Trap Door pdf epub mobi txt 電子書下載2025

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Reina Gossett

Reina Gossett is an artist, activist, and 2017 Activist in Residence at the Barnard Center for Research on Women. She directed The Personal Things (2016) and, with Sasha Wortzel, wrote, directed, and produced Happy Birthday, Marsha! (2017), a short film about legendary performer and activist Marsha P. Johnson.

Eric A. Stanley

Eric A. Stanley is Assistant Professor in the Department of Gender and Sexuality Studies at the University of California, Riverside, editor of Captive Genders: Trans Embodiment and the Prison Industrial Complex, and, with Chris E. Vargas, director of the films Homotopia (2006) and Criminal Queers (2016).

Johanna Burton

Johanna Burton is Keith Haring Director and Curator of Education and Public Engagement at the New Museum in New York and the series editor for the Critical Anthologies in Art and Culture.

出版者:The MIT Press

作者:Reina Gossett (Editor)

出品人:

頁數:448

译者:

出版時間:2017-12-15

價格:$49.95 T | £40.00

裝幀:平裝

isbn號碼:9780262036603

叢書系列:

圖書標籤:

trans
queer_study
movement
gender
MIT

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Essays, conversations, and archival investigations explore the paradoxes, limitations, and social ramifications of trans representation within contemporary culture.

The increasing representation of trans identity throughout art and popular culture in recent years has been nothing if not paradoxical. Trans visibility is touted as a sign of a liberal society, but it has coincided with a political moment marked both by heightened violence against trans people (especially trans women of color) and by the suppression of trans rights under civil law. Trap Door grapples with these contradictions.

The essays, conversations, and dossiers gathered here delve into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with dominant norms. The volume speculates about a third term, perhaps uniquely suited for our time: the trapdoor, neither entrance nor exit, but a secret passageway leading elsewhere. Trap Door begins a conversation that extends through and beyond trans culture, showing how these issues have relevance for anyone invested in the ethics of visual culture.