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The purpose of this paper is to set the groundwork for a new methodological movement. The author claims that methodological strategies must take as their object the laws with found sexual identity, or rather should be “fucking with” law by creatively confronting, occupying and agitating limiting ethical frameworks that control access to the field. The movement is ethnographic, since it finds research ethics and “straight” academic space to be where these rules are the most harmful in limiting access to the field, for female researchers, in particular.
The approach (but also to some extent the target) is on Deleuzian and post-Deleuzian’s philosophy, whose theoretical leaps have sought to shift and cause slippage in laws of sexual identity. However, when these laws are tested by researchers proposing to access the field, specifically ethnographically and autoethnographically, it is clear they have not “slipped” at all. This is clear through the questions raised by ethics committees. Fucking law, therefore, becomes a methodological movement intimately connecting ethical agendas and sex as an encounter in the field.
The author claims that the methodological movement of “fucking” law captures, or at least attempts to capture, the slipperiness of the body, the encounter, the research project and sex itself. The movement, “fucking law”, is essential in agitating and occupying the limiting institutional research agendas and their ethical frameworks.
The implications of “fucking law” will be necessarily unpredictable, but the main practical and connected social implication is questioning as to why more women are not practically questioning arguably one of the biggest questions: the ethics of sexuality. Fucking law argues for the questioning of these laws with bodies, and experimenting with philosophies which underpin and create institutional ethical rules.
This is the first work of its kind by a female autoethnographer challenging the ethics of sexuality, arising from a participatory field project. It also evaluates and confronts the ethics of the field as a whole: from the researcher herself, to her academic environment and sexual life, to the field itself and the writing up of the project.
Four male undergraduates at Cornell University post on the internet the “Top 75 reasons why women (bitches) should not have freedom of speech.” Reason #20: “This is my dick. I'm gonna fuck you. No more stupid questions.”
The sociology of education has various traditions which examine the connections between education, culture, and inequality. Two of these traditions, symbolic…
The sociology of education has various traditions which examine the connections between education, culture, and inequality. Two of these traditions, symbolic interactionism and critical theory, tend to ignore each other. This paper creates a dialogue between these traditions by applying symbolic interactionist (SI) and radical interactionist (RSI) sensibilities to an important study for resistance theory, Paul Willis’ classic ethnography Learning to Labor (1977). The SI reading of Learning to Labor emphasizes the importance of group interactions and the creation of meaning, while the RSI reading highlights how domination unfolds in social interaction. We argue that SI and RSI have much to offer Learning to Labor, as these readings can avoid some of the critiques commonly leveled on the book regarding the linkage between theory and data, structure and agency, and the book’s conceptualization of culture. Likewise, we argue that the data in Learning to Labor have much to offer SI and RSI, as the material provides grist to further understand the role of symbols in domination while identifying escalating dominance encounters that create a set of patterned interactions that we describe as a “grinding” social order.
This paper aims to illustrate how narrative research techniques can be employed to promote greater understanding of young people's experiences of progress in residential…
This paper aims to illustrate how narrative research techniques can be employed to promote greater understanding of young people's experiences of progress in residential alcohol and other drug treatment.
Narrative inquiry is used to explore client understandings of what characterises progress in treatment for young people attending a residential detoxification and a residential rehabilitation service in Perth, Western Australia. This article focuses on stories of progress collected through in‐depth qualitative interviews, observation and participation with clients of the two services, over a five‐month period.
Analysis of data revealed that young people were able to vividly describe their progress through treatment, and their drug taking trajectories can be conceptualised along five stages. The authors prepared narrative accounts to illustrate the features characteristic of each stage as identified by the young people. These composite narratives, written from the perspectives of young people, are presented in this article.
Clients’ own perceptions of their journeys through drug treatment might enable staff of such services to collaborate with the young person, in shaping and positively reinforcing alternative life‐stories; from those of exclusion and disconnection, to narratives of opportunity, inclusion and possibility.
Harmful adolescent drug and alcohol use is on the rise in Australia and elsewhere. However, our knowledge of how young people experience progress through residential treatment for substance use is limited. This paper highlights how creating narratives from young people's own stories of progress can broaden our knowledge of “what works” in residential youth alcohol and other drug treatment services.
In this chapter, the author considers how Melbourne’s grindcore metal scene produces itself as coherent, authentic and masculine through the discursive positioning of…
In this chapter, the author considers how Melbourne’s grindcore metal scene produces itself as coherent, authentic and masculine through the discursive positioning of Sydney’s scene as lacking, inauthentic and feminine and/or homosexual. The way Melbourne scene-members talk about Sydney in ethnographic interviews and online, indicates how Melbourne’s grindcore scene identity rests on a particular striving towards – and fantasy of – a bounded, comprehensible masculine identity anchored in Symbolic/linguistic signifiers of homophobia. Building on my previous research on Melbourne’s scene, the author utilises a Lacanian perspective to argue that the masculinist talk of Melbournians works as a response to the affective experience of enjoying grindcore music. Here, the author departs from my earlier work, where the author used Deleuzian/Massumian understandings of affect to suggest that affect works to construct community belonging in grindcore scenes (2014). Instead, the author uses Lacan’s approach to affect to suggest that Melbourne grindcore fans construct their identity via furiously producing a fantasy of Sydney fans as ‘Other’. They Symbolically construct Sydney as a ‘cultural wasteland’ populated by ‘poofter[s]’ (Melbourne Grind Syndicate, 2016) who are imagined, and positioned as, inauthentic due to their affective enthusiasm for grindcore. Here, affect works to exclude and Other grindcore fans rather than as a force for collectivity.
In our paper, Randy Starr, who was found not guilty by reason of insanity for committing murder, tells his life story with my help. Our collaboration helps erase the…
In our paper, Randy Starr, who was found not guilty by reason of insanity for committing murder, tells his life story with my help. Our collaboration helps erase the fictitious line traditionally drawn between subject and analyst in life stories. We cover the period from his early childhood to his late twenties when he committed the homicide that led to his involuntary commitment to a state’s mental health system. In telling his life story, we vividly describe his passage through the four stages of the violentization and later descent into “self disorganization,” which is seen as a normal part of the process of dramatic self change. It is made clear by us that the severe self disorganization into which he descended did not originate independently from his violentization, but instead was a direct by-product of it. We conclude that he should have been adjudged a “disorganized dangerous violent criminal” and found “guilty, but in need of and susceptible to treatment.” A plea is made to make this verdict available to judges and juries in such cases.
While a growing body of literature reveals the prevalence of men's harassment and abuse of women online, scant research has been conducted into women's attacks on each…
While a growing body of literature reveals the prevalence of men's harassment and abuse of women online, scant research has been conducted into women's attacks on each other in digital networked environments. This chapter responds to this research gap by analyzing data obtained from qualitative interviews with Australian women who have received at times extremely savage cyberhate they know or strongly suspect was sent by other women. Drawing on scholarly literature on historical intra-feminism schisms – specifically what have been dubbed the “mommy wars” and the “sex wars” – this chapter argues that the conceptual lenses of internalized misogyny and lateral violence are useful in their framing of internecine conflict within marginalized groups as diagnostic of broader, systemic oppression rather than being solely the fault of individual actors. These lenses, however, require multiple caveats and have many limitations. In conclusion, I canvas the possibility that the pressure women may feel to present a united front in the interests of feminist politics could itself be considered an outcome of patriarchal oppression (even if performing solidarity is politically expedient and/or essential). As such, there might come a time when openly renouncing discourses of sisterhood and feeling free to disagree with, and even dislike, other women might be considered markers of liberation.
While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing…
While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.
Authenticity is an interactionist distinction that is symbolically created and negotiated in everyday life. This paper (1) investigates “underground” country musicians and…
Authenticity is an interactionist distinction that is symbolically created and negotiated in everyday life. This paper (1) investigates “underground” country musicians and their definitions of self, including the process of creating accounts and (2) demonstrates the importance of authenticity-based identity work as a symbolically constituted and socially negotiated process. The purpose here is not to celebrate “authentic” country music, but rather to examine how these artists construct and manage the perception of authentic identities and to also demonstrate how authenticity-based identity work serves as a meaningful addition to these artists’ identities.