Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.

Language standardization in sociolinguistics and international business: Theory and practice across the table

This chapter addresses the issue of language standardization from two perspectives, bringing together a theoretical perspective offered by the discipline of sociolinguistics with a practical example from international business. We introduce the broad concept of standardization and embed the study of language standardization in the wider discussion of standards as a means of control across society. We analyse the language policy and practice of the Danish multinational, Grundfos, and use it as a “sociolinguistic laboratory” to “test” the theory of language standardization initially elaborated by Einar Haugen to explain the history of modern Norwegian. The table is then turned and a model from International Business by Piekkari, Welch and Welch is used to illuminate recent Norwegian language planning. It is found that the Grundfos case works well with the Haugen model, and the International Business model provides a valuable practical lesson for national language planners, both showing that a “comparative standardology” is a valuable undertaking. More voices “at the table” will allow both theory and practice to be further refined and for the role of standards across society to be better understood.