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The cultural practice of flirtation has been multifariously scrutinized in various disciplines including sociology, psychology, psychoanalysis and literary studies. This paper frames the field of flirtation in Bourdieuian terms, while focusing narrowly on the semiotic economy that is defining of this cultural field. Moreover, seduction, as a uniquely varied form of discourse that is responsible for producing the cultural field of flirtation, is posited as the missing link for understanding why flirtation may be a peculiar case of non-habitus, contrary to the received notion of cultural field as set of goaloriented practices and actionable habituses. This argument is pursued by highlighting the endemic traits of ambivalence and constant reversibility of signs or multimodal semiotic constellations in the discourse of seduction, while seeking to demonstrate that seduction, and by implication the cultural field of flirtation, does not necessarily partake of a teleological framework that is geared towards the consummation of sexual desire. This thesis is illustrated by recourse to a scene from the blockbuster 'Hitch'. [ABSTRACT FROM AUTHOR]

This paper is based on workshops conducted with students at Bristol University with some of the materials from the Feminist Archive South. We explore how the sensory wonder of the archives enriched and reshaped the practice of feminist pedagogy especially with regard to the interface between ontology and epistemology. We argue that the feminist archive is an important resource which incites us to shift our focus on the process of knowledge production as stories encountered in the archive can challenge the authority and coherence of dominant feminist stories. This can produce feelings of disorientation which act as important moments through which different kinds of feminist knowledge can emerge. Our approach places feelings at the centre of encounters with knowledge because of the mutual entanglement of thinking and feeling rendered salient in the feminist archive. Finally, these processes facilitate different kinds of student–teacher collaboration, with students positioned as co-researchers working to document and interpret the feelings, knowledge and transformations that emerge from the encounter-with the feminist archive. The objects we encountered worked as knowledge companions to stimulate collaborative (un)learning and to produce unique forms of affective knowledge. [ABSTRACT FROM PUBLISHER]

This article considers distinctive mediums of memory emerging from the traumatic history of Aboriginal women’s experiences as domestic workers in Queensland, Australia throughout the nineteenth and twentieth centuries. One is the exhibitionMany Threadspresented in 2014 at the Ration Shed Museum in the Aboriginal community of Cherbourg in southern Queensland. The other is the collaborative memoirAuntie Ritaby Jackie Huggins and Rita Huggins, which recounts Rita’s life through a dialogue between mother and daughter. The article uses a reading of Jackie’s voice, as consciously activist and feminist, as a way in to understanding the testimonial memory of other Cherbourg women. In remembering, interpreting and presenting their experiences as domestic workers, alongside those of their mothers, grandmothers, aunts and sisters, Cherbourg women are actively intervening in historical and contemporary discourses that seek to limit their representation to that of victims and their community as intrinsically dysfunctional. Instead, through yarning, writing and sewing, Cherbourg women are generating memories, and memory communities, of resistance, strength, resilience, creativity and survival. The paper argues that this memory work is a vital form of counter-memory, which disturbs and unsettles normative Australian representations. [ABSTRACT FROM PUBLISHER]