This paper uses Gloria Anzaldúa’s borderlands framework to resignify and recover the marginalized, forgotten sacred feminine and, thereby, South Asian motherlines. The borderlands is conceived of as a new consciousness, an alternative to that which is written in history. It offers a radical synthesis of spiritual healing with anti-oppression wo…[Read more]

In this article we place the discussions of automation in post-work imaginaries within and alongside feminist critiques
and understandings of domestic technology. Structured in three parts, the first surveys debates on the future of work,
showing how feminist materialist critiques of technology would lend themselves to an anti-work rather than…[Read more]

Analyzing trans narratives about the early moderns through the lenses of affective labor and social reparation, this chapter reclaims as trans the Shakespeare films that have been misinterpreted as homosexual. In doing so, this chapter builds a longer, more intersectional history of gendered embodiment. Reparative trans performances—works in w…[Read more]

Analyzing trans narratives about the early moderns through the lenses of affective labor and social reparation, this chapter reclaims as trans the Shakespeare films that have been misinterpreted as homosexual. In doing so, this chapter builds a longer, more intersectional history of gendered embodiment. Reparative trans performances—works in w…[Read more]

Die Debatte um die politische Differenz stellt Kontingenz und Konfliktualität als fundamentale Eigenschaften des Politischen heraus. Dies birgt ein Problem für die postfundamentalistische Demokratietheorie, die auf Augenhöhe mit dieser Debatte argumentieren will: Durch die Kontingentsetzung aller normativen Begründungen ist zunächst unklar, welc…[Read more]

Invited contribution to the book-catalog “Libros y autores del virreinato del Perú (1542-1824)” [Books and authors of the Viceroyalty of Peru] that accompanies the one-year exhibit (same title as the book) at the Instituto Cervantes in Madrid (Spain). The exhibit can be visited from September 2021-September 2022. This chapter addresses the…[Read more]

How does one understand a filmmaker like José Antonio Nieves Conde, a Falangist whose films with strong neorealist tendencies were radically altered by the Francoist censors for being too critical of the economic injustices inherent to daily urban life after the Spanish Civil War? Many film critics have asked this question and this essay looks…[Read more]

The film The Small Back Room was written and directed by Michael Powell and Emeric Pressburger, and released in 1949. It is the wartime tale of an injured and embittered back-room scientist, who is recruited to help combat a new kind of explosive device. Based on Nigel Balchin’s 1943 novel, the film significantly alters the story’s climactic seq…[Read more]

The structure of fifth-century Athenian society remains largely unknown, as is the distribution of its citizens into different socio-political categories. Ancient literary sources mostly describe a society divided into élite and poor. However, the model of a society alternately dominated by
the élite and the ‘lower-class’ is to be recon…[Read more]

Pietro Bembo (1470-1547) wrote and published in an era in which a highly developed erotic code was adopted by dozens and dozens of writers in Italy, and presumably understood by tens of thousands of readers in Europe. A most helpful text for decoding the erotic lexicon was written by Jean Toscan: Le carnaval du langage: le lexique érotique des…[Read more]

Pietro Bembo (1470-1547) wrote and published in an era in which a highly developed erotic code was adopted by dozens and dozens of writers in Italy, and presumably understood by tens of thousands of readers in Europe. A most helpful text for decoding the erotic lexicon was written by Jean Toscan: Le carnaval du langage: le lexique érotique des…[Read more]

In 1525, Pietro Bembo in his Prose della volgar lingua published a condemnation of Dante’s Comedy that has often passed for linguistic and cultural criticism, yet might be better understood as satire.

In 1525, Pietro Bembo in his Prose della volgar lingua published a condemnation of Dante’s Comedy that has often passed for linguistic and cultural criticism, yet might be better understood as satire.

This paper publishes a ceramic bowl in the Metropolitan Museum of Art depicting a Parthian shot. Although it lacks archaeological provenance, the bowl can be dated to the 4th to 2nd centuries BCE, and probably comes from northwestern Iran. It is, therefore, one of the few possible instances of a Parthian shot from the Arsacid Empire.