South-North Dialogues on Queer Epistemologies, Embodiments and Activisms
Edited By Elizabeth Sara Lewis, Rodrigo Borba, Branca Falabella Fabrício and Diana de Souza Pinto
South-North Dialogues on Queer Epistemologies, Embodiments and Activisms is composed of research presented at the fourth international Queering Paradigms Conference (QP4), held in Rio de Janeiro, Brazil. In line with the QP project ethos of bringing together diverse epistemological and geographical allegiances, this volume intends to contribute to building a queer postcolonial critique of the current politics of queer activism and of queer knowledge production and circulation. However, rather than perpetuating the North-South dichotomy, the papers gathered here are an effort to establish global dialogues that crisscross those axes, as well as attempts at queering epistemologies, socio-political bonds, and bodies, embodiments and identities. They endeavour to trouble unequal geographies of knowledge – namely the North as an exporter of theories and the South as their importer; the North as a producer of knowledge and the South as its object of study – hosting enormous potential for reinvention.
British Heritage Television: Reconstructing Queer Desire in Daphne (2007) and The Secret Diaries of Miss Anne Lister (2010)
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British television since 2000 has been rich with television films and mini-series that specifically deal with queer women’s issues that fall under the heritage genre: Tipping the Velvet (2002), Fingersmith (2005), Daphne (2007), Affinity (2008), The Secret Diaries of Miss Anne Lister (2010), and The Night Watch (2011). Other series, such as Lark Rise to Candleford (2008–2011) and Upstairs Downstairs (2010–2012), have also occasionally featured queer women. The strength of the term “queer” is that it is more inclusive than other non-heterosexual categories and also recognises the unclear and shifting boundaries between these categories whilst still retaining the meaning of “contra-, non-, or anti-straight” (Doty 1993: xv). Alexander Doty argues that “queer spaces open up (or are revealed) whenever someone moves away from only one specific sexual identity category – gay, lesbian, bisexual, or straight” (ibid: xviii–xix). I therefore use the term “queer women” to include the representation of nuances in sexuality and allow for the “intersecting or combining of more than one specific form of nonstraight sexuality” that are shifting between, or cannot be contained under, LGBT labels (ibid: xvi). Additionally, I use the term “queer women” as an umbrella term to avoid both speculation on a character’s specific sexual identity and debates concerning whether a character is more accurately labelled, for example, lesbian or bisexual.
“Heritage film” was a descriptive term coined in 1986 by Charles Barr for 1940s British films that were not all set in the...
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