Intermediality and the Racial Other in Women's Contemporary Accounts of War

近年来，#MeToo运动激发了关于性别骚扰和暴力的新对话。“Me Too”一词由非裔美国女权主义者Tarana Burke创造，最初用于强调有色人种女性的经历。然而，由此产生的病毒式运动因排除了不同的观点而受到批评。本项目研究了白色声音和非白色经验之间的不平等动态，涉及性别暴力的一个关键背景：冲突地区。由于战争被认为是男性气质的副产品，妇女的战争经历在男性主义档案中被搁置一边。我的论文纠正了战争的传统帐户的hypermasculinisation，开发一个由妇女的冲突故事的替代档案，从而服务于妇女的战争叙事性别和种族之间的关系的开创性的交叉和后殖民分析。我关注二十一世纪尚未得到持续（或任何）学术分析的各种文本，这些文本跨越非洲、亚洲和欧洲的冲突地区，我关注对白色女性和有色人种女性经历的不对称表现，因为它们在跨种族和跨文化的遭遇中表现出来。我特别研究的是融合文学、摄影、插图和电影的中间文本：亚历山德拉·富勒回忆录中散文和摄影的结合（Don 't Let's Go to the Dogs Tonight：An African Childhood [2002] and Scribbling the Cat：Travels with an African Soldier [2004]）;在诺拉·克鲁格（Nora Krug）的图画回忆录《海马特》（Heimat）中，文字、插图和摄影的融合：《德国家庭相册》（2018年）; Kirsten约翰逊的纪录片《摄影师》（2017年）和Waad al-Kateab和Edward Watts的纪录片《For Sama》（2019年）中的镜头和视听材料的集合;以及Clemantine Wamariya和Elizabeth Weil的回忆录《微笑的女孩》中摄影和电影的文字表述：一个战争的故事和之后发生的事（2018）这些不同的中介形式都专注于女性自我与种族他者的关系，连接到中介性必不可少的中间性。因此，中间性和类属性振荡是人际振荡的潜在因素，中间性是这些（自动）传记叙事的核心，它们在个体自身冲突经历和以种族术语定义的女性他者的冲突经历之间切换。通过对女性战争叙事中的中间性形式的关注，我揭示了中间性的二分法：作为一种呈现多种视角的工具;作为一种文本分析模式，支持被排除的经验的恢复。这种重新概念化借鉴了文学，电影和视觉文化分析的方法论，以及性别研究，批判种族理论和后殖民理论。在阐述该项目对女性之间跨文化接触点的强调时，我还将对主要文本的作者和导演进行采访，因此要求自我反思地参与关系称呼模式的伦理，同时至关重要地告知论文的政治利害关系。女性对战争的叙述中的性别和性别为重新考虑种族间的关系、合作和凝视提供了机会。这个项目恢复了妇女缺席的声音，将她们排除在档案之外，但至关重要的是，它适用于战争之外。回到我们的当代，后#MeToo背景下，我的论文阐明-并支持重新平衡-白色女性和有色人种女性的声音和经验的不对称。最重要的是，它会使我们对种族间和文化间相遇的道德和政治的理解复杂化，并加强这种理解，特别是在性别方面。

In recent years, the #MeToo movement has inspired a renewed conversation about gendered harassment and violence. Coined by Tarana Burke, an African American feminist activist, the phrase 'Me Too' was originally used to highlight the experiences of women of colour. The resulting viral movement, however, has been criticised for excluding diverse perspectives. This project examines this unequal dynamic between white voices and non-white experiences in relation to a key context for gendered violence: conflict zones. With war considered a by-product of masculinity, women's war experiences are side-lined within the masculinist archive. My thesis redresses the hypermasculinisation of traditional accounts of war, developing an alternative archive of conflict stories by women, thus serving a path-breaking intersectional and postcolonial analysis of the relationship between gender and race in women's war narratives. Focusing on diverse texts from the twenty-first century which have not yet received sustained (or any) scholarly analysis, and which span conflict zones in Africa, Asia, and Europe, I attend to the asymmetrical representation of the experiences of white women and women of colour, as they are manifest in cross-racial and cross-cultural encounters. I study, in particular, intermedial texts integrating literature, photography, illustration, and film: the combination of prose and photography in memoirs by Alexandra Fuller (Don't Let's Go to the Dogs Tonight: An African Childhood [2002] and Scribbling the Cat: Travels with an African Soldier [2004]); the fusing of word, illustration, and photography in Nora Krug's graphic memoir Heimat: A German Family Album (2018); the assemblage of footage and audio-visual materials in the documentary films Cameraperson (2017), by Kirsten Johnson, and For Sama (2019), by Waad al-Kateab and Edward Watts; and the textual representation of photography and film in Clemantine Wamariya and Elizabeth Weil's memoir, The Girl Who Smiled Beads: A Story of War and what Comes After (2018). These diverse intermedial forms share a preoccupation with the representation of the female self in relation to the racial other, connecting to the in-betweenness essential to intermediality. Medial and generic oscillations thus subtend interpersonal ones; in-betweenness is central to these (auto)biographical narratives, which toggle between the representation of an individual's own conflict experiences and those of a female other defined in racial terms.By paying overdue attention to the intermedial form in women's war narratives, I reveal the dichotomous potentialities of intermediality: as a tool for representing multiple perspectives; and as a mode of textual analysis that supports the recovery of excluded experiences. This reconceptualisation draws on the methodologies of literary, film, and visual culture analysis alongside those of gender studies, critical race theory, and postcolonial theory. Elaborating on the project's emphasis on points of intercultural contact between women, I will also conduct interviews with the authors and directors of the primary texts, so demanding a self-reflexive engagement with the ethics of relational modes of address, whilst crucially informing the political stakes of the dissertation.The feminist re-evaluation of intermediality, race, and gender within women's accounts of war offers the opportunity to reconsider interracial relations, collaboration, and gaze. This project restores women's absent voices to an archive that excludes them, but which crucially, is applicable beyond the limits of war. Returning to our contemporary, post-#MeToo context, my thesis elucidates-and supports the rebalancing of-the asymmetry of the voices and experiences of white women and women of colour. Most importantly, it stands to complicate and enhance our understanding of the ethics and politics of interracial and intercultural encounter, especially in relation to gender.