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Marie-Hélène Bourcier Marie-Hélène Bourcier QUEER ZONES 3 IDENTITÉS, CULTURES ET POLITIQUES Éditions Amsterdam QZ3.indb 5 28/07/2011 11:56:18 De Marie-Hélène Bourcier, chez le même éditeur Queer Zones 1, Politique des identités sexuelles et des savoirs Éditions Amsterdam remercie Oury Goldman pour l’aide qu’il a ap- portée à la réalisation de cet ouvrage. © Paris 2011, Éditions Amsterdam Tous droits réservés. Reproduction interdite. Éditions Amsterdam 31 rue Paul Fort, 75014 Paris www.editionsamsterdam.fr Abonnement à la lettre d’information électronique d’Éditions Amsterdam : [email protected] Diffusion et distribution : Les Belles Lettres isbn : 978-2-35480-097-0 QZ3.indb 6 28/07/2011 11:56:18 Mille merci à la team : Clémence, Jo et Oury. Gracias a Dulce López Vega, por la oficina en vuelo y Adiós Hegel ; al magnífico bebé Tomboy ; a Marco el tortillero y a la aficionada de Dolores, Jean Marie. Pour toutes les étudiantes et les étudiants (je ne parle pas pour les lèche-cul et les petits fonctionnaires de la pensée), ceux qui le deviennent ou le redeviendront en passant par l’université française et qui veulent travailler dans une perspective cultural studies, queer, trans, plus maligne que post-col : ne lâchez pas ! Vous y avez droit mais il vous faudra peut-être partir là où cela ne vous sera pas refusé. QZ3.indb 7 28/07/2011 11:56:18 QZ3.indb 8 28/07/2011 11:56:18 Sommaire Modernisme et féminismes 13 Protoféminisme, modernisme et racisme : Breillat fait son cinéma 15 L’opium des connes : féminismes français et matérialisme culturel 65 Ready for the cultural turn ? 87 Études culturelles et politique de l’identité nationale 89 Entretien # 1 : Les cutural studies ne passeront pas par la France 107 Entretien # 2 : Comment la Gauche française a raté son point G 129 Yes we queer ! 177 Red Light district et porno durable. Un autre porno est possible ! 179 Les nouvelles technologies des transmasculinités 201 Entretien # 3 : Le trouble avec « le genre »... qui loupe les corps 227 Genres classes races et… BDSM 241 L’ homosexus normaticus entre mariage unidimensionnel et droits sexuels 295 Théorie queer de la première vague et politiques du disempowerment : 307 la seconde Butler Bibliographie 347 9 QZ3.indb 9 28/07/2011 11:56:18 QZ3.indb 10 28/07/2011 11:56:18 Play List Comme les Queer Zones précédents, Queer Zones 3 n’est pas un livre organique. Ses chapitres sont indépendants les uns des autres et peuvent donc être lus séparément et dans le désordre. On y retrouvera des thématiques « fil rouge » : le post-porn, le SM, l’épistémopolitique, la théorie, les politiques et les subcultures queer. Et beaucoup de notes : le « rez-de chaussée » en est plein, comme dès Queer Zones 1. Tant que les politiques de traduction en sciences humaines et plus particulièrement dans certains domaines resteront ce qu’elles sont en France, elles garderont cette forme proliférante. Ni caution scientifique ou principe d’autorité, elles indiquent des univers référentiels dont on aurait tort de se priver et dont beaucoup ignorent l’existence. Les images enfin : en 2001, je me plaignais de l’impossibilité d’exercer un droit de citation pour les images. Il n’existe toujours pas et mériterait d’être acquis : il est tout de même étrange de ne pouvoir citer les images comme on cite les textes. Exposés que nous sommes aux sollicitations iconiques, ne pas les citer, ne pas pouvoir les remettre en circulation a fortiori dans les espaces d’enseignement mais aussi dans l’espace public (ce que ne permet toujours pas l’Inathèque par exemple même après le dépôt légal instauré en 1992) nous empêche de devenir aussi media literate que nous devrions l’être. En attendant, bonne lecture et à bientôt sur Facebook. 11 QZ3.indb 11 28/07/2011 11:56:19 12 QZ3.indb 12 28/07/2011 11:56:19 I MODERNISME ET FÉMINISMES QZ3.indb 13 28/07/2011 11:56:19 QZ3.indb 14 28/07/2011 11:56:19 Protoféminisme, modernisme et racisme : Breillat fait son cinéma pour Noël Burch, drôle de pionnier en France et repenti magnifique du modernisme « L’esthétique moderniste a été peu critiquée en France, ce qui est à la fois indice et cause de l’hégémonie chez nous de cette façon de penser les arts et les lettres1. » « On ne naît pas femme, on le devient. » Le problème est qu’en France, ce fameux « devenir-femme » a été sévèrement cadré par une culture mascu- line, a fortiori avec l’avènement de ce mouvement social et culturel incon- tournable mais indigérable par l’hexagone qu’est le féminisme. C’est là une première forme d’exceptionnalisme français : ce sont des messieurs, généralement de grands penseurs du calibre de Derrida et de Deleuze, qui furent les mieux placés pour accomplir le devenir-femme. Teresa de Lauretis2 et Rosi Braidotti3 ont bien critiqué cette stratégie théorique et 1. Noël Burch, De la beauté des latrines. Pour réhabiliter le sens au cinéma et ailleurs, Paris, L’Harmattan, 2007, p. 26. 2. Voir Théorie queer et cultures populaires, Paris, La Dispute, 2007, ainsi que le chapitre non traduit en français « The violence of rhetoric », in Technologies of Gender, Essays on Theory, Film and Fiction, Bloomington et Indianapolis, Indiana University Press, 1987, p. 31-50. 3. Voir « Discontinuous Becomings: Deleuze on the Becoming-Woman of Philosophy », 15 QZ3.indb 15 28/07/2011 11:56:20 Queer Zones 3 politique de « postmodernes » avides de féminité à défaut de féminisme. Le temps est peut-être venu de resituer ces stratégies dans une généalogie plus globale et de les rattacher à une tradition moderniste4 française parti- culièrement coriace, sachant que les féminismes français des années 1960 à nos jours n’ont pas su s’en détacher, ce n’est pas sans conséquences. Des féminologues plus forts que les féministes Le devenir-femme de Deleuze est un féminisme sans femmes parti- culièrement approprié… pour le philosophe. Il s’agit surtout d’une création purement discursive, anhistorique et surtout a-politique. Ce n’est pas rien d’affirmer dans les années 1970 – en négligeant au passage le devenir-homme – : ce que nous appelons entité molaire, ici par exemple, c’est la femme en tant qu’elle est prise dans une machine duelle qui l’oppose à l’homme, en tant qu’elle est déterminée par sa forme et pourvue d’organes et de fonctions, et assignée comme sujet. Or devenir femme n’est pas imiter cette entité, ni même se transformer en elle […]. Nous voulons seulement dire que ces aspects inséparables du devenir-femme doivent d’abord se comprendre en fonction d’autre chose : ni imiter, ni prendre la forme féminine mais émettre des particules qui entrent dans le rapport de mouvement et de repos in Nomadic Subjects, Embodiement and Sexual Difference in Contemporary Feminist Theory, New York, Columbia University Press, 1994, p. 111-123. 4. Il est difficile de donner une définition définitive du modernisme d’autant que l’historiographie française a tendance à mettre en avant « les avants gardes dans le domaine artistique (Dada, les surréalistes) » qui ne sont que des manifestations parmi d’autres d’un courant qui touche certes les arts mais aussi bien le rapport à la technologie, la philosophie, la relation avec les publics et la culture populaire et ce, dès la fin du xixe siècle et au xxe siècle dans les pays occidentaux. Ironie du sort qui explique aussi le rétrécissement au périmètre « purement artistique » du spectre moderniste dans sa définition française, la plupart des commentateurs s’accordent pour situer la naissance du mouvement moderniste en France, avec Manet, Flaubert, ou Baudelaire. La doctrine du modernisme est celle de l’art pour l’art, esthétisante et élitiste. Elle irrigue les politiques culturelles et bien d’autres formes d’expression que la peinture et la littérature : la musique, le cinéma, l’architecture. Son arrivée concomitante de la naissance des industries culturelles n’est pas fortuite. 16 QZ3.indb 16 28/07/2011 11:56:20 Modernisme et féminismes ou dans la zone de voisinage d’une micro-féminité, c’est-à-dire produire en nous-même une femme moléculaire, créer la femme moléculaire5. » Il serait donc vain de tirer parti des expériences des femmes ou de construire une politique des identités femmes : on n’obtiendrait que des entités molaires. D’ailleurs, Deleuze et Guattari assigneront toujours aux minoritaires (femmes comprises) un rôle de poil à gratter révolu- tionnaire à condition qu’ils soient moléculaires. Le problème, c’est qu’ils sont les seuls à disposer des critères de la molécularité réussie et que ce type de devenir n’a rien à voir avec les féminismes ou les mouvements politico-sexuels. Ils tiendront le même discours aux homosexuels dans les années 1970-1980. Beauvoir à poil, sans turban ni pantalon Une autre technique du devenir consiste à se défaire du visage, ce que Deleuze et Guattari appellent la « visagéité6 » qui bloquerait les lignes de fuite et rétablirait l’autorité. Si c’est ainsi que l’on devient femme, est-ce que la Une du magazine « de gauche » du Nouvel Observateur du mois de janvier 2008 constitue le nec plus ultra du devenir-femme français ? : une Simone de Beauvoir sans visage et sans reflet, tel un vampire, litté- ralement prise de dos dans un dispositif qui, s’il ne renseigne guère sur la carrière de philosophe ou de féministe de la protagoniste, est parfai- tement conforme à la construction traditionnelle du regard masculin analysé par Laura Mulvey7 pour le cinéma. Ledit male gaze construit une image d’un point de vue masculin pour un public masculin.
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