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L’agentivité sexuelle des personnes travailleuses du sexe (TDS) s’identifiant au genre femme, soit leur posture de sujet dans le cadre de leur travail, fait l’objet de nombreux discours polarisés. Alors que la position prohibitionniste stipule que ces dernières sont des victimes de violence sexuelle exemptes de pouvoir décisionnel, les TDS et leurs allié·es affirment que celles-ci détiennent un pouvoir d’agir dans le cadre de leur travail. Mais qu’en est-il, au niveau empirique, de l’agentivité de ces dernières dans le cadre de leur travail? Ancrée dans une approche féministe constructiviste et guidée par l’approche de la sociologie du travail, notre étude explore cette composante auprès de neuf personnes TDS s’identifiant au genre femme par le biais d’une méthodologie qualitative. Nos résultats démontrent que l’agentivité sexuelle de …

This article gives the results of the consultation of several bases of bibliographical data on Women and Heroin, using the Boolean type of research. Various subjects are discussed, the extent of its use, the characteristics and factors of involvement in drug dependency, treatment, Mother/children relationship, Aids and prostitution. In the light of this survey of the literature, it seemed necessary to question the actual pertinence of these studies. They pose a number of important problems. Our criticism of the quality of these studies are I) problems of method and sampling; 2) epistemological problems and 3) the “monodisciplinarity” of these studies. In these works, the norm or “normality” (of drug addiction) is proper to the male sex. Women are considered marginal to this norm. Other fundamental omissions are mentioned, especially the relativity of the norms, problems connected with the concepts and the terms used. With regard to these various criticisms, we propose two models of analysis. The first refers to the study of women heroin-users as a group rather than in regard to men. The second is to construct a more general plan of analysis ofmarginality, of deviance and the criminality of women using the theories of social reaction in criminology and of radical materialist feminism. These two models could be complementary.

Based on ethnologic fieldwork conducted in Uzbekistan, this article explores the transformations of work in Uzbekistan, where the post soviet regime has adopted the Uzbek national identity as the new State ideology and maintained some forms of subjection inherited from the USSR. The author shows the importance of the changes that affect work in its exercise, as well as the social context and the representations related to it. The article details three situations which are especially significant of the new architectures of work : working force markets, teams of workers in the construction sector and in a cotton mill. It analyses how the representations of work are built on gender differentiations and how the circulation of incomes within the family hinders the possibilities of individual emancipation and strengthens the structures of kinship. Wedding constitutes a key operator, an essential moment of expenses and a symbolic support of the renewal of national identity ; it forces submission on juniors and servility on young spouses.

Keywords: Bazin, Ouzbékistan, anthropologie économique, globalisation, travail, représentation du travail, revenus, circulation monétaire, mariage, identité nationale, Bazin, Uzbekistan, Economic Anthropology, Globalization, Work, Representations of Work, Income, Monetary Circulation, Wedding, National Identity, Bazin, Uzbekistan, antropología económica, globalización, trabajo, representación del trabajo, ingresos, circulación monetaria, matrimonio, identidad nacional

In this article we share an analysis of the discourse produced and distributed by groups and individuals struggling against patriarchy and heterosexism who share an anti-authoritarian analysis and organisational form. Out of our reading of zines, brochures, newspapers, video/DVD compilations, music albums and Internet sites, have emerged three trends: the first produced by materialist feminists that is clearly in continuity with the previous political generation, the second that relates to women-of-color feminism and a third, produced by radical queer groups, who attempt to deconstruct woman as a sexual identity and to invent a politics of multiple identification.

In historical writings about jazz and exotic dance, women variety-stage dancers appear either as the eroticized, exoticized, and primitivized victims of the entertainment business, or as the critically compelling and artfully subversive parodies of the « primitive-exotic » stereotype they embodied on stage. As bell hook has argued, there is no room for the displays of breasts, legs, and bums to be presented as a comfortable expression of bodily delight rather than as a reality to be resisted, masked, or signified upon. In this article, the author draws on a collection of interviews conducted with variety-stage dancers who participated in the « golden age » of jazz in Montreal (1925-1955). The narratives articulated in these oral histories allow to move beyond questions of representation in scholarship on exotic dance to consider alternatives that allow for the reclaiming of black women's artistic agency without distancing the artistic work performed by their bodies from its erotic capital.

Keywords: agentivité, artistes femmes, black feminism, femmes et travail, modernité, montréal, récits de vie, danse jazz

This essay uses a comparative analysis of three representations by three women artists who push the limits of the project of self sexual objectification as artwork. The paper begins with an analysis of Madeleine Berkhemer's photograph, Molly in Blue (2000), wherein the artist represents herself rigged out in nylons in a classic pin-up pose. Next, Jemima Stehli's Strip Series (1999-2000) is an artistic project that combines both photography and performance. The artist undresses herself in front of different men who have powerful positions in the art world. Lastly, the essay explores Andrea Fraser's work, Untitled (2003), in which the artist has sexual intercourse with an art collector that is paid and filmed. Paradoxically, by endorsing in an extreme way the status of sexual object/art object, these three women claim a creative sexuality that is highly subversive.

Keywords: art contemporain, pornographie, post-pornographie, femmes artistes, queer