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 Many artists in the culture-war period had their grants rescinded.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.

Gender, Nationality and Cultural Representations of Ireland: An Irish Woman's Place?

Ireland has struggled with its ‘feminine’ identity throughout its history. The so-called ‘chasmic dichotomy of male and female' is embedded in colonial and postcolonial constructions of Irishness and it continues to manifest itself in contemporary cultural representations of Ireland and Irishness. This study explores issues of gender and nationality via a reading of a 70-second television advertisement for Caffrey's Irish Ale, titled ‘New York’. The article suggests that, although colonial and postcolonial discourse on Ireland continues to perceive the ‘feminine’ in problematic terms, this is gradually changing as Irish women increasingly, in poet Eavan Boland's words, ‘open a window on those silences, those false pastorals, those ornamental reductions’ that have confined us.

The Masculine State in Crisis: War Resistance in Apartheid South Africa

External and internal forces threatened the apartheid state in the 1980s. The refusal to perform compulsory military service by individual white men and the increasing number of white South Africans who criticized the role of the military and apartheid governance had the potential to destabilize the gendered binaries on which white social order and Nationalist rule rested. The state constituted itself as a heterosexual, masculine entity in crisis and deployed a number of gendered discourses in an effort to isolate and negate objectors to military service. The state articulated a nationalist discourse that defined the white community in virile, masculine, and heroic terms. Conversely, “feminine” weakness, cowardice, and compromise were scorned. Objectors, as “strangers” in the public realm, were most vulnerable to homophobic stigmatization from the state and its supporters

'I am not an Honourable Lady': gender and language in the National Assembly for Wales

Women have been historically underrepresented in political institutions and it has been claimed that it is difficult for women to succeed in the masculinist cultures that exist in political contexts. The ‘new’ devolved institutions of the UK offer opportunities to investigate gender inequality in political contexts which have a greater proportion of women members; that have included women from their inception; and that have been designed with egalitarian issues to the fore. Here, ethnographic and discourse analytic data is used to assess a senior woman’s performance in the National Assembly for Wales; to explore politicians’ appraisal of this performance; and to analyse the breakdown of the debate floor in terms of ‘rule-breaking’ activities such as barracking. In this Community of Practice the individual’s performance draws upon communicative styles that are both stereotypically masculine (adversarial) and feminine (consensual), which can be viewed as an indication of the speaker’s competence. However, this is undermined by the speaker’s failure to adopt the correct linguistic practices for this CoP which leads to the breakdown of the formal debate discourse. Assembly Members appraise this failure negatively while also drawing upon stereotypical notions of gendered communicative norms and wider discourses of gender differentiation.