而此刻我在曼哈頓中城學校附近唯一非企業連鎖能夠讓我感到稍許放鬆擁有良好髮型barista的espresso bar，讀著2005年Social Text期刊中的酷兒文獻備課，思考著我該如何在大學部的演講上從上週Foucault的後結構主義邁向從來無法準確定義的酷兒理論領域。才剛從酷兒理論學者Lisa Duggan關於新自由主義、同志常規（homonormative）慾望、帝國主義幻想的演講中離開，比對於整個昨晚新生酒會的氣勢低靡，覺得整個人除了仍是過於痠痛的肩頸外又終於重新活了過來。我對於具有物質和感情分析的酷兒理論是如此無法抗拒，彷彿是那完全替代了我曾經對於ecstasy的想望。想著如果我勢必被某種論文的枷鎖繼續糾纏個三年，那還不如做一些讓我快樂的事情。就當作是在這整個太過功力算計的學術圈中一點自私的反抗和歡愉。讓我至少在這尚未有被朝九晚五工作行程中的幾年，尚且自由地思想並飛行。沒有多久在咖啡廳中就遇到了將要defend她論文的J，簡單回味了一下上個冬天去以色列-巴勒斯坦那段太過突兀的旅程，想著時間飛速地過去。今天晚上就是2012美國總統大選的競選人辯論了。即使身邊左派的友人再也沒有人對歐巴馬有什麼不切實際的幻想，民主黨2008那年行銷過於厲害的"HOPE"海報仍深深烙在我的印象之中，不時讓我起了某種集體公眾情感的雞皮疙瘩。我對於選舉政治幾乎完全地冷感，但為了美國右派越來越加離譜的性別／身體政策感到焦慮而心底多少希望歐巴馬連任。這個世界的戰爭和一切悲劇卻只是變本加厲地進行著，身邊的朋友一個個因為經濟的負擔而不得已增加了學貸的額度，或者多了另一份工作而只剩下每天不到五小時的睡眠。在這樣的年代我們還能信仰什麼，我常常這麼問自己。那些千篇一律的遊行，Trotskyist社會主義組織令人反感的空洞政治口號，或者只為了增進自己學位而還無其他理想可言的假惺惺研究生"行動主義者"，都讓我感到重度地憂鬱。想要連環性地抽煙。也許前禮拜芝加哥教師的集體大罷工讓我多了那麼些希望，或者不過就是這些時間隙縫中趁著酒精和香煙的集體發洩，那每個禮拜的女性馬克思討論會，讓我們不再感到孤獨。在這一切沒有系統分析下的政治鬧事之外，其實我最慶幸我還有妳。並如此信仰著愛。唯有在愛中我還能在這被急速企業化私有化的世界中，擁有那麼一絲自由的想望。
Showing posts with label Israel. Show all posts
Showing posts with label Israel. Show all posts
Wednesday, October 3, 2012
在這低靡悲劇性的政治環境之中至少妳還信仰愛情。
沒有辦法寫出什麼感性的字句我想我是被教書和論文的壓力給逼得太過緊繃。無論和朋友談論什麼都將回溯到我們越來越糟的教學環境和博士學位投資報酬率不等的荒謬性。系上昨晚才剛歡迎了一群一年級的新生，看著一個個充滿熱忱的新面孔積極地想要討教授歡喜，我和幾個較為憤世忌俗的學姊們在場外喝著紅酒，氣勢低靡地談論著系上教授間醜陋的八卦，誰和哪個學生上床，誰又聯合抵制了哪個有色人種的學生，誰用了指導學生的文章卻不讓對方掛名。其實關於學術領域的單純性或清高根本就是種自我安慰的鬼話，無論打著如左派如何進步的招牌，學術圈不過就像是任何為了營業率不擇手段的職場，而我們大多都是從來無法爬到較為舒服或穩定位置的廉價勞工。唯一個不同的是我們其中有著更大比例帶著天真幻覺的人們以為他們可以徒手改變世界。對於這部分，我是個傾向悲觀的實際主義者，毫不掩飾我對學術的懷疑。
而此刻我在曼哈頓中城學校附近唯一非企業連鎖能夠讓我感到稍許放鬆擁有良好髮型barista的espresso bar，讀著2005年Social Text期刊中的酷兒文獻備課，思考著我該如何在大學部的演講上從上週Foucault的後結構主義邁向從來無法準確定義的酷兒理論領域。才剛從酷兒理論學者Lisa Duggan關於新自由主義、同志常規（homonormative）慾望、帝國主義幻想的演講中離開，比對於整個昨晚新生酒會的氣勢低靡，覺得整個人除了仍是過於痠痛的肩頸外又終於重新活了過來。我對於具有物質和感情分析的酷兒理論是如此無法抗拒，彷彿是那完全替代了我曾經對於ecstasy的想望。想著如果我勢必被某種論文的枷鎖繼續糾纏個三年，那還不如做一些讓我快樂的事情。就當作是在這整個太過功力算計的學術圈中一點自私的反抗和歡愉。讓我至少在這尚未有被朝九晚五工作行程中的幾年，尚且自由地思想並飛行。沒有多久在咖啡廳中就遇到了將要defend她論文的J，簡單回味了一下上個冬天去以色列-巴勒斯坦那段太過突兀的旅程，想著時間飛速地過去。今天晚上就是2012美國總統大選的競選人辯論了。即使身邊左派的友人再也沒有人對歐巴馬有什麼不切實際的幻想，民主黨2008那年行銷過於厲害的"HOPE"海報仍深深烙在我的印象之中，不時讓我起了某種集體公眾情感的雞皮疙瘩。我對於選舉政治幾乎完全地冷感，但為了美國右派越來越加離譜的性別／身體政策感到焦慮而心底多少希望歐巴馬連任。這個世界的戰爭和一切悲劇卻只是變本加厲地進行著，身邊的朋友一個個因為經濟的負擔而不得已增加了學貸的額度，或者多了另一份工作而只剩下每天不到五小時的睡眠。在這樣的年代我們還能信仰什麼，我常常這麼問自己。那些千篇一律的遊行，Trotskyist社會主義組織令人反感的空洞政治口號，或者只為了增進自己學位而還無其他理想可言的假惺惺研究生"行動主義者"，都讓我感到重度地憂鬱。想要連環性地抽煙。也許前禮拜芝加哥教師的集體大罷工讓我多了那麼些希望，或者不過就是這些時間隙縫中趁著酒精和香煙的集體發洩，那每個禮拜的女性馬克思討論會，讓我們不再感到孤獨。在這一切沒有系統分析下的政治鬧事之外，其實我最慶幸我還有妳。並如此信仰著愛。唯有在愛中我還能在這被急速企業化私有化的世界中，擁有那麼一絲自由的想望。
而此刻我在曼哈頓中城學校附近唯一非企業連鎖能夠讓我感到稍許放鬆擁有良好髮型barista的espresso bar，讀著2005年Social Text期刊中的酷兒文獻備課，思考著我該如何在大學部的演講上從上週Foucault的後結構主義邁向從來無法準確定義的酷兒理論領域。才剛從酷兒理論學者Lisa Duggan關於新自由主義、同志常規（homonormative）慾望、帝國主義幻想的演講中離開，比對於整個昨晚新生酒會的氣勢低靡，覺得整個人除了仍是過於痠痛的肩頸外又終於重新活了過來。我對於具有物質和感情分析的酷兒理論是如此無法抗拒，彷彿是那完全替代了我曾經對於ecstasy的想望。想著如果我勢必被某種論文的枷鎖繼續糾纏個三年，那還不如做一些讓我快樂的事情。就當作是在這整個太過功力算計的學術圈中一點自私的反抗和歡愉。讓我至少在這尚未有被朝九晚五工作行程中的幾年，尚且自由地思想並飛行。沒有多久在咖啡廳中就遇到了將要defend她論文的J，簡單回味了一下上個冬天去以色列-巴勒斯坦那段太過突兀的旅程，想著時間飛速地過去。今天晚上就是2012美國總統大選的競選人辯論了。即使身邊左派的友人再也沒有人對歐巴馬有什麼不切實際的幻想，民主黨2008那年行銷過於厲害的"HOPE"海報仍深深烙在我的印象之中，不時讓我起了某種集體公眾情感的雞皮疙瘩。我對於選舉政治幾乎完全地冷感，但為了美國右派越來越加離譜的性別／身體政策感到焦慮而心底多少希望歐巴馬連任。這個世界的戰爭和一切悲劇卻只是變本加厲地進行著，身邊的朋友一個個因為經濟的負擔而不得已增加了學貸的額度，或者多了另一份工作而只剩下每天不到五小時的睡眠。在這樣的年代我們還能信仰什麼，我常常這麼問自己。那些千篇一律的遊行，Trotskyist社會主義組織令人反感的空洞政治口號，或者只為了增進自己學位而還無其他理想可言的假惺惺研究生"行動主義者"，都讓我感到重度地憂鬱。想要連環性地抽煙。也許前禮拜芝加哥教師的集體大罷工讓我多了那麼些希望，或者不過就是這些時間隙縫中趁著酒精和香煙的集體發洩，那每個禮拜的女性馬克思討論會，讓我們不再感到孤獨。在這一切沒有系統分析下的政治鬧事之外，其實我最慶幸我還有妳。並如此信仰著愛。唯有在愛中我還能在這被急速企業化私有化的世界中，擁有那麼一絲自由的想望。
Friday, February 3, 2012
將計就計。
海灘的沙粒柔軟溫暖--石頭建造的牆上都是充滿曖昧同性情慾的壁畫。機場的計程車司機一路開著車一路不經意地說「Israel is the best city for the gays！」我們不知道是不是聽錯，best city for what？他完全沒有猶豫相當自然地說：THE GAYS！我和我身旁相當於一百八十公分高留著低調龐克頭髮的白人butch對看一眼，這不是pink washing（以色列以"開放"同志政策希望觀光和資金的政策）還能是什麼？
espresso、海灘、海灘、espresso，然後和E的十七個家人吃shabbat晚餐，喝不完的紅酒，超過二十四沒睡的我吃著猶太麵包和雞湯然後隔壁義大利鄰居的手做冰淇淋然後紅酒、espresso、espresso，陷入完全語無倫次的狀態。我們和E的弟弟討論巴勒斯坦和語言的政治性，和E的作家表哥在陽台捲煙，然後更多的紅酒。R和我精神混亂的坐在沙發上想，這次的旅行對於我們的系上帶有某些特殊的政治意義--我想我們都被寵壞了並且玩弄了。何不將計就計。
Sunday, June 14, 2009
City of Borders: 酷兒猶太復國主義下的媒體產品
The documentary City of Borders centers on a gay bar Shushan in Jerusalem, a place that brings together Palestinians, Jewish Israelis, Arabic Israelis, Jewish Arabs, religious or atheist, queer, straight and drag queens. The bar serves as a place that embraces all conflicts of sexualities, religions, nationalities, geography, and occupation through queer desires and the common human need for belonging. The film itself, however, is not as optimistic as it wants to be. Sa'ar Netanel, a secular Israeli who owns the bar and serves as the first openly gay member of the city council in Jerusalem, has to constantly deals with not only the homophobic threats while he is putting on Jerusalem's Gay Pride Parade in 2005 but also homophobic hostilities from mostly orthodox Israeli politicians. The film presents the tension between the two cities- Tel Aviv and Jerusalem. While Tel Aviv portrays itself as the liberal, Capitalist Disneyland for gays, Jerusalem is seen as a sacred land that needs to preserve its tradition and conservatism- which is translated by some orthodoxes as gay bashing.
In this conservative climate of Jerusalem, the film goes in depth to examine an interracial realtionship between a Palestinian-Israeli woman, Samira Saraya , and a Jewish-Israeli woman, Ravit Geva. Saraya, an anti-Zionist activist, speaks for the brutal occupation in Gaza as well as the racism against Palestinians within the supposedly safe, liberal state of Israel that's all about cultural diversity. Geva, even though supportive of her partner Saraya's activism and politics, fails to recognize her privileges as a white Jewish Israeli at times. While Saraya talks about how Palestinians are treated as second-class citizens and have no voice in the society, Geva interrupts and says, "Yes they can speak. There's freedom of speech in Israel!" Saraya quickly responds, "freedom of speech for whom?"
In another tract of the storyline, the film follows the life of Boody, gay and devout Muslim, risks his life by sneaking through the wire from the West Bank to Shushan to perform as a drag queen and, like what he says, "we are just going there to have fun. We are not going there to throw bombs." The film reveals his relationship with his mom, who is aware of his son's sexuality and not accepted, but is supportive to her son in her own way. The portrayal of Boody critics the dominant Western discourse of outness, in which the conflicts of religion and family are often impossible to co-exist with outness. Boody ends up in a small town in Connecticut, where he finds his partner and sees the limitations of queer immigrant rights in the US.
The film also follows the story of a Jewish-Arabic Israeli, Adam Russo, who is stabbed by an Orthodox Jew in Jerusalem's Gay Pride Parade. A former Israeli soldier and has clear Zionist ideology, Russo is not defeated by the gay-bashing incident and still carries his Israeli flag in Pride. At the end of the film, he is preparing his marriage with another Israeli man and moving into house he just brought in the Israeli settlement in West Bank.
The director of the film, Yun Suh, a first-generation Korean American from California, talked about how her inspiration for making this documentary about the Palestinian-Israeli gay communities was her experience of being an outsider, as an immigrant and a woman of color in the US. Having the privilege to be a documentary maker in the central of the conflict during the war as well as interview these people who might have risked their lives to be on the big screen, Suh fails to use the documentary as a crucial tool to really critic how liberal Zionism portrays Israel as a safe haven for queers but in fact only further justifies Israel as an apartheid state and its continuing siege in Gaza. While the film shows the possibility of love, empathy, and forgiveness can exist among Israelis, Palestinians, queer and straight folks, it fails to take a clear anti-Zionist, anti-Imperialist stance in the midst of some very extreme forms of violence against Palestinians, against people of color, and against queers. After all, queer liberation is not a dance party in the gay bar in Tel Aviv, but a space of justice where every kind of otherness can belong to that we will and must fight for all.
In this conservative climate of Jerusalem, the film goes in depth to examine an interracial realtionship between a Palestinian-Israeli woman, Samira Saraya , and a Jewish-Israeli woman, Ravit Geva. Saraya, an anti-Zionist activist, speaks for the brutal occupation in Gaza as well as the racism against Palestinians within the supposedly safe, liberal state of Israel that's all about cultural diversity. Geva, even though supportive of her partner Saraya's activism and politics, fails to recognize her privileges as a white Jewish Israeli at times. While Saraya talks about how Palestinians are treated as second-class citizens and have no voice in the society, Geva interrupts and says, "Yes they can speak. There's freedom of speech in Israel!" Saraya quickly responds, "freedom of speech for whom?"
In another tract of the storyline, the film follows the life of Boody, gay and devout Muslim, risks his life by sneaking through the wire from the West Bank to Shushan to perform as a drag queen and, like what he says, "we are just going there to have fun. We are not going there to throw bombs." The film reveals his relationship with his mom, who is aware of his son's sexuality and not accepted, but is supportive to her son in her own way. The portrayal of Boody critics the dominant Western discourse of outness, in which the conflicts of religion and family are often impossible to co-exist with outness. Boody ends up in a small town in Connecticut, where he finds his partner and sees the limitations of queer immigrant rights in the US.
The film also follows the story of a Jewish-Arabic Israeli, Adam Russo, who is stabbed by an Orthodox Jew in Jerusalem's Gay Pride Parade. A former Israeli soldier and has clear Zionist ideology, Russo is not defeated by the gay-bashing incident and still carries his Israeli flag in Pride. At the end of the film, he is preparing his marriage with another Israeli man and moving into house he just brought in the Israeli settlement in West Bank.
The director of the film, Yun Suh, a first-generation Korean American from California, talked about how her inspiration for making this documentary about the Palestinian-Israeli gay communities was her experience of being an outsider, as an immigrant and a woman of color in the US. Having the privilege to be a documentary maker in the central of the conflict during the war as well as interview these people who might have risked their lives to be on the big screen, Suh fails to use the documentary as a crucial tool to really critic how liberal Zionism portrays Israel as a safe haven for queers but in fact only further justifies Israel as an apartheid state and its continuing siege in Gaza. While the film shows the possibility of love, empathy, and forgiveness can exist among Israelis, Palestinians, queer and straight folks, it fails to take a clear anti-Zionist, anti-Imperialist stance in the midst of some very extreme forms of violence against Palestinians, against people of color, and against queers. After all, queer liberation is not a dance party in the gay bar in Tel Aviv, but a space of justice where every kind of otherness can belong to that we will and must fight for all.
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