This essay meditates on the short film American Reflexxx and the violent laughter directed at a non-trans woman in public space when she was assumed to be trans. Drawing from work on the ideological and institutional dimensions of transphobia by Talia Bettcher and Viviane Namaste, alongside Sara Ahmed's writing on the cultural politics of disgust, I reverse engineer this specific instance of laughter into a meditation on the social meaning of transphobic laughter in public space. I then look at racialized (...) transphobic laughter directed against Tyra Hunter and Miriam Rivera to emphasize transmisogynist laughter as a denial of contact, intimacy, and care. Building on Kate Manne's work on misogyny, I conclude that a key aspect of transmisogyny is the use of transfeminine people as a source of dehumanized, disavowed, and disposable care and intimacy. Laughter and accompanying violence against trans women serves to reinforce this dynamic. (shrink)

Cis moves to innocence are rhetorical moves by which cisgender feminists falsely position their failure to engage with structures of transmisogyny as epistemically and morally virtuous. The notion derives from Tuck and Yang’s (2012) concept of settler moves to innocence and Mawhinney’s (1998) concept of white moves to innocence. This piece considers the case study of Manne’s (2017) work, in which she purports to offer a unified account of misogyny while explicitly refusing to consider transmisogyny. The justification she provides is (...) that she lacks the “requisite authority to do so.” I identify three functions of Manne’s cis move to innocence: i) to allow her to appear to be in solidarity with trans women and transfeminine people without taking on any of the obligations that requires, ii) to structurally reproduce the epistemic exploitation of trans women and transfeminine people, and iii) to reduce the obligations of allies to affect rather than action. (shrink)

This article introduces the problem of inexistence to studies in genre and gender, providing a hermeneutic point of reference for literary history and trans theory. It seeks to negotiate the affinities and disaffinities between queer and trans by foregrounding the latter’s struggle for existence against the former’s mobilization of a rhetoric of negative relationality, while at the same time preserving the bonds of intimacy across and beyond the coalition of LGBTQIA+. Such queer intimacy is read in relation to a haptic (...) technology of queer close reading, enabling differentially sexed bodies to imaginatively inhabit each other. I begin by considering how Djuna Barnes’s close, haptic readings of Henry James and Marcel Proust enact a reversal of sex, but I consider how the affective evidence of these trans moments do not amount to trans existence but raise the ethical necessity of holding open the difference between the ephemeral trans experiences within cis existence and the real struggle for trans existence of trans subjects today. Such a divide, however, is simultaneously held against the moments of intimacy that are capable of being produced across cis and trans subjects through such close reading and cross-inhabitation of bodies. To read trans literary history before trans, I thus propose the notion of trans inexistence through an interpretation of Jacques Maritain’s figure of the “angel” and Hegel’s “beautiful soul.” By situating Barnes’s and Jean Genet’s own characterizations of their transfeminine characters in terms of the angel in a post-Romantic, Catholic context, I interpret the trans angel as a figure of inexistence, tied to a minimal transcendence from the terms of history and materiality, including the sexed body. Finally, I consider how Genet’s phenomenology of proprioception draws together the problems of queer intimacy, haptic reading, and trans inexistence. In analyzing how Genet and his characters cross-inhabit each other’s bodies via proprioceptive mimicry, I unfold both the vast potential and the limits of the intimacies constructed across cis male and transfeminine lives and the accompanying role played by the literary mode of romance. (shrink)

Les dénudations dans les images médiévales sont souvent associées au régime de la preuve dans un cadre juridique. Les Cent nouvelles nouvelles, recueil rédigé en Bourgogne dans les années 1450, présente un cas singulier de dénudation (nouvelle 45) dont il existe une image dans un manuscrit conservé à Glasgow. Une lavandière transgenre, Mme Marguerite, est accusée de relations sexuelles avec une jeune fille et exposée semi-dénudée sur la place du marché de Rome pour dévoiler son pénis. L’article compare ce cas (...) à d’autres occurrences de procès de personnes transgenres ayant trait à des questions de sexualité. Il compare également ce cas à un fabliau et à une nouvelle de Boccace dans lesquels se posent des questions de transition de genre et de sexualité illégitime. Le cas de Mme Marguerite apparaît comme l’un des jalons d’une histoire longue de la dénudation forcée des personnes transgenres. (shrink)