Black Queer Feminism and the Sexual Politics of Another Country
Matty Hemming

This essay explores Black queer feminist readings of the sexual politics of James Baldwin’s Another Country. Recent work at the intersection of queer of color critique and Black feminism allows us to newly appreciate Baldwin’s prescient theorization of the workings of racialized and gendered power within the erotic. Previous interpretations of Another Country have focused on what is perceived as a liberal idealization of white gay male intimacy. I argue that this approach requires a selective reading of the novel that occludes its more complex portrayal of a web of racially fraught, power-stricken, and often violent sexual relationships. When we de-prioritize white gay male eroticism and pursue analyses of a broader range of erotic scenes, a different vision of Baldwin’s sexual imaginary emerges. I argue that far from idealizing, Another Country presents sex within a racist, homophobic, and sexist world to be a messy terrain of pleasure, pain, and political urgency. An unsettling vision, to be sure, but one that, if we as readers are to seek more equitable erotic imaginaries, must be reckoned with.

James Baldwin Review
Megan Daigle, Sarah Martin, and Henri Myrttinen

ensuring safety. The limited available evidence therefore suggests that humanitarian workers are more likely to be assaulted by their own colleagues than by outsiders (see Deloitte, 2019 ; HWN, 2017 ; Spencer, 2018 ). 14 Notably, this violence also conforms to colonial narratives that position white male travel as ‘an erotics of ravishment’ replete with sexual adventures and conquests, in a kind of ‘porno-tropics’ where the mores and rules of the homeland

Journal of Humanitarian Affairs
Open Access (free)
Studies in intimacy

Featuring essays from some of the most prominent voices in early medieval English studies, Dating Beowulf: studies in intimacy playfully redeploys the word ‘dating’, which usually heralds some of the most divisive critical impasses in the field, to provocatively phrase a set of new relationships with an Old English poem. This volume presents an argument for the relevance of the early Middle Ages to affect studies and vice versa, while offering a riposte to anti-feminist discourse and opening avenues for future work by specialists in the history of emotions, feminist criticism, literary theory, Old English literature, and medieval studies alike. To this end, the chapters embody a range of critical approaches, from queer theory to animal studies and ecocriticism to Actor-Network theory, all organized into clusters that articulate new modes of intimacy with the poem.

The pleasure of reading comedies in early modern England
Hannah August

dramatic paratexts appear to both create and respond to a MUP_Smith_Printer.indd 201 02/04/2015 16:18 202 Aesthetic sensory experiences market desire for printed comedies as repositories of the type of erotic pleasure that antitheatricalists feared audiences would experience in the theatre. That such a motivation for playreading existed is confirmed by the early seventeenth-century manuscript commonplace book of William Drummond of Hawthornden, which I discuss in my conclusion. Craik and Pollard point out that ‘early modern writers who discussed how it felt to

in The senses in early modern England, 1558–1660
Open Access (free)
Jane Eyre in Elizabeth Stoddard’s New England
Anne-Marie Ford

,‘The work of all three displays an interfusion of Victorian social realism with the romance tradition’, and continues that Stoddard, like the Brontës, ‘depicts . . . social reality with a keen awareness of how kinship, marriage, property ownership, and inheritance intermesh’.5 In exploring the way in which Brontë and Stoddard deploy Gothic conventions, I want to consider their common and varied representations of woman’s psycho-social oppression, and erotic nature. Furthermore, I will investigate the emancipation of each of their heroines from socioeconomic restrictions

in Special relationships
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
Elleke Boehmer

preoccupation in several of the novels with the silky textures of a particularly erotic heterosexuality. As The Stone Virgins confirms, it could indeed be said that Vera is one of the more explicitly erotic of the literary African writers working today. This does not, however, close down the significations of what might be termed the excess of sexual yearning in her narratives – on the contrary. Especially in Under the Tongue, in Vera’s fictional worlds survival is characteristically achieved by women through dialogue with other women, in particular with women family members

in Stories of women
Open Access (free)
Beowulf translations by Seamus Heaney and Thomas Meyer
David Hadbawnik

’. 6 Auden's own understanding of this process involved something he called ‘Literary Transference’, and Remein explains Auden's ‘erotic’ attachment to certain poems in terms of the poet's own experience with Freudian analysis and the intense intimacy of the analyst/analysand relationship. 7 The practice of ‘talk’ in therapeutic analysis is, I believe, a fruitful model for the translational intimacy I am trying to describe – not only what it is, but also

in Dating Beowulf
Open Access (free)
Postcolonial governance and the policing of family
Author: Joe Turner

Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.

Open Access (free)
Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

By expanding the geographical scope of the history of violence and war, this volume challenges both Western and state-centric narratives of the decline of violence and its relationship to modernity. It highlights instead similarities across early modernity in terms of representations, legitimations, applications of, and motivations for violence. It seeks to integrate methodologies of the study of violence into the history of war, thereby extending the historical significance of both fields of research. Thirteen case studies outline the myriad ways in which large-scale violence was understood and used by states and non-state actors throughout the early modern period across Africa, Asia, the Americas, the Atlantic, and Europe, demonstrating that it was far more complex than would be suggested by simple narratives of conquest and resistance. Moreover, key features of imperial violence apply equally to large-scale violence within societies. As the authors argue, violence was a continuum, ranging from small-scale, local actions to full-blown war. The latter was privileged legally and increasingly associated with states during early modernity, but its legitimacy was frequently contested and many of its violent forms, such as raiding and destruction of buildings and crops, could be found in activities not officially classed as war.