Terrorist transgressions: network on gendered representations of the terrorist

通过包括总结会议在内的一系列研讨会，《恐怖分子的越轨行为：恐怖分子的性别表征网络》将汇集一个跨学科的学者小组，调查恐怖分子在视觉艺术、电影、摄影和媒体中的表现。它特别关注性别问题。该网络旨在增进关于性别、中介和暴力的文化表征的知识，并促进关于恐怖分子文化表征的合作和学术交流。1984年，弗雷德里克·詹姆逊写道：“恐怖分子的形象……是一个没有历史的社会想象激进的社会变革的特权形式之一，取代了罪犯、革命者甚至老兵的旧形象(“60年代的周期”)。恐怖分子被塑造成侵犯经济资源和道德、物质和政治边界的缩影。尽管恐怖主义近年来一直是激烈的学术活动的焦点，特别是在政治和国际关系领域，但对恐怖分子的文化表现却较少受到关注。然而，恐怖主义依赖于壮观的场面，这个话题容易在大众媒体上被猛烈曝光。持不同政见者组织制造恐怖分子的形象，例如烈士、英雄或复仇者。参与打击恐怖主义的机构，包括国家当局，需要将恐怖分子形象化，以确定威胁的身份。恐怖分子主要被想象为一名男性，但自19世纪末以来，女性一直活跃在恐怖组织中。特别是自1980年代以来，妇女实施了自杀式恐怖袭击，包括自杀式炸弹袭击，身体成为武器。这样的攻击混淆了女性气质和男性气质的构建，并对暴力和恐怖的性别划分产生了深远的影响。恐怖分子的形象，无论是积极的还是消极的，总是带有性别色彩的。恐怖分子越轨网络的主要目的是分析这些图像中包含的神话，并通过援引和颠倒性别陈规定型观念来确定机构如何归因于代表性。该网络将在以下主题下组织一系列四项活动：先锋、恐怖分子和性别；自杀炸弹手：作为武器的身体；恐怖主义、解放和高度男性化的奇观；暴力、恐怖和性别。其中一个讲习班将与桑德赫斯特皇家军事学院合作举办。该网络的参与者拥有包括欧洲、以色列和北非在内的不同文化的专业知识，并带来了各种观点，包括女权主义和后殖民理论以及记忆文化。网络成员从事视觉文化、艺术史、电影和文学方面的工作。该网络旨在为AHRC 2008-2011年的优先领域“全球安全威胁”贡献有关恐怖主义文化代表的研究成果，作为英国研究委员会优先主题“全球不确定性”的一部分。

Through a series of workshops including a summary conference, 'Terrorist transgressions: network on gendered representations of the terrorist' will bring together an interdisciplinary group of scholars to investigate how the terrorist has been represented in the visual arts, film, photography and the media. It is particularly concerned with the question of gender. The network aims to advance knowledge on the cultural representation of gender, agency and violence and to foster collaborations and scholarly exchanges on cultural representations of the terrorist.In 1984, Frederic Jameson wrote that 'the image of the 'terrorist'... is one of the privileged forms in which an ahistorical society imagines radical social change', displacing older images of criminals, revolutionaries and even the veteran ('Periodizing the 60s.'). The terrorist has been constructed as the epitome of transgression against economic resources and moral, physical and political boundaries. Although terrorism has been the focus of intense academic activity in recent years, especially in the fields of politics and international relations, cultural representations of the terrorist have received less attention. Yet terrorism is dependent on spectacle and the topic is subject to forceful exposure in popular media. Dissident organisations produce images of the terrorist, for example as martyr, hero or avenger. Agencies, including national authorities, involved in combating terrorism, need to visualise the terrorist in order to give identity to the threat. The terrorist is mainly imagined as a male figure but women have been active in terrorist organisations since the late 19th century. Particularly since the 1980s, women have perpetrated suicidal terrorist attacks, including suicide bombing, where the body becomes a weapon. Such attacks have confounded constructions of femininity and masculinity, with profound implications for the gendering of violence and horror. The image of the terrorist, whether positive or negative, is always a gendered one. The primary aim of the Terrorist Transgressions network is to analyse the myths inscribed in these images and identify how agency is attributed to representation through invocations and inversions of gender stereotypes. The network will organise a series of four events under the following themes: Avant-gardes, terrorists and gender; Suicide Bombers: the body as weapon; Terrorism, liberation and spectacles of hyper-masculinity; Violence, horror and gender. One workshop will be held in collaboration with the Royal Military Academy, Sandhurst. The network's participants have expertise in different cultures including Europe, Israel and North Africa, and bring various perspectives including feminist and post-colonial theory and memory cultures. Network members work on visual culture, art history, film and literature. The network aims to contribute findings about the cultural representation of terrorism to the AHRC's priority area, 2008-2011, 'Global threats to security' as part of Research Councils UK's priority theme 'Global Uncertainties'.