On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors rein... more On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors reintroduced the Military Readiness Enhancement Act in the House of Representatives to amend title 10 United States Code § 654 ("Policy Concerning Homosexuality in the Armed Forces") to enhance the readiness of the Armed Forces by replacing the current "don't ask, don't tell" policy with a policy of nondiscrimination on the basis of sexual orientation. In the recent DUKE JOURNAL OF GENDER LAW AND POLICY article, "Constructing the Co-Ed Military," Elaine Donnelly, president of the Center for Military Readiness, asserts that "nothing has changed that would justify the turmoil that would occur in and outside of Congress if Meehan's legislation were seriously considered or passed." 2 But on what evidence is she basing her claims that turmoil would ensue if 10 U.S.C § 654, the ban on openly gay service members, were repealed?
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
While undergraduate student loan debt continues to be “hard to register,” there are other conditi... more While undergraduate student loan debt continues to be “hard to register,” there are other conditions and effects of the student loan debt spiral that remain relatively invisible, unexamined, and certainly receive less attention in news headlines or on the op-ed pages about the fiscal cliff of education debt. These are the effects of this debt spiral on graduate education, faculty composition, and knowledge production itself. This article highlights how the debt load of faculty is part of the current student loan debt spiral, yet its effects on the working conditions of faculty, the learning conditions of students, and, importantly, the production of knowledge in the university remain underexamined.
... could please me more" than to be compared to Ethel Waters, ironically, Ethel Wat... more ... could please me more" than to be compared to Ethel Waters, ironically, Ethel Waters was excited to be dubbed the "ebony Nora Bayes," a ... They're earth songs that have come out of the Library of Congress and from Carl Sandburg's 'American Song Bag' collection" (New York ...
This article analyzes the racial and sexual politics of the “don't ask, don't tell” story... more This article analyzes the racial and sexual politics of the “don't ask, don't tell” storyline on Showtime's series The L Word. It situates The L Word within a political economy of media industry and policy advocacy organizations to argue that the show participated in a form of “policy-tainment” by producing critique of both existing government policies and the role of racial representations in oppositional political strategies, and finally exercising influence in policy networks.
The story began long ago ... it is old. Older than my body, my mother's, my grandmother's... more The story began long ago ... it is old. Older than my body, my mother's, my grandmother's.... For years we have been passing it on, so that our daughters and granddaughters may continue to pass it on. The story never stops beginning or ending.... The story circulates like a gift; an empty gift which anybody can lay claim to by filling it to taste, yet can never truly possess. A gift built on multiplicity. One that stays inexhaustible within its own limits. Its departures and arrivals.--Trinh T. Minh-ha (Woman, Native, Other 1-2) No. She couldn't stay. Nor, she saw now, could she remain away. Leaving, she would have to come back.--Nella Larsen (Quicksand 96) Quicksand (1928) represents the many ways that black women's movements are policed: by the law, by educational institutions, by racism, by Jim Crow segregation, by the race and gender ideologies of Empire, by the social strictures of white, black, and European society, and by the institutions of marriage and family. Novelist Nella Larsen (1891-1964) represents and critiques the raw reduction of identity the subject experiences when circumscribed by the negative limits by specific communities, racial ideologies, and class localities. These negative limits represent the containment and fixing of identity that Larsen contrasts with the expansion of identity promised both by geographic mobility and the facts of social relations. However, Larsen does not simply set up a predictable narrative of modern cosmopolitanism that contrasts the limiting small-town experience to the expansive tumult of the metropolis. Rather, she opposes the containment of any given place and any given social location against the expansiveness of acts of movement and relocation. Larsen's positioning of her protagonist Helga Crane as "leaving," only to "have to come back" signals neither failure nor resignation to the inevitable return home, but a strategy of resistance that many modernist women adopted mobility. Modernism is defined in part by practices of expatriation, especially as it is associated with modernist women writers such as Gertrude Stein, Jessie Fauset, Djuna Barnes, and other women artists and publishers who moved (some permanently) to Paris's Left Bank. It is also associated with black cultural producers and figures such as performer Josephine Baker, who took the opportunity to perform in Europe in part as an escape from memories of the violent 1917 East St. Louis race riots. (1) Similarly, when Helga Crane leaves the U. S. for Europe, she does so in part hoping to escape the ubiquitous effects of American racism. For Larsen, the promises of modernist mobility remain haunted by histories of racial violence, but not in ways that frame the black female subject, and especially the biracial subject, as fixed within a one-dimensional tragic narrative. Her characters rather wrestle with how they will inhabit the promises, failures, and histories represented in the very idea of modernist mobility. I argue that Larsen defines the female subject of modernity by examining the relationship of subjectivity to relocation and mobility. In doing so, Larsen delineates the material complexities of that quintessential figure of modernism, the flaneur, or public stroller and mobile observer of modern effects. (2) As a woman on the move, Helga Crane represents something at times imagined to be impossible, a modern flaneuse or female flaneur. By writing of the experience of black female flanerie, Larsen's work holds out the promise and possibilities of moving away from, into, and between communities and locations. Larsen is a key literary figure, as Hazel Carby contends, because her novels represent, along with the work of Jessie Fauset, the first novels by African American women to locate black female subjectivity in the urban space "embedded within capitalist social relations" (in contrast, for instance, to Zora Neale Hurston's novels, which are anchored in the idealized black rural folk culture of the South) (Reconstructing Womanhood 170). …
Fabulous yet fierce, imperious yet impetuous, boss yet bitchy—divas are figures of paradox. Their... more Fabulous yet fierce, imperious yet impetuous, boss yet bitchy—divas are figures of paradox. Their place in culture is equally contradictory, as they are simultaneously venerated and marginalized, hailed as timeless but then frequently forgotten or exhumed as cult icons by future generations. Focusing on four early twentieth-century divas—Aida Overton Walker, Loïe Fuller, Libby Holman, and Josephine Baker—who were icons in their own time, Moving Performances considers what their past and current reception reveals about changing ideas of race and gender. Jeanne Scheper examines how iconicity can actually work to the diva’s detriment, reducing her to a fetish object, a grotesque, or a figure of nostalgia. Yet she also locates more productive modes of reception that reach to revive the diva’s moving performances, imbuing her with an affective afterlife. As it offers innovative theorizations of performance, reception, and affect, Moving Performances also introduces readers to four remarkable women who worked as both cultural producers and critics, deftly subverting the tropes of exoticism, orientalism, and primitivism commonly used to dismiss women of color. Rejecting iconic depictions of these divas as frozen in a past moment, Scheper vividly demonstrates how their performances continue to inspire ongoing movements. Publisher: Rutgers UP Publication Date: Oct 2016
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors rein... more On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors reintroduced the Military Readiness Enhancement Act in the House of Representatives to amend title 10 United States Code [section] 654 ("Policy Concerning Homosexuality in the Armed Forces") to enhance the readiness of the Armed Forces by replacing the current "don't ask, don't tell" policy with a policy of nondiscrimination on the basis of sexual orientation. In the recent DUKE JOURNAL OF GENDER LAW AND POLICY article, "Constructing the Co-Ed Military," Elaine Donnelly, president of the Center for Military Readiness, asserts that "nothing has changed that would justify the turmoil that would occur in and outside of Congress if Meehan's legislation were seriously considered or passed." (2) But on what evidence is she basing her claims that turmoil would ensue if 10 U.S.C [section] 654, the ban on openly gay service members, were repealed? T...
Sasinda Futhi Siselapha: Black Feminist Approaches to Cultural Studies in South Africa’s Twenty-Five Years Since 1994. eds. Derlene Dee Marco, Tiffany Willoughby-Herard, Abebe Zegeye, 2020
The edited collection, Sasinda Futhi Siselapha: Black Feminist Approaches to Cultural Studies in ... more The edited collection, Sasinda Futhi Siselapha: Black Feminist Approaches to Cultural Studies in South Africa’s Twenty-Five Years Since 1994 (Africa World Press & Red Sea Press: December 2020), closes with creative writing on Winnie Mandela’s prison memoir curated and introduced by South African poet and scholar Natalia Molebatsi and U.S. feminist scholar Jeanne Scheper.
Jeanne Scheper and Tiffany Willoughby-Herard interview one of the founders of South Africa’s Dist... more Jeanne Scheper and Tiffany Willoughby-Herard interview one of the founders of South Africa’s District Six Museum, Dr. Anwah Nagia, as he embarks on the building of a new center for human rights in the heart of Cape Town, South Africa.
"Educational debt not only affects access to and
attrition from four-year schools, but subsequent... more "Educational debt not only affects access to and attrition from four-year schools, but subsequently impacts the pipeline to graduate education. Graduate school debt load in turn impacts pathways to the professoriate. These processes of what I call ―trickle up‖ debt in the United States mean that it is important to pay closer attention to and analyze the effects of this trickle up, not only on the demographics of undergraduate and graduate school (who is in and who is out; and who ends up in which fields) but further, to ask ourselves what is the impact of education debt on a new generation of faculty (both contingent and tenure-track) carrying these new higher education debtloads into the workplace. I see this essay as a provocation to further inquiry, attending to certain clues as ―canaries in the mine that point to the need to ask an expanded set of questions around education debt, including: What is the impact of education debt on faculty-in-debt as well as students? And, how is the shape of knowledge production itself impacted by these overall conditions of debt in higher education?"
This article analyzes the racial and sexual politics of the “don’t ask, don’t tell” storyline on ... more This article analyzes the racial and sexual politics of the “don’t ask, don’t tell” storyline on Showtime’s series The L Word. It situates The L Word within a political economy of media industry and policy advocacy organizations to argue that the show participated in a form of “policytainment” by producing critique of both existing government policies and the role of racial representations in oppositional political strategies, and finally exercising influence in policy networks.
KEYWORDS The L Word; cable television; public policy; race, gays in the military
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors rein... more On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors reintroduced the Military Readiness Enhancement Act in the House of Representatives to amend title 10 United States Code § 654 ("Policy Concerning Homosexuality in the Armed Forces") to enhance the readiness of the Armed Forces by replacing the current "don't ask, don't tell" policy with a policy of nondiscrimination on the basis of sexual orientation. In the recent DUKE JOURNAL OF GENDER LAW AND POLICY article, "Constructing the Co-Ed Military," Elaine Donnelly, president of the Center for Military Readiness, asserts that "nothing has changed that would justify the turmoil that would occur in and outside of Congress if Meehan's legislation were seriously considered or passed." 2 But on what evidence is she basing her claims that turmoil would ensue if 10 U.S.C § 654, the ban on openly gay service members, were repealed?
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
While undergraduate student loan debt continues to be “hard to register,” there are other conditi... more While undergraduate student loan debt continues to be “hard to register,” there are other conditions and effects of the student loan debt spiral that remain relatively invisible, unexamined, and certainly receive less attention in news headlines or on the op-ed pages about the fiscal cliff of education debt. These are the effects of this debt spiral on graduate education, faculty composition, and knowledge production itself. This article highlights how the debt load of faculty is part of the current student loan debt spiral, yet its effects on the working conditions of faculty, the learning conditions of students, and, importantly, the production of knowledge in the university remain underexamined.
... could please me more" than to be compared to Ethel Waters, ironically, Ethel Wat... more ... could please me more" than to be compared to Ethel Waters, ironically, Ethel Waters was excited to be dubbed the "ebony Nora Bayes," a ... They're earth songs that have come out of the Library of Congress and from Carl Sandburg's 'American Song Bag' collection" (New York ...
This article analyzes the racial and sexual politics of the “don't ask, don't tell” story... more This article analyzes the racial and sexual politics of the “don't ask, don't tell” storyline on Showtime's series The L Word. It situates The L Word within a political economy of media industry and policy advocacy organizations to argue that the show participated in a form of “policy-tainment” by producing critique of both existing government policies and the role of racial representations in oppositional political strategies, and finally exercising influence in policy networks.
The story began long ago ... it is old. Older than my body, my mother's, my grandmother's... more The story began long ago ... it is old. Older than my body, my mother's, my grandmother's.... For years we have been passing it on, so that our daughters and granddaughters may continue to pass it on. The story never stops beginning or ending.... The story circulates like a gift; an empty gift which anybody can lay claim to by filling it to taste, yet can never truly possess. A gift built on multiplicity. One that stays inexhaustible within its own limits. Its departures and arrivals.--Trinh T. Minh-ha (Woman, Native, Other 1-2) No. She couldn't stay. Nor, she saw now, could she remain away. Leaving, she would have to come back.--Nella Larsen (Quicksand 96) Quicksand (1928) represents the many ways that black women's movements are policed: by the law, by educational institutions, by racism, by Jim Crow segregation, by the race and gender ideologies of Empire, by the social strictures of white, black, and European society, and by the institutions of marriage and family. Novelist Nella Larsen (1891-1964) represents and critiques the raw reduction of identity the subject experiences when circumscribed by the negative limits by specific communities, racial ideologies, and class localities. These negative limits represent the containment and fixing of identity that Larsen contrasts with the expansion of identity promised both by geographic mobility and the facts of social relations. However, Larsen does not simply set up a predictable narrative of modern cosmopolitanism that contrasts the limiting small-town experience to the expansive tumult of the metropolis. Rather, she opposes the containment of any given place and any given social location against the expansiveness of acts of movement and relocation. Larsen's positioning of her protagonist Helga Crane as "leaving," only to "have to come back" signals neither failure nor resignation to the inevitable return home, but a strategy of resistance that many modernist women adopted mobility. Modernism is defined in part by practices of expatriation, especially as it is associated with modernist women writers such as Gertrude Stein, Jessie Fauset, Djuna Barnes, and other women artists and publishers who moved (some permanently) to Paris's Left Bank. It is also associated with black cultural producers and figures such as performer Josephine Baker, who took the opportunity to perform in Europe in part as an escape from memories of the violent 1917 East St. Louis race riots. (1) Similarly, when Helga Crane leaves the U. S. for Europe, she does so in part hoping to escape the ubiquitous effects of American racism. For Larsen, the promises of modernist mobility remain haunted by histories of racial violence, but not in ways that frame the black female subject, and especially the biracial subject, as fixed within a one-dimensional tragic narrative. Her characters rather wrestle with how they will inhabit the promises, failures, and histories represented in the very idea of modernist mobility. I argue that Larsen defines the female subject of modernity by examining the relationship of subjectivity to relocation and mobility. In doing so, Larsen delineates the material complexities of that quintessential figure of modernism, the flaneur, or public stroller and mobile observer of modern effects. (2) As a woman on the move, Helga Crane represents something at times imagined to be impossible, a modern flaneuse or female flaneur. By writing of the experience of black female flanerie, Larsen's work holds out the promise and possibilities of moving away from, into, and between communities and locations. Larsen is a key literary figure, as Hazel Carby contends, because her novels represent, along with the work of Jessie Fauset, the first novels by African American women to locate black female subjectivity in the urban space "embedded within capitalist social relations" (in contrast, for instance, to Zora Neale Hurston's novels, which are anchored in the idealized black rural folk culture of the South) (Reconstructing Womanhood 170). …
Fabulous yet fierce, imperious yet impetuous, boss yet bitchy—divas are figures of paradox. Their... more Fabulous yet fierce, imperious yet impetuous, boss yet bitchy—divas are figures of paradox. Their place in culture is equally contradictory, as they are simultaneously venerated and marginalized, hailed as timeless but then frequently forgotten or exhumed as cult icons by future generations. Focusing on four early twentieth-century divas—Aida Overton Walker, Loïe Fuller, Libby Holman, and Josephine Baker—who were icons in their own time, Moving Performances considers what their past and current reception reveals about changing ideas of race and gender. Jeanne Scheper examines how iconicity can actually work to the diva’s detriment, reducing her to a fetish object, a grotesque, or a figure of nostalgia. Yet she also locates more productive modes of reception that reach to revive the diva’s moving performances, imbuing her with an affective afterlife. As it offers innovative theorizations of performance, reception, and affect, Moving Performances also introduces readers to four remarkable women who worked as both cultural producers and critics, deftly subverting the tropes of exoticism, orientalism, and primitivism commonly used to dismiss women of color. Rejecting iconic depictions of these divas as frozen in a past moment, Scheper vividly demonstrates how their performances continue to inspire ongoing movements. Publisher: Rutgers UP Publication Date: Oct 2016
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears... more Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors rein... more On February 28, 2007, former Rep. Martin Meehan (D-MA) and a bipartisan group of co-sponsors reintroduced the Military Readiness Enhancement Act in the House of Representatives to amend title 10 United States Code [section] 654 ("Policy Concerning Homosexuality in the Armed Forces") to enhance the readiness of the Armed Forces by replacing the current "don't ask, don't tell" policy with a policy of nondiscrimination on the basis of sexual orientation. In the recent DUKE JOURNAL OF GENDER LAW AND POLICY article, "Constructing the Co-Ed Military," Elaine Donnelly, president of the Center for Military Readiness, asserts that "nothing has changed that would justify the turmoil that would occur in and outside of Congress if Meehan's legislation were seriously considered or passed." (2) But on what evidence is she basing her claims that turmoil would ensue if 10 U.S.C [section] 654, the ban on openly gay service members, were repealed? T...
Sasinda Futhi Siselapha: Black Feminist Approaches to Cultural Studies in South Africa’s Twenty-Five Years Since 1994. eds. Derlene Dee Marco, Tiffany Willoughby-Herard, Abebe Zegeye, 2020
The edited collection, Sasinda Futhi Siselapha: Black Feminist Approaches to Cultural Studies in ... more The edited collection, Sasinda Futhi Siselapha: Black Feminist Approaches to Cultural Studies in South Africa’s Twenty-Five Years Since 1994 (Africa World Press & Red Sea Press: December 2020), closes with creative writing on Winnie Mandela’s prison memoir curated and introduced by South African poet and scholar Natalia Molebatsi and U.S. feminist scholar Jeanne Scheper.
Jeanne Scheper and Tiffany Willoughby-Herard interview one of the founders of South Africa’s Dist... more Jeanne Scheper and Tiffany Willoughby-Herard interview one of the founders of South Africa’s District Six Museum, Dr. Anwah Nagia, as he embarks on the building of a new center for human rights in the heart of Cape Town, South Africa.
"Educational debt not only affects access to and
attrition from four-year schools, but subsequent... more "Educational debt not only affects access to and attrition from four-year schools, but subsequently impacts the pipeline to graduate education. Graduate school debt load in turn impacts pathways to the professoriate. These processes of what I call ―trickle up‖ debt in the United States mean that it is important to pay closer attention to and analyze the effects of this trickle up, not only on the demographics of undergraduate and graduate school (who is in and who is out; and who ends up in which fields) but further, to ask ourselves what is the impact of education debt on a new generation of faculty (both contingent and tenure-track) carrying these new higher education debtloads into the workplace. I see this essay as a provocation to further inquiry, attending to certain clues as ―canaries in the mine that point to the need to ask an expanded set of questions around education debt, including: What is the impact of education debt on faculty-in-debt as well as students? And, how is the shape of knowledge production itself impacted by these overall conditions of debt in higher education?"
This article analyzes the racial and sexual politics of the “don’t ask, don’t tell” storyline on ... more This article analyzes the racial and sexual politics of the “don’t ask, don’t tell” storyline on Showtime’s series The L Word. It situates The L Word within a political economy of media industry and policy advocacy organizations to argue that the show participated in a form of “policytainment” by producing critique of both existing government policies and the role of racial representations in oppositional political strategies, and finally exercising influence in policy networks.
KEYWORDS The L Word; cable television; public policy; race, gays in the military
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
The Specter and the Speculative: Afterlives and Archives in the African Diaspora, 2023
The Specter and the Speculative: Afterlives and Archives in the African Diaspora engages in a cri... more The Specter and the Speculative: Afterlives and Archives in the African Diaspora engages in a critical conversation about how historical subjects and historical texts within the African Diaspora are re-fashioned, re-animated, and re-articulated, as well as parodied, nostalgized, and defamiliarized, to establish an "afterlife" for African Atlantic identities and narratives. These essays focus on transnational, transdisciplinary, and transhistorical sites of memory and haunting-textual, visual, and embodied performances-in order to examine how these "living" archives circulate and imagine anew the meanings of prior narratives liberated from their original context. Individual essays examine how historical and literary performances-in addition to film, drama, music, dance, and material culture-thus revitalized, transcend and speak across temporal and spatial boundaries not only to reinstate traditional meanings, but also to motivate fresh commentary and critique. Emergent and established scholars representing diverse disciplines and fields of interest specifically engage under explored themes related to afterlives, archives, and haunting.
Fabulous yet fierce, imperious yet impetuous, boss yet bitchy—divas are figures of paradox. Their... more Fabulous yet fierce, imperious yet impetuous, boss yet bitchy—divas are figures of paradox. Their place in culture is equally contradictory, as they are simultaneously venerated and marginalized, hailed as timeless but then frequently forgotten or exhumed as cult icons by future generations.
Focusing on four early twentieth-century divas—Aida Overton Walker, Loïe Fuller, Libby Holman, and Josephine Baker—who were icons in their own time, Moving Performances considers what their past and current reception reveals about changing ideas of race and gender. Jeanne Scheper examines how iconicity can actually work to the diva’s detriment, reducing her to a fetish object, a grotesque, or a figure of nostalgia. Yet she also locates more productive modes of reception that reach to revive the diva’s moving performances, imbuing her with an affective afterlife.
As it offers innovative theorizations of performance, reception, and affect, Moving Performances also introduces readers to four remarkable women who worked as both cultural producers and critics, deftly subverting the tropes of exoticism, orientalism, and primitivism commonly used to dismiss women of color. Rejecting iconic depictions of these divas as frozen in a past moment, Scheper vividly demonstrates how their performances continue to inspire ongoing movements.
Uploads
Papers by Jeanne Scheper
attrition from four-year schools, but subsequently impacts
the pipeline to graduate education. Graduate school debt
load in turn impacts pathways to the professoriate. These
processes of what I call ―trickle up‖ debt in the United
States mean that it is important to pay closer attention to
and analyze the effects of this trickle up, not only on the
demographics of undergraduate and graduate school (who
is in and who is out; and who ends up in which fields) but
further, to ask ourselves what is the impact of education
debt on a new generation of faculty (both contingent and
tenure-track) carrying these new higher education debtloads
into the workplace. I see this essay as a provocation to further inquiry, attending to certain clues as ―canaries in the mine that point to the need to ask an expanded set of questions around education debt, including: What is the impact of education debt on faculty-in-debt as well as students? And, how is the shape of knowledge production
itself impacted by these overall conditions of debt in higher
education?"
KEYWORDS The L Word; cable television; public policy; race, gays in the military
attrition from four-year schools, but subsequently impacts
the pipeline to graduate education. Graduate school debt
load in turn impacts pathways to the professoriate. These
processes of what I call ―trickle up‖ debt in the United
States mean that it is important to pay closer attention to
and analyze the effects of this trickle up, not only on the
demographics of undergraduate and graduate school (who
is in and who is out; and who ends up in which fields) but
further, to ask ourselves what is the impact of education
debt on a new generation of faculty (both contingent and
tenure-track) carrying these new higher education debtloads
into the workplace. I see this essay as a provocation to further inquiry, attending to certain clues as ―canaries in the mine that point to the need to ask an expanded set of questions around education debt, including: What is the impact of education debt on faculty-in-debt as well as students? And, how is the shape of knowledge production
itself impacted by these overall conditions of debt in higher
education?"
KEYWORDS The L Word; cable television; public policy; race, gays in the military
Focusing on four early twentieth-century divas—Aida Overton Walker, Loïe Fuller, Libby Holman, and Josephine Baker—who were icons in their own time, Moving Performances considers what their past and current reception reveals about changing ideas of race and gender. Jeanne Scheper examines how iconicity can actually work to the diva’s detriment, reducing her to a fetish object, a grotesque, or a figure of nostalgia. Yet she also locates more productive modes of reception that reach to revive the diva’s moving performances, imbuing her with an affective afterlife.
As it offers innovative theorizations of performance, reception, and affect, Moving Performances also introduces readers to four remarkable women who worked as both cultural producers and critics, deftly subverting the tropes of exoticism, orientalism, and primitivism commonly used to dismiss women of color. Rejecting iconic depictions of these divas as frozen in a past moment, Scheper vividly demonstrates how their performances continue to inspire ongoing movements.