Embodied Politics in Visual Autobiography

Sarah Brophy is an associate professor in the Department of English and Cultural Studies at McMaster University. Janice Hladki is an associate professor of Theatre and Film Studies in the School of the Arts at McMaster University.

• 1. Introduction. Visual Autobiography in the Frame: Critical Embodiment and Cultural Pedagogy (Sarah Brophy and Janice Hladki)I: Proliferating Monstrosity2. Quickening Paternity: Cyberspace, Surveillance, and the Performance of Male Pregnancy (Sayantani DasGupta)3. “Virtual” Autobiography? Anorexia, Obsession, and Calvin Klein (Mebbie Bell)4. Big Judy: Fatness, Shame, and the Hybrid Autobiography (Allyson Mitchell)II: Rupture and Recognition: Body Re-Formations5. Sex Traitors: Autoethnography by Straight Men (Richard Fung)6. Looks Can Be Deceiving: Exploring Transsexual Body Alchemy through a Neoliberal Lens (Dan Irving)7. Visceral (Auto)biographies: Plastic Surgery and Gender in Reality TV (Simon Strick)III: Interior Lives: Conditions of Persistence and Survival8. My Life as a Museum, or, Performing Indigenous Epistemologies (Peter Morin)9. Gut Reactions: Mona Hatoum’s Corps Étranger (Kim Sawchuk)10. “Please Don’t Let Me Be Like This!”: Un-wounding Photographic Representations by Persons with Intellectual Disability (Ann Fudge Schormans and Adrienne Chambon)11. “Why should our bodies end at the skin?” Cancer Pathography, Comics, and Embodiment (Laura McGavin)IV: Spectatorship and Historical Memory: The Ethics of Critical Embodiment12. Witnessing Genocide and the Challenges of Ethical Spectatorship (Wendy Kozol)13. Digital Melancholia: Archived Bodies in Carmin Karasic’s With Liberty and Justice for All (Sheila Petty)14. Connective Tissue: Summoning the Spectator to Visual Autobiography (Sarah Brophy and Janice Hladki)ReferencesNotes on Contributors

‘This is an important book for those who wish to answer the summons of an uneasy relationship with one’s gaze and what is looked at so that we might reencounter the narratives, the biographies, that have enabled us to see what we do and perhaps come to perceive our stories differently. Such double vision is indispensable.’- Tanya Titchkosky (Imaginations Journal of Cross-Cultural Image Studies, Issue 5-2, June, 2015)