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The article focuses on the collaborative process of creating covers for Feminist Review issues through collaging. It explores how this process embodies feminist values and promotes collective engagement. It also draws inspiration from the works of artists, activists, and zinesters like Ana Luísa Flores, Camila Mudrek, and Carla Duarte.

The article presents the discussion on problem of difference exercising much critical attention in the field of transnational feminist studies. Topics include collective mode of knowledge production complicating the ownership/authorship of writing and knowledge; informing and justifying the elision of socio-economic inequalities in discussions of environmental crisis.

Cinema acts as a cultural product, a medium of expression and a source of popular entertainment; usually it appears to conscientiously genuflect to upper-caste dictums. Since its inception, Telugu cinema, or Tollywood, the third-largest film industry in India, has produced various caste-based films like Gudavalli Ramabrahmam's Malapilla (1938), Kasinadhuni Vishwanath's Kalam Marindhi (1972) and K. Balachander's Rudraveena (1988), amongst others. In the discourse surrounding caste, the 'Dalit woman question' and its representation is either consciously ignored or erased, and thus, it stands enfolded in upper-caste reformist politics. This article analyses the representation of Dalit women in select Telugu films produced at significant sociopolitical junctures of contemporary times. These films mark a significant departure from the stereotypical representation of Dalit women as submissive and portray them as women with voices. Within the larger framework of feminist activism and human rights discourse, we see Dalit women protagonists in these films with an agentic space of their own. In the Indian context, where equality and no discrimination are constitutional rights, the films under discussion, Srikanth Addala's Narappa (2021) and Sekhar Kammula's Love Story (2021), are an appropriate intervention to showcase the inclusivity of Dalit women in the larger scheme of Indian feminism. This study employs critical textual and frame analysis to read selected Telugu films as cultural texts with Dalit feminist consciousness embedded within them. [ABSTRACT FROM AUTHOR]

Black radical traditions include an orientation towards dreaming of better futures. In this article, I enter a dialogical space for us to explore the relationship between our desire to live a good life and our conceptions of what doing so might entail. Speaking from the perspective of an African-Caribbean person in Britain, I begin by considering the need for us to dream what it means to 'Liv Good'—where Liv Good is an intersectionally just version of the good life. I discuss Britain's credo and the liberal philosophical context it emerges out of that makes distinctions between the right and the good, which I claim undermine our entitlement to dream of a good life and give rise to a tendency to consider the good life as secondary to our efforts to achieve political justice. My aim is to highlight the importance of holding in tandem questions about what it means for us to live a good life with questions of justice. By conceptualising and demonstrating Liv Good methodological praxis, I explore the ways in which we can dream Liv Good into reality, by drawing on our own intellectual traditions and honouring our own dream imperatives. I conclude by offering readers an invitation to join me in dreaming Liv Good, engaging its unified ethical framework as a basis from which we can imagine an intersectionally just version of the good life. [ABSTRACT FROM AUTHOR]

The article discusses the intersection of feminist activism and civil disobedience in China, specifically focusing on the A4 revolution that occurred in late 2022. It examines how the protests, which initially began in response to extreme COVID-19 lockdown measures, evolved to incorporate feminist perspectives and address broader issues of gender injustice in China. It provides a scholarly analysis of these events through the lens of gender and feminist theory.

The article focuses on the systemic career blocking experienced by disabled scholars in academia, using a methodology termed PanEthnography to weave together the lived experiences of its disabled, neurodivergent authors. It critically examines how systemic barriers and discriminatory practices impede their career progression, drawing on personal narratives and artistic elements inspired by ancient myths and Epic Poetry to reveal and challenge these injustices.

An introduction is presented in which the editor discusses articles in the issue on topics including the initiation of the 'Feminist Futures' series, the exploration of feminist futures through dialogues among diverse contributors, and the emphasis on care in editorial practice.

Presented as a series of notes, this article explores scavenging as a methodology of refusal, anchored in black studies, black feminist thought, queer studies and indigenous studies, and thinks of the possibilities it offers for rethinking feminist research. Engaging with the works of Katherine McKittrick and of Eve Tuck and K. Wayne Yang in particular, I unravel scavenging and interrogate the possibilities it offers for feminist, queer and decolonial scholarship. I argue that scavenging cultivates wonder; resists extractive logics pervasive in academic research; refuses disciplinarity; demands attention; offers possibilities for repair; channels feeling, desire and the erotic; and, finally, encourages us to think about form in academic writing. Throughout, scavenging is therefore sketched out as a methodology for worldmaking. [ABSTRACT FROM AUTHOR]

This article reflects on my journey conducting online ethnography through Iraqi, Saudi, Kuwaiti and Yemeni feminist Twitters as an Iraqi researcher residing in the United Kingdom. It examines the intersection of online ethnography and feminist activism, emphasising the essential role of long-term immersion in social media spaces as an activist prior to undertaking this type of research. I gained crucial insights into the complexity, fluidity and emotional dynamics of online spaces and relationships through years of visible presence and engagement with other activists before conducting my ethnography. While some level of intimacy and affiliation with feminist activists existed, the absence of offline encounters posed challenges to forging friendships; however, this difficulty served as a catalyst for developing an ethical method to navigate relationships with participants and address the limitations of a friendship-based approach. In this article, I propose an alternative approach centred around a fellowship affiliation, approaching other activists as 'fellows' in the two Arabic senses of zamāla and rifqa (peer- and comrade-driven) relationships. This shift in the researcher–participant relationship moves away from the intense and demanding nature of the ṣadāqah (friendship) relationship. In doing so, it offers a politically powerful stance and a much-needed critical space for constructive debate while maintaining mutual respect and a shared commitment to the cause. The fellowship-based method necessitates activist transparency and critical allyship dedicated to collaboration and unconventional methods of knowledge co-production, promising solidarity and transcending differences and disagreements. Nonetheless, achieving this can, at times, be challenging. While acknowledging the limitations of the approach, the article recognises that moments of silence or distance can also arise from a sense of activist responsibility and commitment to protecting others. [ABSTRACT FROM AUTHOR]

In recent years, misogyny has become a central concept in philosophy as well as an established concept in public discourse and political policy. But where is misogyny's supposed counterpart, namely, misandry? In this article, I argue for an ameliorative analysis of 'misandry', arguing that it can be reformulated in an effort to reclaim it from misogynistic weaponisation. The term 'misandry' is used almost exclusively as a misogynistic rhetorical device for attributing unjust anger, hatred or other similar emotions to a speaker, thereby undermining their epistemic authority. Rather than dismissing the term as conceptually flawed and politically problematic, I argue that we ought to ameliorate misandry to instead refer to a felt anger, hostility or fear towards the patriarchal social order and its valorisation and/or expression in misogynistic and machismo behaviour. To support these claims, I begin with a discussion of Kate Manne's analysis of misogyny before reflecting on how this can inform our understanding of misandry. I then demonstrate the various ways in which misandry is rhetorically deployed as a means of silencing speakers who express dissent against the patriarchy. Following this, I argue that we should ameliorate the term, not only to undermine these misogynistic practices but also to articulate a legitimate affective and reactive attitude against the patriarchal imposition of a hierarchical gender binary. [ABSTRACT FROM AUTHOR]

Three poems by Kerry McInerney are presented. "the island." First Line: at night the sky was; Last Line: one long exhale. "the man." First Line: we could have; Last Line: of the children unfolded. "blood vessels." First Line: after the guilty flock; Last Line: brought to its knees.

The article explores how Black feminist thought (BFT) serves as a disruptive force within the neoliberal university matrix, challenging its limitations and exclusions. It discusses how the COVID-19 pandemic created opportunities for scholars to circumvent traditional barriers to participation in scholarship and emphasizes the concept of glitch feminism, which embraces errors in oppressive systems.

Since 2011, female khatna, or the practice of female genital cutting within the Dawoodi Bohra community, has become a big topic of debate in India and globally. The 'secret' tradition has been challenged by community activists, tabled in parliament, heard by international courts of law and debated on news channels. In response, a growing number of Bohra women have come to the fore to publicly defend their right to khatna by subverting seemingly Western tropes of autonomy, equality and modernity. Situated in the thick of these polarised exchanges, this article examines the complicated, under-explored relationship between gender and Islam by foregrounding self-narratives of the Bohra women who actively participate within, as opposed to fight against, patriarchal norms to preserve the tradition. I juxtapose their narratives with those of anti-khatna activists to further contextualise and clarify their 'modern-yet-traditional' subjectivities. As such, this article combines a postcolonial feminist lens with Eric Hobsbawm's notion of 'invention of tradition', to investigate the multiple ways in which a majority of Bohra women are using the rhetoric of 'modernity' in public—by reinventing history, renegotiating patriarchies, reimagining the other and incorporating biomedicine—to preserve and perpetuate this contested tradition. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic posed a logistical problem to our normal ways of engaging in participatory visual research. Our in-person art, activism and archiving with 2SLGBTQ+ Atlantic Canadian youth pivoted to use distanced engagement strategies that met the demands of the pandemic. We sought to create networks of solidarity while we were apart. Monthly, over the course of a year, we mailed out themed packages of art supplies and directions to fifty-five 2SLGBTQ+ youth situated in the Canadian provinces of New Brunswick, Nova Scotia, Prince Edward Island and Newfoundland and Labrador. Participants then created the artworks, photographed them and contextualised them through text. While the resulting co-curated digital archive includes multiple mediums, here we focus on the participants' zines and dioramas for what they taught us about 2SLGBTQ+ youth's identities, activism, beliefs, friends, home, family, fears, strengths and futures. The digital archive of our artwork deconstructs, explores and affirms identities and functions to build solidarity during a time of increased isolation. We argue that collaboratively building the digital archive was a feminist act of reclamation and a declaration of youth queer activism. [ABSTRACT FROM AUTHOR]

The article focuses on the collaborative and intersectional working practices of the periodical, emphasizing the importance of aligning with intersectional feminist values. Topics discussed include the collective's strategies for creating a safer space, the addition of new editors in 2021, and reflections on redefining feminist practice.

The article focuses on a dialogue reflecting on Black feminism as an 'object' in writing and research, exploring historical visual emphasis in a periodical issue and shift to Contemporary Arts and Learning. Topics discussed include efforts to disrupt traditional academic journal norms for a more inclusive and community-engaged space.

The digitalisation of cultural heritage creates expectations for improved research methods and more diverse and inclusive memory institutions. However, it is difficult to take advantage of the opportunities the quantification might give owing to deficient and inadequate metadata. The diversity of standards and wilfulness in different historical archive practices creates problems when aggregating data from various sources. The ambition to create more diverse and inclusive memory institutions, compensating for the historical lack of justice, also creates the risk of excluding important contexts from the digital collections. To develop research methods that take this archival wilfulness into account, in this study I have used speculative design to explore images from Europeana, the digital archive that aggregates data from memory institutions all over Europe. Instead of seeing this archive as something lacking in terms of shared standards and inclusive vocabularies, I suggest we see Europeana as a queer collection of wilful archival practices, by showing the desires and imaginations represented in the archival context. By contrasting the visual content of an image with the metadata that describes the image, the norms and desires in the archival practice come into focus, as the metadata points out what at the time was considered interesting about an image, and the reason the photograph was taken. Images described as 'Swedes', for example, rarely show pictures of Swedes in Sweden. Swedes are described as Swedes when they are outside Sweden. It is the exotic and foreign that are categorised. Most importantly, the person who controls the camera is not in the picture, but the choice of perspective and the metadata description of the image tell us something about the photographer's and archivist's will and desires. By visually reversing the perspective and making visible both norms and deviations, I show how one can approach this digital heritage with a methodology of feminist wonder. [ABSTRACT FROM AUTHOR]

This research investigates the political practices of online public shaming (funa) with regard to gender violence in Chile and their ability to trigger feminist social change. The central argument is that funa, as a feminist practice, offers a problematic pathway to social change, which, despite contributing to denaturalising violence against women, does not address the structural causes of gender violence. Online public shaming, as a feminist practice and strategy for change, triggers critical moral and social dilemmas, generating a questionable feminist transformation. The research explores those dilemmas, presenting the advances and setbacks of this practice in current feminist movements globally and in Chile. It contributes to the reflection on feminist movements in terms of their ability to trigger social change. [ABSTRACT FROM AUTHOR]

The poem "All The Women I Know" by Christine Hume is presented. First line: No woman I know blanked out when asked to recall her brother. ; Last Line: No woman I know wonders if you've mistaken her for someone else.

This article analyses the legacy of Marsha P. Johnson as a heroine through the notion of labour, emphasising how heroine narratives are both a product of labour as well as a form of labour. After offering a short account of Marsha P. Johnson's role in the Stonewall riots and STAR, we explore the development of trans communities' ability to create, sustain and disseminate heroine narratives, emphasising Tourmaline's pivotal archival role in establishing Johnson's legacy. Then, we elucidate the role of heroine narratives in creating and sustaining a collective identity. We argue that community attachment to Marsha P. Johnson reclaims the place of trans communities in LGBTQ+ history but is often done in a manner that obscures the whiteness of mainstream trans advocacy. We suggest that the recent increase in interest towards the life-sustaining labour of STAR House reflects the evolution of trans collective identity in the post-visibility era. [ABSTRACT FROM AUTHOR]

This article aims to be what Jasbir Puar referred to as 'an unfolding archive'. It makes a critical intervention at a historical crisis point as it is unfolding. It sets out to examine the logic that writes the relations between bodies, borders and kin during the political crisis that transpired at the border of Belarus and Poland in 2021. I think of this logic in terms of a 'grammar', drawing on the idea articulated by Hortense J. Spillers, where 'American grammar' fleshes out the connection between slavery, kinship, nation-building and the processes of gendering. I examine the rubrics of the hegemonic national grammatics in contemporary Poland, which establishes who counts as kin and who belongs to the nation in the context of the border crisis. I offer the concept of 'declining' kinship to seek generative (im)possibilities to articulate affinities and solidarities running against the dominant system of reproductive nationalism. [ABSTRACT FROM AUTHOR]

This article studies the cultural impacts of social movements targeting non-state institutions. Using printed primary sources, bibliography and press clippings, the case of the feminist protest within the Catholic Church in Spain after 1975 is analysed from a comparative perspective. This research shows that cultural products (books, articles and other published texts) constitute a principal cultural outcome of the aforementioned protest. Some characteristics of the targeted institution, such as the intransigency of the Church hierarchy to feminist demands, made policy consequences impossible. Yet activists managed to produce cultural outputs and disseminate them to their movement constituency thanks to allies' support; the use of the Spanish language as a vehicle for mobilisation; and the utilisation of activists' locations within the Church and in society as sites from which to spread their world-views and demands. [ABSTRACT FROM AUTHOR]

In 2020, Yiwen Wang published an article about gender-switching videos, a Chinese gender subculture in the digital media environment. Different from Wang, who identified gender-switching videos as an example of the slash (especially boys' love) subgenre, through a more comprehensive investigation of this subgenre this study found that gender-switching videos—which can be divided into two categories of complete and selective—involve homoerotic (including both boys' love and girls' love), heteroerotic and queer narratives. This article starts by demonstrating the multi-gender/sexual orientation narrative in gender-switching videos, and further analyses their social and cultural functions as a gender subculture in reconstructing gendered relationships in traditional Chinese aesthetics and narratives. The theory of feminist utopian narratives is further introduced to better understand how Chinese women intervene in the grand historical narrative as an important force to influence the development of history and story plots via fiction content creation in the digital media environment. [ABSTRACT FROM AUTHOR]

Over the last decade, growing concern over Syrian refugee women and girl's gendered displacement experiences, including gender-based violence, has led to the proliferation of women and girl safe space interventions across neighbouring countries affected by the Syrian conflict. Though diverse in their design and implementation, some of these safe spaces aim to mobilise aspirations for feminist solidarity and collective action, where women recognise their collective power and work together to transform their gendered social conditions. Drawing on feminist ethnographic research in a safe space primarily targeting Syrian refugee women in Lebanon's Beqaa valley, I explore several vignettes that complicate dominant feminist myths underlying its mandate. These vignettes reveal that the pursuit of feminist solidarity can neither rely on myths about refugee women's identities and conditions, nor be taken-for-granted as an organic outcome of group activities. I offer several reflections on what these vignettes can tell us about better working towards cultivating feminist solidarity in safe spaces for refugee women in practice, with the hope that their generative and transformative potential be realised. [ABSTRACT FROM AUTHOR]

This article thinks with oceans and swimming, in dialogue with decolonial feminist materialist approaches and other current novel methodologies which foreground embodiment and relational ontologies, in order to consider the conceptual potential of such diffractions for the project of alternative scholarly practices. We focus on swimming in the sea as one form of wild methodology and Slow scholarship that draws on hauntology to think about the possibilities of such methodologies for troubling normative academic practices directed at different ways of being and becoming. Located in the (post-)apartheid space of South African higher education, which continues to follow and reinstate colonial, patriarchal and neoliberal capitalist logics, we ask questions about the silences around material histories of subjugation and violence that are embedded in the institution and the lives of those who enter these spaces. Propositions are made about how a swimming methodology may inspire a consciousness and engagement with intersectional gender hauntings that permeate the material, curricula, relational and affective spaces of academia as part of disrupting and reimagining the university as a space of/for justice and flourishing. We explore the ways in which embodied, affective methodologies in or near the ocean/s may be deployed to subvert and reconfigure, to make and stay with trouble. We therefore propose sea swimming as a powerful way of thinking with the sea in productive and creative ways for scholarship towards a justice-to-come, to open up new imaginaries of scholarship that make a difference. [ABSTRACT FROM AUTHOR]

This article engages weaving as a model of feminist decolonial climate justice methodology in Oceania. In particular, it looks to three weaver-activists who use their practices to reclaim the matrixial power of the ocean (as maternal womb and network of relation) in the face of ongoing US occupation in the Pacific: Marshallese poet and climate activist Kathy Jetn̄il-Kijiner; Hawai'i-based settler-ally weaver and installation artist Mary Babcock; and Kānaka Maoli sculptor Kaili Chun, also based in Hawai'i. Each artist begins from a particular positionality in the ongoing open weave of the ocean and uses specific cultural ontologies of weaving and netting to address knots and gaps in climate change imaginaries. These weavers help to articulate important nuances in recent calls for working in solidarity networks at the cultural interface of climate justice activism. Their processes directly address the need for greater emotional and relational capacity across cultural and national divides, across Indigenous and non-Indigenous feminist critiques of colonial-capitalist systems and through inter-connected waters. [ABSTRACT FROM AUTHOR]

In this article, I argue for the notion of what I term 'uncanny water' as a conceptual tool for reading contemporary oceanic fictions. The uncanny's affective capacity to destabilise epistemological and ontological certainties makes it a particularly potent literary tool for challenging the nature/culture binary. I argue that fictions which actively defamiliarise the ocean can be used to redress the anthropocentric privilege found in hitherto narratives of the oceanic that were predicated upon mastery and control, and that uncanny moments of displacement and uncertainty can illuminate human/oceanic interconnections and foster a sense of responsibility and compassion towards the oceans. I identify resonances between the uncanny's continuing referentiality and the notion that feminist transcorporeality interrelates the subject into networks of materiality which extend across time and space in unknowable ways. Both transcorporeality and the uncanny work against the conceit of the individual through the dissolution of boundaries, and, crucially, both require a suspension of assumptions of the self as whole, discrete and impermeable. To demonstrate this, I read the uncanny waters of contemporary fictions from the Northern Atlantic Littoral (Atlantic Canada and the westernmost parts of the UK). The littoral position of these spaces makes them ideally placed to negotiate the borders between habitable and unhabitable spaces, and the limitations of knowledge that run alongside this. I assert that iterations of uncanny water offer a transoceanic dialogue which shifts constructions of subjectivity away from national and terrestrial boundaries to one more akin to the fluid and relational dialectics of transcorporeality. [ABSTRACT FROM AUTHOR]

This article aims to explore how the archival life of Olive Morris might radically rebuff the devaluation of Black womanhood and identity in Britain. Harnessing a Black feminist framework, I approach Lambeth Archives, where the Olive Morris Collection is found as a therapeutic space. Through an understanding of Olive as complex, I disrupt hegemonic expectations of Black women and propose that within the space of this research, Black womanhood be allowed the freedom of self-definition. In a conglomeration of the documents and voices of the community that remembers Olive, marginalised epistemologies are legitimised. Their sometimes-conflicting accounts generate an unbounded image of Olive as a figure of Black British women's history that harbours meaning as it is mobilised in social consciousness. Incorporating my own auto-ethnographic reflections, I explore the internal and external impact of Olive and my existence in this archival space. [ABSTRACT FROM AUTHOR]

In recent decades, there have been major changes in the organisation of social reproduction. As middle-class women have entered the workforce in large numbers, and state provision of childcare and other welfare services has been scaled back under neo-liberalism, there has been an unprecedented outsourcing of household labour to the market. The resulting commodification of social reproduction has not liberated women from the demands of housework but has largely shifted this work away from women in the Global North towards migrant women workers from poor and heavily indebted countries of the Global South. At the same time, there has also been a huge increase in internal migration within Global South countries, as newly wealthy middle classes in the cities are being serviced by poor rural women. Commodified domestic labour relies on the existence of gendered and racialised migrant workers. This article examines the domestic workers' strike as an effective and urgent mode of political action given the massive and growing concentration of migrant women in domestic work. This requires a reassessment of earlier feminist strategies based on a nuclear family model and current advocacy strategies that, influenced by foundations, have rejected the strike tactic in favour of limited legal strategies. This article draws on my empirical research on domestic workers' movements in the USA and India in order to highlight emerging strategies of labour movements. [ABSTRACT FROM AUTHOR]

Since the beginning of the 21st century, the discourse of othering of non-Western migrants has been growing in many European societies. And since 2015, refugees have become a quite visible component in this discourse. Although, for decades, the dominant image of refugees has been constructed as people 'at risk', new competing images of refugee men 'as risk' have recently gained ground. For refugee women, however, the image of being victims and 'at risk' still prevails. This shows a strong underlying gendered logic of feminine vulnerability and masculine threat. In this article, I show how these images are situated within the dominant Dutch discourse of migration with taken-for-granted taxonomies of the self and the other. Specific in this normalised discourse for refugee women is that their agency is either ignored or their possible position as activists is not acknowledged to exist. Using examples from two studies in which my research team engaged with the method of narrative engaged research, I show the importance of this particular narrative method in unsettling the normalising power of othering. The theoretical argument of this article engages with ongoing discussions on power and agency. It argues that, when the power of exclusion works through repetition and is manifested in the daily normalisation of actions, agency needs to provide an alternative in the same fluid manner. Narratives in dialogue provide an illuminating angle for discussing this specific kind of agency, as I will show through some examples from research. [ABSTRACT FROM AUTHOR]

The article presents the discussion on tributes published in March 2022 for commemorating the anniversary of Yula's passing. Topics include exploring the connection to the black British feminist heritage and understanding of activism; hastening the degradation and deterioration of the materials and documents; and accommodating the broad spectrum of black feminist groups.