

Monday 17 Nov 2014, 5.15pm-7pm: Shaka McGlotten, ‘Political Aesthetics of Drag’

‘Political Aesthetics of Drag’

Shaka McGlotten (SUNY)

Monday 17 November 2014, 5.15pm-7pm, Room G16, Martin Harris Centre, University of Manchester

The Centre for the Study of Sexuality and Culture (CSSC, University of Manchester) with the Granada Centre for Visual Anthropology

Drag can be a means of touching queer and other publics, or of mediating one’s economic precarity. It can function as art by other means, or by any means necessary. And like politics, drag can be a duty, a contentious pleasure, or something to dread. In the talk, I present drag aesthetics as an ethics, focusing specifically on the ways artists and activists use drag to respond to, or reframe, some of the pressing political crises of our times, including racism, austerity, and police and military violence, among others. The project is constructed as a series of interlocking ethnographic portraits of contemporary drag across three sites, New York City, Berlin, and Israel/Palestine. These stories foreground some of my interlocutors’ competing desires for doing drag—for some it provides a stage from which they can articulate a radical politics, while for others it is a sensual refuge away from politics as they are ordinarily understood. I thereby seek to show how the desires that animate the drag personas and performances of my informants reflect a diverse array of lived conditions and political aesthetic orientations.

Shaka McGlotten, currently living and working in Berlin as a Fellow of the Alexander von Humboldt Foundation, is Associate Professor of Media, Society and Arts at Purchase College-SUNY, where he teaches courses on ethnography, digital culture and queer studies. He is co-editor of Black Genders and Sexualities (Palgrave, 2012) and Zombie Sexuality: Essays on Sex and the Living Dead (McFarland, 2014). He has written and spoken widely about public sex, virtual worlds, gaming, and hook up aps, preoccupations that appear in his monograph, Virtual Intimacies: Media, Affect, and Queer Sociality (SUNY Press, 2013).

Thurs 16 October 2014, 4pm-7pm: ‘Differently Queer: Sexuality and Aesthetics in Pier Paolo Pasolini and Elsa Morante’

‘Differently Queer: Sexuality and Aesthetics in Pier Paolo Pasolini and Elsa Morante’

Research Seminar with Professor Manuele Gragnolati (Somerville College, Oxford) 

4pm-7pm, Thursday 16 October 2014, University of Manchester, University Place 3.211

(organised by Dr Francesca Billiani, Italian)

This paper explores the analogies and differences in the aesthetics of the late works by Pier Paolo Pasolini and Elsa Morante. Both authors mobilize a contorted, inverted, and suspended temporality that resists linearity and teleology and, instead, allows for the articulation of paradoxical pleasures that cannot be inscribed in a normative logics of development, conversion, or productivity. In this sense the late aesthetics of Pasolini and Morante replicates a queer form of sexuality, but while in the case of Pasolini it enacts self-shattering and oblivion, it embraces inversion, fluidity, and memory in the case of Morante.
The paper will be followed by a discussion of the reading (see below), as well as Professor Gragnolati’s new book, Amor che move. Linguaggio del corpo e forma del desiderio in Dante, Pasolini e Morante (Milan: il Saggiatore, 2013).  The event will close with a wine reception at Kro bar from 7pm.

Readings:

Gragnolati, Manuele, ‘Analogy and Difference: Multistable Figures in Pasolini’s Appunti per un’Orestiade Africana’, in The Scandal of Self-Contradiction: Pasolini’s Multistable Subjectivities, Geographies, Traditions, ed. by Luca di Blasi, Manuele Gragnolati, and Christoph F. E. Holzhey (Berlin: Verlag Turia & Kant, 2012), pp. 119-134

Available here:https://www.dropbox.com/s/gpqcb5vroclm827/Gragnolati_analogy_difference-libre.pdf?dl=0

The event is supported by the Centre for Interdisciplinary Research in the Arts and Languages (CIDRAL), The University of Manchester. For more on this seminar, please visit here.

Tuesday 10 December, ‘Porn: A Roundtable’


Porn A Roundtable 10 Dec

Earlier this year, newspapers and other media reported the founding of a new scholarly journal, Porn Studies—setting off, predictably, a flurry of responses ranging from interest to outrage by way of derision. Pornography has always been a legal, ethical and political battlefield, and looks likely to remain so. But what is ‘pornography’? And what is its history? The word itself was coined in the nineteenth century; but what of earlier periods? Can we speak of medieval or early modern pornography? And what is at stake in our decision to do (or not to do) so? Join Hal Gladfelder, David Matthews and Kaye Mitchell for a roundtable on the complex, troubled history of a word, and the debates provoked by the bawdy, erotic, and obscene from the middle ages to the present.

(Image Credit: N. Maxwell Lander)

Tuesday 19 November, Jackie Stacey, ‘Embodying Queer Temporalities: The Future Perfect of Peggy Shaw’s Butch Noir’

peggy shaw

Tuesday 19th November, 5pm-7pm

Professor Jackie Stacey (Manchester)

‘Embodying Queer Temporalities: The Future Perfect of Peggy Shaw’s Butch Noir’

Room A101, Samuel Alexander Building

The University of Manchester  –  All Welcome!

What does it mean to embody an erotic presence through the ways in which it has already been read? In dialogue with recent debates about queer temporality (Edelman, Jagose, Freeman and others), this talk will introduce the relay of ‘reading and being read’ that constitutes the future perfect of butch noir. This talk discusses the ‘having already been read-ness’ of Peggy Shaw’s embodiment of butch noir in MUST – the inside story (a live anatomy lesson performed by Peggy Shaw and Clod Ensemble, with back projected slides from the Wellcome medical library). Shaw’s performance of the anxious and playful readings of her body on stage is not so much an exemplar or case study, as it is a collaboration which instantiates the conceptual problem of pinning time down and the theoretical difficulty of finding queer particularity in time’s binding elusiveness. In thinking about the title of this seminar series – ‘queer now and then’ – Jackie Stacey takes Shaw’s troubling of temporality through her queer embodied presence as a way of responding to current debates about time in queer theory.

Jackie Stacey is a Professor of Cultural Studies and Director of the Centre for Interdisciplinary Research in the Arts and Languages (CIDRAL). She is the author of Star Gazing: Female Spectators and Hollywood Cinema (1994), Teratologies: A Cultural Study of Cancer (1997), and, most recently, The Cinematic Life of the Gene (2010). She is also an editor of Screen.

New Seminar Series ‘Queer Now and Then': Wednesday 16 October, Susan Lanser, ‘How to Do the Sexuality of History’

Susan Lanser, 'How to Do the Sexuality of History'

On Wednesday 16 October, the ‘Queer Now and Then’ seminar series will begin with ‘How to Do the Sexuality of History’ by Susan Lanser, Professor of English, Women’s and Gender Studies, and Comparative Literature at Brandeis University. Her paper will explore the notion of ‘the sexuality of history’, how this is distinct from ‘the history of sexuality’, and the methodological commitments that this shift entails.

(Image Cindy Sherman)