Feminist Inquiry, Transnational Feminism, and Global Fashion

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Feminist Inquiry, Transnational Feminism, and Global Fashion Objects of Desire: Feminist Inquiry, Transnational Feminism, and Global Fashion Item Type text; Electronic Dissertation Authors Verklan, Elizabeth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 11:14:21 Link to Item http://hdl.handle.net/10150/624282 OBJECTS OF DESIRE: FEMINIST INQUIRY, TRANSNATIONAL FEMINISM, & GLOBAL FASHION by Elizabeth Verklan ________________________________ Copyright © Elizabeth Verklan 2017 A Dissertation Submitted to the Faculty of the DEPARTMENT OF GENDER & WOMEN’S STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Elizabeth Verklan, titled Objects of Desire: Feminist Inquiry, Transnational Feminism and Global Fashion, and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________Date: 28 November 2016 Eithne Luibhéid ________________________________________________Date: 28 November 2016 Mimi Thi Nguyen ________________________________________________Date: 28 November 2016 Miranda Joseph Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________Date: 28 November 2016 Dissertation Director: Sandra Soto 2 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department of the Dean of the Graduate College when in his or her judgement the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Elizabeth Verklan 3 TABLE OF CONTENTS I. ABSTRACT…………………………………………………………………………5 II. CHAPTER ONE: Introduction……...……………………………………………6-49 a. One Child, Global Accountability…………………………….............................6 b. Introduction………………………………………………………………………8 c. Transnational Feminist Criticism………………………………………………..11 d. Transnational Feminist Cultural Studies in the U.S……………………………..19 e. Review of Literature……………………………………………………………..23 f. The 1980s: Patriarchy On a Grand Scale………………………………………..30 g. The 1990s: Anti-Sweatshop Activism in the U.S……………………………….38 h. The 2000s-Present: Anti-Sweatshop Consumerism……………………………..44 i. Outline of Dissertation Chapters…………………………………………………47 III. CHAPTER TWO: The Politics of Feminism in the Shadow of the Sweatshop…….............................................................................50-104 a. This is What a Feminist Looks Like……………………………………………..50 b. Introduction………………………………………………………………………52 c. A Foreign Method of Working…………………………………………………..58 d. Post-Fordism and the Return of the Sweatshop………………………………….67 e. This is What a Feminist Looks Like, Part II……………………………………..93 f. Conclusion……………………………………………………………………...101 IV. CHAPTER THREE: The Personal is Purchasable…………………………….104-161 a. Introduction……………………………………………………………………..104 b. U.S. Anti-Sweatshop Activism and Buying Better……………………………..117 c. Liberalism, Consumption, and Choice………………………………………….129 d. Real American People…………………………………………………………..135 e. Anti-Sweatshop Practices and Retail Gentrification……………………………153 f. Conclusion……………………………………………………………………...159 V. CHAPTER FOUR: Fashion Interns, Immaterial Labor & Doing What You Love……………………………………………………...162-195 a. Introduction…………………………………………………………………….162 b. Immaterial Labor and Doing What You Love…………………………………168 c. Nice Work If You Can Get It…………………………………………………..176 d. Wages for Work Done by Women……………………………………………..184 e. The Social Factory and the Democratization of Feminine Labor………………190 f. Conclusion……………………………………………………………………...193 VI. CONCLUSION………………………………………………………………..196-203 VII. BIBLIOGRAPHY……………………………………………………………..204-230 4 ABSTRACT This dissertation examines the conventions used to frame and represent sweatshops in and to the U.S. Employing qualitative research methods this dissertation examines U.S. anti- sweatshop discourse, analyzing how the sweatshop and the sweatshop worker are made into exceptional objects of inquiry, and considers what kinds of truths and subjects are garnered from them. This dissertation argues that U.S. anti-sweatshop discourse frames sweatshops as an inherently foreign problem, and that this framing contributes to U.S. exceptionalism and savior ideology. This framing positions U.S. subjects as the primary agents of change whose relation to sweatshops is crucial to their eradication, and renders causal blame upon the racialized poor within the U.S. I argue that this framing undergirds the proliferation of new ethical markets that reproduce dislocation, dispossession, and displacement within U.S. borders via retail gentrification. Ultimately, this dissertation asks what truths are made possible through a mobilizing discourse whose foundational premise is contingent on the imagery of the sweatshop and the sweatshop worker. 5 Chapter One: Introduction “Reciprocally, a sense of the foreign is necessary to erect the boundaries that enclose the nation as home.” –Amy Kaplan 1 One Child, Global Accountability A young, South Asian woman sits outdoors, wearing brightly colored clothing. The young woman’s gaze does not meet the camera. The young woman is not smiling, and her body language, knees drawn into her chest, hands hidden behind them, lend a feeling of mistrust, apprehension, and solitude. In The Huffington Post article “One Child, Global Accountability,” authors Laura Gutierrez and Laura Wagner present the story of Sumaya, a fifteen-year old girl and former employee at the Tazreen Fashions factory, the factory that caught fire November 24 th , 2012 in Dhaka, Bangladesh. As Gutierrez and Wagner explain, after undergoing surgery for trauma to her face, Sumaya’s right eye “began to bulge and lose vision,” and after a biopsy in July of 2013, it was confirmed that Sumaya has a rare and difficult to treat cancer. As the authors state, Sumaya began “slipping into depression…stopped eating and asked to go home to die” (Gutierrez and Wagner “One Child”). The authors identify Walmart as one of Sumaya’s employers, and inform the readers that while many global retailers have committed to compensating the victims of the Tazreen fire, Walmart remains the sole exception to this agreement. The frames used to introduce and convey Sumaya’s story conform to a convention that is prevalent in accounts of the global assembly line, but specifically when discussing the fashion industry. The authors use the past tense, and they do not provide the reader with an update of 1 A. Kaplan, “Manifest Domesticity” 582. 6 Sumaya’s condition. The use of the past tense imparts an impending sense of death and doom, and frames Sumaya as already in the past. Bangladesh in this article is not a place with its own history, people, and traditions, but rather a culture of death, poverty, and ongoing grief; as the authors state, the site of the factory is now “a haunted village,” as many of the victims are still missing, unidentifiable after the fire (Gutierrez and Wagner “One Child”). In a section entitled “Who is responsible for Sumaya?” the authors state that the retailers that “we North Americans support every day are under no obligation to help her” (Gutierrez and Wagner “One Child”), effectively hailing the reader through the use of the pronoun “we,” and implying that Sumaya’s condition is the responsibility of U.S. consumers. In the lower right hand corner of the image of Sumaya, one of the author’s names is visible: “Laura Gutierrez.” Gutierrez is identified under her photo and name as an anthropologist, and it is probable that Gutierrez took Sumaya’s picture while working in Bangladesh. Gutierrez’s writing partner, Wagner, is identified under her photo and name only as a “Fulbright Researcher,” a designation for persons participating in the U.S. Bureau of Educational and Cultural Affairs student exchange program. In these professional designations both women are granted a level of authority over the topic at hand: they are highly educated, embedded experts. They are presumed qualified to communicate the suffering of others in places that are not their nations of origin because they possess the training to do so. Gutierrez and Wagner are likely conducting research in Bangladesh, and relaying stories like Sumaya’s is a part of this research. Gutierrez and Wagner’s decision to tell Sumaya’s story, framed within a moral provocation (i.e.,
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