Journal of Language and Sexuality - Volume 7, Issue 1, 2018

The papers in this special issue examine the relationships between language, sexuality and affect. Using examples of language use from Argentine cinema, bounce music performance, a university classroom, a BDSM community, and Black women’s urban queer space, the papers show how various forms of linguistic practice allow affect to remain comfortably nested on “the cusp of semantic availability” ( Williams 1977 : 134), rather than being reduced to tightly defined categories or messages. The discussions of these examples also show how various forms of linguistic practice allow sexuality to unfold as a messy formation ( Giffney 2009 , Manalansan 2014 ), thereby remaining resistant to boundaries and precise definitions. The basis for these parallels between affect and sexuality are explored in these papers, as are their implications for future studies of language, affect, and sexuality.

This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics are just one element of bounce performances, however, which consist of the reciprocal relationship between the dancers in the audience, the intensity of the MC’s exhortations, and the rhythm of the backing musical track. Bounce performances create a fleeting community of artists, bodies and music that is less about the expression of discrete sociodemographic categories, and more about a collective affective event. Using ideas of relationality from queer and affect theory, and Stallybrass and White’s “high/low” cultural hierarchies, this article shows how bounce challenges normative ideas about the autonomous ‘speaking subject,’ and supports a messier understanding of the self as affectively relational.

The Fifty Shades trilogy is often associated with BDSM, yet practitioners of BDSM typically disavow the trilogy. Previous research highlights how mechanics of BDSM such as agency and consent are misrepresented in the trilogy; this study highlights differences in affect. Drawing on ethnographic fieldwork among BDSM practitioners in Berlin, Germany, this paper considers reception beyond reading as evidence of BDSM’s affective phenomenology. The paper combines an Ortner-inspired “cultural ethnography through discourse” with close reading: it compares discourse and affect observed in the field with that in the novels, and suggests that the portrayal of BDSM in the novels and portrayals of the novels as representations of BDSM misinterpret the affective phenomenology of BDSM. Through attention to language, this study shows how affect and situated discourse become mutually constitutive in shaping the legibility of phenomenological experience, suggesting that playful reterritorializations of semiotic forms can counter mimetic perpetuations of symbolic violence.

Extending the work of those who center narratives in their discussions of affect, this essay considers black queer women’s (BQW) narratives describing the sensations associated with being in and out of spaces created for and by BQW. The narratives examine emerged during ethnographic interviews I conducted in Washington, D.C. between 2012 and 2015. Many BQW living in and around Washington, D.C. socialize within what is colloquially referred to as the Scene – an amorphous, loosely connected set of social networks made up of other BQW and their allies. One of the most important and recognizable aspects of the Scene are the spaces produced for and by these social networks. I refer to these as “scene spaces.” Scene spaces are highly-affect latent sites, as people frequently talk about how space makes them feel, or how they feel in particular spaces. Thus, scene spaces serve as the focal point of this paper’s discussion.

This article explores the significance of paralipsis to analyses of affect and sociopolitical formation. Taking attested utterances from undergraduate anthropology courses as a point of departure, I examine how one White and female-identified student engaged in a sexualized form of paralipsis to claim distance from her own negative construal of the object-category “girls [that brag about community service].” Deploying what I term dick-rhetoric, in combination with strong affect and assertions of ideological common-sense, this student’s performance was effective at garnering stance ratification and “uptake” from classmates ( Jaffe 2009 ), and facilitating the reproduction of gender and sexual hierarchies. Drawing on Browne’s (2015) examination of denied racial subjectivity or “dark matter,” I argue that “dick matter” renders genderism and sexual objectification acceptable in university classrooms (among regimes, e.g., racial) – particularly for settings where professors do not engage students in critical exploration of dominant hierarchies and normalization processes. Discussion emphasizes the salience of engaging (ourselves and) students in examination of uses of paralipsis and dick-rhetoric for addressing gender and sexual inequalities.

Drawing on a detailed analysis of a corpus of three key Argentine post-2000 films in which the figure of the child as a sexual/gendered being is central, this article explores three core affective dimensions of the processes of queer child/teenage relational subjectivation. Firstly, it discusses the queer shameful or injured selves of LGBTIQ children/teens as nevertheless being able to open up new spaces of affective performativity that can potentially challenge gender/sexuality norms and boundaries. Secondly, it addresses early queer antagonism associated with the configurative role of the ‘closet space’. Thirdly, emerging processes of peer solidarity and alliances arising from queerness, and non-heteronormative sexualities more generally, are identified and subjected to a political reading in terms of different forms of relationality, mobility and agency. By examining the verbal as well as the visual dimensions of the referential and affective messages inscribed in these films, the analysis attends to both their articulated and non-articulated meanings.