Browsing by Subject "Popular culture"

In the aftermath of the #MeToo moment, we are called to revisit old conversations about human dignity, gendered power, and the conditions under which consent can be freely given. To date, the shape of this discourse in the mainstream has lacked sustained analysis through the frameworks of critical feminist and queer theory, particularly these fields’ insight that gender, sexuality, and behavior mutually inform each other. I argue that to understand and begin to repair the sexual politics of our present moment we must take seriously these fields’ contention that sex, like gender, is a historically and socially determined category and, therefore, that its definition is malleable. Only by understanding what we mean when we say “sex” can we begin to disentangle the role sex plays in shaping social conventions and power differentials.

My dissertation reads the narratives of 20th- and 21st-century American popular culture through the lens of the emerging field of asexuality studies. Asexuality studies constitutes a growing body of cultural as well as scientific inquiry. As Kristina Gupta (2015) suggests, asexuality can act as a useful critical foil to compulsory sexuality, that is, to the unspoken social imperative to desire and to engage in sexual activity with other people. We see evidence of compulsory sexuality not just in the omnipresence and presumption of the (heterosexual) couple in cultural and social institutions, but also in our own assumption, for instance, that a single individual must be in want of a partner.

Reading against the grain of compulsory sexuality, whose discursive dominance Ela Przybylo (2011) has termed sexusociety, in this dissertation I analyze three figures of asexuality that exists on the on the margins of sexual culture. The figures of the Spinster, the Child, and the Robot do not operate outside the limits of sexusociety but rather trouble it from within. More often than not the resistance they face is indicative of the hidden mechanisms of compulsory sexuality at work in sustaining the society they exist in. These figures of resistance, canonically asexual or not, serve as inflection points where the (il)logic of compulsory sexuality begins to fray. All three figural types are all slurs that have been levelled against asexuals, and are figures that, when they present in fiction, are presumed asexual until proven otherwise. I examine the way that they resist compulsory sexuality rather than claiming a straightforward asexual identity for them, because I am uninterested in the question of whether asexuality should be thought of as a distinct sexuality, or outside of sexuality altogether. Rather, embracing a relatively capacious definition of asexuality as my analytic expands the archive available to me and allows me to identify limit cases of compulsory sexuality where its operations fail to cohere.

Starting from existing groundwork laid in the intersections between asexuality studies and queer and feminist scholarship, as in Cerankowski and Milks’s Asexualities: Queer and Feminist Perspectives (2014) and Ela Przybylo’s Asexual Erotics (2019), I use these figures to illustrate how compulsory sexuality masks the ways we have been preconditioned to allow our own sexual objectification and to participate in the objectification of others. To read asexually is to make a vital intervention into a conversation about the ways compulsory sexuality constrains our quotidian interactions with each other and with the world. It is to begin to imagine a new, more just way of relating that does not transform the other into an object of desire, but rather, as radical feminist Roxanne Dunbar Ortiz puts it, comprises “a relationship of whole to whole.” I offer no definitive way out of sexusociety in these pages. I extend an invitation, though, to think of asexuality not as an absence or withdrawal, but as a potential to disturb patterns by offering new perspectives on old patterns of objectification, complicated consent, and self-denial in the service of adhering to unfulfilling narratives.

Through an analysis of contemporary films, novels, comics, and other popular texts, my dissertation argues that upward class mobility, as the progress narrative through which the American Dream has solidified itself in literary and cultural convention, is based on a false logic of "self-made" individualism. The texts I examine tell a new kind of mobility story: one that openly acknowledges the working-class community interdependence underpinning individuals' ability to rise to their accomplishments. My work spotlights distinctly un-rich communities invested in the welfare of their most vulnerable citizens. It also features goal-oriented individuals who recognize the personal impact of this investment as well as the dignity of poor and working-class people from "heartland" Texas to Lower East Side Manhattan. American-exceptionalist stories no longer ring true with popular audiences faced with diminishing access to economic resources and truly democratic political representation. The growing wealth gap between the corporate elite and everyone else has resulted in a healthy mass skepticism toward simplistic narratives of hard work guaranteeing the comforts of a middle-clas life. The archive I have identified displays a fundamental commitment to the social contract that is perhaps the greatest of U.S. working-class values, offering a hopeful vision of collective accountability to readers and viewers struggling to avoid immobilizing debt, foreclosure, and the unemployment line.

In my dissertation I propose that Álvaro Bisama's Caja negra is a book that both continues and defies the interventions in the field of culture articulated in Alberto Fuguet's Por favor, rebobinar and other texts associated with the McOndo approach to culture in Latin America; an approach that includes urban metropolitan spaces as well as mass-produced cultural products in the range of possible representations of daily life experiences in Latin America. I argue that, in order to do so, Bisama performs an oppositional, counterfactual and cultist appropriation of the history of the Chilean written, audiovisual and musical media productions of the 20th century, considering Chilean both the media productions that were made in Chile and the media productions that were consumed in the Chilean context even if they were made somewhere else. In Caja negra, the appropriation of such a wide catalogue of productions is achieved by inoculating the text with a significant amount of apocryphal films, books, authors, filmmakers, musicians, records and other data related to these productions and their producers. I show that the saturation of apocryphal data in Caja negra aims to create an alternate history of Chile through the construction of an alternate cultural field. However, the historical fact of Augusto Pinochet's coup d'état in 1973 remains unchanged. I argue that Bisama's display of apocrypha in Caja negra is a way of responding to the lack of reliability of the accounts of history, especially, the history of media productions in Chile, as a consequence of the actions taken by the military. Therefore, I propose that Bisama's approach to the genre of alternate history is political and consists of proposing the conjectural as a strategy to overcome the gaps and untrustworthiness of the accounts of history in a way that provides an alternative to the search for truth. Finally, I propose that Caja negra engages with popular and alternative cultures in a double edged way: On the one hand, it builds on the changes in the field of culture that were either observed, proposed or performed by the productions associated to McOndo, in a time that coincided with the dawn of both the democratic transition and the popularization of new technologies that promised to democratize the access to culture. On the other hand, it shows that active consumption and fanatic appropriation are deliberate and personal acts that, as such, depend more on those who perform them than on the products that are being appropriated. Popular culture is treated as a plurality of cultures, and the text is not a place to display it or fictionalize it, as it happens in Por favor, rebobinar. In Caja negra the codes of these pop cultures are shown yet remain veiled. Their apocryphal nature and the complex processes of fictionalization serve to protect them from overexposure and loss of their subcultural capital. In my dissertation, I observe that Por favor, rebobinar articulates a principle that rules the relationships between characters and between the characters and the reader, and I call it aesthetic empathy. I recognize this principle as fundamental in Fuguet's writing in the nineties. Also; I read in Por favor, rebobinar an apology of active and public critical consumption of cultural products. In my comparative reading of Por favor, rebobinar and Caja negra, I find that in the latter there is a shift in the perception of culture and its representation that functions as a response to the principle of aesthetic empathy and to the apology of critical consumption articulated in Por favor, rebobinar. I argue that this contestation to Por favor, rebobinar and McOndo is achieved by a process of adoption and experimentation with the limits of the more provocative traits of Por favor, rebobinar's content and composition, such as the presentation of a cultural field, the saturation of data related to popular cultures, the fragmentary structure, the inclusion of metatextual interventions, and the emphasis in the specific nature of each fragment of writing through its structure and mediations. In sum, I present a reading of Caja negra as a text engaged in the intervention on the field of culture in Chile, articulated in continuity and contrast to its predecessors in the nineties.

This dissertation is a cultural history of the port city of Recife, the capital of the Northeast Brazilian state of Pernambuco, from the 1940s to the late seventies. Its focus is on the Mercado Público de São José, a bustling commercial node where affect, sex, and culture were exchanged as often as physical commodities. It examines the denizens and cultural practices of this storied space using an extraordinary 10,000 pages of handwritten diary entries produced by a municipal functionary who sympathetically documented the stories shared with him by poets, sex workers, entertainers, policemen, and vagrants. This material is supplemented by a rich array of sources from multiple subject positions, including music, published erotica, chapbook poetry (literatura de cordel), photographs, films, material objects, and expressive culture. This dissertation foregrounds two neglected forms of Black culture that take the form of black dolls. It first looks at mamulengo, an improvised form of puppet play historically practiced by and for poor and nonwhite men. Two chapters show how this practice, predicated upon interpersonal violence meted out by Black heroes, is simultaneously a form of Black protest and a perpetuation of anti-Black racism. The project then analyzes calungas, regally dressed tar black dolls that are highly visible components of Recife’s maracatus, as royal corteges of queens, ladies-in-waiting, and percussionists are known. It holds that calungas and maracatus are expressions of an alternative blackness to mamulengo, a female-centered practice whose prestige draws from a grammar of Africanicity. By illustrating the tight braiding of the “people’s” and “learned” culture, this dissertation confronts head on the enduring influence of racial hierarchy and domination on descendants of the slave quarters (senzala) and the big house (casa-grande).

“Surrendering to the Streets” thus offers a fully contextualized urban cultural history of slavery’s afterlives in the capital of the northeastern state that received one-fifth of the enslaved Africans that landed in the Western Hemisphere. In presenting the broad resonances of slavery as “living,” the dissertation does not assume that these sociocultural inheritances are immutable, nor does it contend that poor and overwhelmingly nonwhite Brazilians are perpetually condemned to domination. Rather, it examines Brazil’s “public secret” of racism while exploring how Recife’s nonwhite majority contested these hierarchies through humor, religiosity, and forms of popular entertainment that proved capable of influencing the literate upper-class, with a chapter each focusing on the multitalented artist and documentarian Liêdo Maranhão (1925-2014) and Recife’s famed playwright and novelist Hermilo Borba Filho (1917-1976).

This dissertation, "Theories of Everything: Science Fiction, Totality, and Empire in the Twentieth Century," argues that the ideology of empire shares with science fiction an essential cognitive orientation towards totality, an affinity which has made science fiction a privileged site for both the promotion and the critique of imperial ideologies in the United States and Britain in the twentieth century. The cultural anxieties that attend a particular moment of empire are especially manifest in that period's science fiction, I argue, because of the importance of science and technology: first as a tool of imperial domination and second as a future-oriented knowledge practice that itself has totalizing aspirations, grasping with one hand towards so-called "theories of everything" while with the other continually decentering and devaluing humanity's importance in larger cosmic history. As technological modernity begins to develop horizons of power and knowledge increasingly beyond the scale of the human, I argue, science fiction becomes an increasingly important cognitive resource for navigating the ideological environments of modern political subjects.

In particular I argue for a new understanding of the science fiction genre focused on an aspiration to totality: cognitive maps of the historical world-system on a immense, even hyperbolically cosmic, scale. In the twentieth century empire itself is one such totality, insofar as imperial ideology asserts the existence of a historical logic of progress that ultimately culminates in the empire itself. Such totalities necessarily provoke thoughts of their own inevitable negation, an eventuality I organize around the general category of "apocalypse." In three chapters I consider apocalyptic texts concerning entropy and evolution (chapter one), environmental collapse and ecological futurity (chapter two), and zombie catastrophe (chapter 3). In particular I focus on literary work from Isaac Asimov, H. G. Wells, Mark Twain, Olaf Stapledon, Margaret Atwood, Ursula K. Le Guin, Kim Stanley Robinson, Robert Kirkman, Joss Whedon, Ted Chiang, and Philip K. Dick. I ultimately argue that the totalizing thought experiments of science fiction have functioned as a laboratory of the mind for empire's proponents and detractors alike, offering a "view from outside" from which the course of history might be remapped and remade. As a result--far from occupying some literary periphery--I argue science fiction in fact plays a central role in political struggles over history, empire, identity, justice, and the future itself.