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Epistemic exploitation occurs when privileged persons compel marginalized persons to educate them about the nature of their oppression. I argue that epistemic exploitation is marked by unrecognized, uncompensated, emotionally taxing, coerced epistemic labor. The coercive and exploitative aspects of the phenomenon are exemplified by the unpaid nature of the educational labor and its associated opportunity costs, the double bind that marginalized persons must navigate when faced with the demand to educate, and the need for additional labor created by the default skepticism of the privileged. I explore the connections between epistemic exploitation and the two varieties of epistemic injustice that Fricker (2007) identifies, testimonial and hermeneutical injustice. I situate epistemic exploitation within Dotson’s (2012; 2014) framework of epistemic oppression, and I address the role that epistemic exploitation plays in maintaining active ignorance and upholding dominant epistemic frameworks.

Miranda Fricker maintains that testimonial injustice is a matter of credibility deficit, not excess. In this article, I argue that this restricted characterízation of testimonial injustice is too narrow. I introduce a type of identity-prejudicial credibility excess that harms its targets qua knowers and transmitters of knowledge. I show how positive stereotyping and prejudicially inflated credibility assessments contribute to the continued epistemic oppression of marginalized knowers. In particular, I examine harms such as typecasting, compulsory representation, and epistemic exploitation and consider what hearers are obligated to do in response to these injustices. I argue that because epistemic harms to rnarginatized knowers also arise from prejudicially inflated assessments of their credibility, the virtue of testimonial justice must be revised to remedy them.

Over recent decades, poststructuralist theories have allowed critical disability scholars to challenge essentialist understandings of the human species and to contest discourses which divide humans into ‘normal’/‘impaired’ subjects with respect to a wide – and ever expanding – range of corporeal and cognitive traits. For critics, however, these theories are deeply flawed. By focusing primarily on language, poststructuralism shifts our critical attention away from the often harsh material realities of life for disabled people. This has led some to turn to critical realism and to effectively re-essentialise impairment. In this article, I wish to consider an alternative approach. I suggest that the recent ‘ontological turn’ in social theory has seen the emergence of new-materialist approaches – including Deleuze and Guattari’s ontology of assemblage and methodology of assemblage analysis – which allow us to consider disability as a material phenomenon without a return to essentialism.

"Electrifying, provocative, and controversial when first published thirty years ago, Donna Haraway's "Cyborg Manifesto" is even more relevant today, when the divisions that she so eloquently challenges--of human and machine but also of gender, class, race, ethnicity, sexuality, and location--are increasingly complex. The subsequent "Companion Species Manifesto," which further questions the human-nonhuman disjunction, is no less urgently needed in our time of environmental crisis and profound polarization. Manifestly Haraway brings together these momentous manifestos to expose the continuity and ramifying force of Haraway's thought, whose significance emerges with engaging immediacy in a sustained conversation between the author and her long-term friend and colleague Cary Wolfe. Reading cyborgs and companion species through and with each other, Haraway and Wolfe join in a wide-ranging exchange on the history and meaning of the manifestos in the context of biopolitics, feminism, Marxism, human-nonhuman relationships, making kin, literary tropes, material semiotics, the negative way of knowing, secular Catholicism, and more. The conversation ends by revealing the early stages of Haraway's "Chthulucene Manifesto," in tension with the teleologies of the doleful Anthropocene and the exterminationist Capitalocene. Deeply dedicated to a diverse and robust earthly flourishing, Manifestly Haraway promises to reignite needed discussion in and out of the academy about biologies, technologies, histories, and still possible futures."-- Provided by publisher.

Combient y-at-il de sexes? "Deux!", répond l'opinion. "Deux" répond la science. Heureuse concordance : c'est donc que l'opinion a raison, conclura-t-on. Mais est-on si certain que l'opinion et la science disent, sur la question du sexe, la même chose? Quand l'opinion affirme qu'il y a deux sexes, elle soutient qu'il existe, dans chaque espèce, deux types d'individus et seulement deux. Il y aurait alors le masculin et le féminin. Mais quand la science avance qu'il y a deux sexes, que vise-t-elle ? Quelle est, pour un biologiste, la signification des termes "mâle" et "femelle" ? En tentant de compter les sexes, on doit bientôt se risquer à distinguer le normal du pathologique.

Feminism is Queer is an introduction to the intimately related disciplines of gender and queer theory. While guiding the reader through complex theory, the author develops the original position of "queer feminism, " which presents queer theory as continuous with feminist theory. While there have been significant conceptual tensions between second wave feminism and traditional lesbian and gay studies, queer theory offers a paradigm for understanding gender, sex, and sexuality that avoids the conflict in order to develop solidarity among those interested in feminist theory and those interested in lesbian and gay rights. This accessible and comprehensive textbook carefully explains nuanced theoretical terminology and includes extensive suggested further reading to provide the reader with a full andthorough understanding of both disciplines.--Publisher information.

L'étude des mobilisations françaises de l'année 2014-2015 autour de la gynécologie permet d'interroger les différentes manières dont les mouvements féministes se sont saisis de la notion de consentement. Théorisé par les féministes à propos de la sexualité, le consentement est apparu comme un des principes fondateurs d'une morale sexuelle féministe. Les mouvements de 2014, portés par des militantes de la cause des femmes, (ré)introduisent cette notion dans le cabinet médical, et l'appliquent notamment à l'interaction gynécologique. Cela leur permet d'utiliser la loi française de 2002 sur les droits des patient·e·s comme un outil de politisation du cabinet gynécologique et de remise en cause des pratiques et des discours des soignant·e·s à l'égard des femmes.

This dissertation studies the cultural significance of Canadian-American singer/songwriter Rufus Wainwright's (b. 1973) album All Days Are Nights: Songs for Lulu (Decca, 2010). Lulu was written, recorded, and toured in the years surrounding the illness and eventual death of his mother, beloved Quebecoise singer/songwriter Kate McGarrigle. The album, performed as a classical song cycle, stands out amongst Wainwright's musical catalogue as a hybrid composition that mixes classical and popular musical forms and styles. More than merely a collection of songs about death, loss, and personal suffering, Lulu is a vehicle that enabled him to grieve through music. I argue that Wainwright's performativity, as well as the music itself, can be understood as queer, or as that which transgresses traditional or expected boundaries. In this sense, Wainwright's artistic identity and musical trajectory resemble a rhizome, extending in multiple directions and continually expanding to create new paths and outcomes. Instances of queerness reveal themselves in the genre hybridity of the Lulu song cycle, the emotional vulnerability of Wainwright's vocal performance, the deconstruction of gender norms in live performance, and the circulation of affect within the performance space. In this study, I examine the song cycle form, Wainwright's musical score and vocal performance, live performance videos, and fan reactions to live performances in order to identify meaningful moments where Wainwright's musical and performative decisions queer audience expectations. While these musical moments contribute to the already rich and varied lineage of the gay male artist in both classical and popular music, I argue that Wainwright's queer performativity and nontraditional musical choices speak to larger issues important to American culture in the contemporary moment. These issues include the visibility of male public mourning and the healing power of artistic expression in the face of traumatic loss.