<div dir="ltr"><div><p class="MsoNormal" style="margin:0in 0in 8pt;background-image:initial;background-position:initial;background-size:initial;background-repeat:initial;background-origin:initial;background-clip:initial;line-height:13.91px"><span style="font-family:Arial,sans-serif;color:black">Dear all,</span></p><p class="MsoNormal" style="margin:0in 0in 8pt;background-image:initial;background-position:initial;background-size:initial;background-repeat:initial;background-origin:initial;background-clip:initial;line-height:13.91px"><span style="font-family:Arial,sans-serif;color:black">Please find below a panel proposal for the 2020 AAA meeting. If interested, please send a 250 word abstract to  </span><a href="mailto:jgfriend@berkeley.edu" target="_blank" style="color:rgb(5,99,193);font-family:Calibri,sans-serif"><span style="font-family:Arial,sans-serif">jgfriend@berkeley.edu</span></a><span style="font-family:Arial,sans-serif;color:black"> and </span><span style="font-family:Roboto,RobotoDraft,Helvetica,Arial,sans-serif;font-size:14px"><a href="mailto:esrapadgett@gmail.com" target="_blank">esrapadgett@gmail.com</a></span><span style="color:black;font-family:Arial,sans-serif"> by Friday, April 10</span><sup style="color:black;font-family:Arial,sans-serif">th</sup><span style="color:black;font-family:Arial,sans-serif">. Feel free to reach out with any questions you may have!</span><br></p></div><div><span style="background-color:rgba(0,0,0,0.02);color:rgb(0,0,0);font-family:Arial,sans-serif;font-size:14px;text-indent:48px"><br></span></div><div><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"><b style="box-sizing:border-box">The Illicit Image: Pornography, Image-Making, and Moral Aspiration</b></span><span style="box-sizing:border-box;font-family:"Times New Roman",serif"></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"><br style="box-sizing:border-box"></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-family:"Helvetica Neue",Helvetica,Arial,sans-serif;font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal"><font color="#000000" face="Arial, sans-serif" style="box-sizing:border-box">ORGANIZERS: </font></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-family:"Helvetica Neue",Helvetica,Arial,sans-serif;font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal"><span style="color:black;font-family:Arial,sans-serif">Esra Padgett (The Graduate Center, CUNY)</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Juliana Friend (University of California, Berkeley)  <br></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"><br></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">DISCUSSANT: </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Gayle Rubin</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:"Times New Roman",serif"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">ABSTRACT:</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">While this year's AAA theme asks us to secure a more "capacious, progressive vision of the human," this panel looks at a particularly contested and often ignored or rejected site of human interaction and representation: pornography. Studying pornography anthropologically exposes particular understandings of personhood-notions of the representable semiotically loaded with moral and ethical assumptions-as well as forces existing frameworks for the interpretation of images into the light. </span><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:blue">I</span><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">ndeed, moral orientations to porn - among its producers, consumers, and those who identify as neither but nevertheless interact with the conceptual category- bring into relief morally charged ambivalences about the agency of images. These can manifest as uncertainties about an image's potentiality as merely a text, the "promise of flesh," or an experience of the flesh itself (Rancière 2007) or judgements regarding an image's "tendency" (Mazzarella 2013), its performative potential to stir immoral impulses in viewers. In other contexts, illicit images are understood to presence occult spiritual forces (Meyer 2015) or otherwise alter proximity to religious or divine figures, transforming ethical and spiritual practices (Buggenhagen 2010, Sansi 2013, Van der Port 2005). Alternately, the obscene can produce embodied reactions to moral transgression that force those moral transgressions into public debate (Allison 2000, Larkin 2008). This panel builds on these efforts to situate illicit images within broader contexts of image-making and moral aspiration. </span><span style="box-sizing:border-box;font-family:"Times New Roman",serif"></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);text-indent:0.5in;line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">While some scholars in the social sciences have attempted to provide historical context for shifting notions of morality as it pertains to pornography (Rubin 1984; Lancaster 2011), others have seen academia as beholden to particular ethical stances on porn, as most famously represented by the feminist "sex wars" of the late-twentieth century (Duggan and Hunter 2006). Ethnographic work that focuses on the experiences of porn performers (Miller-Young 2014) has contextualized notions of the moral within the "political economy of pleasure" of the transnational sex trade; a perspective reiterated in work focused on sex workers more broadly (Kimberly Kay Hoang 2016; Maia 2016; Frank 2013; Bernstein 2018).</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);text-indent:0.5in;line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">While the 'moral,' and even the "pornographic" are highly contested categories, this panel offers these terms not to be defined or secured, but as keywords for an exploration of the relationship between formulations of moral selfhood and various illicit image practices. What sorts of interpretive frameworks for truth, digital embodiment, and moral selfhood emerge through individuals' or groups' orientations to pornography? Through what semiotic processes do these interpretive frameworks become naturalized? For instance,</span><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:blue"> </span><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">how are notions of personhood (e.g. the porn star, the contaminable viewer, etc.) constructed and reinforced by particular classes of images ("pornographic" or "obscene" images), themselves defined by divergent and highly contextual frames of interpretation (e.g. religious doctrine; legal discourse, social reform movements, extralegal media censorship regimes)? To what extent are these interpretive frameworks open to contestation or critical reappropriation?</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);text-indent:0.5in;line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">Pornography and related techniques of image-making can expand taken-for-granted understandings of the human by mediating and multiplying bodies. At the same time, contested legal, religious, and political construals of obscenity may exclude associated actors from the domain of "the human" to which a given community is morally responsive.</span><span style="box-sizing:border-box;font-family:"Times New Roman",serif"> </span><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">With this in mind, the panel seeks papers centered broadly around the topic of pornography as a site for exploring how frameworks for the interpretation of images co-constitute moral discourses, including ideas of an "ethical self"; notions of the representable, the transgressive and the real. </span></p><p style="box-sizing:border-box;margin:12pt 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">Among other topics, papers might explore:</span><span style="box-sizing:border-box;font-family:"Times New Roman",serif"></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:"Times New Roman",serif"> </span></p><ul type="disc" style="box-sizing:border-box;margin-top:0in;margin-bottom:0in;color:rgb(51,51,51);font-family:"Helvetica Neue",Helvetica,Arial,sans-serif;font-size:14px;background-color:rgba(0,0,0,0.02)"><li style="margin:0in 0in 0.0001pt;box-sizing:border-box;color:black;line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">Emergent and novel trends in pornography and technology (i.e. "Deep fakes"; "revenge porn")</span></li><li style="margin:0in 0in 0.0001pt;box-sizing:border-box;color:black;line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">How pornographic production and consumption is mediated by shifting formations of capitalism (i.e. direct-to-consumer models of business and labor such as Onlyfans; Modelhub; webcamming...)</span></li><li style="margin:0in 0in 0.0001pt;box-sizing:border-box;color:black;line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">The imbrication of pornography with the economy, commerce, and notions of value </span></li><li style="margin:0in 0in 0.0001pt;box-sizing:border-box;color:black;line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">Contestations of moral discourses vis a vis sex worker's rights activism</span></li><li style="margin:0in 0in 0.0001pt;box-sizing:border-box;color:black;line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">Morality and the material, corporal dimension of images</span></li><li style="margin:0in 0in 0.0001pt;box-sizing:border-box;color:black;line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">How modes of digital embodiment (re)distribute or redefine personhood</span></li><li style="margin:0in 0in 0.0001pt;box-sizing:border-box;color:black;line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif">Relationships between illicit image-making, religious practice, and techniques of ethical self-making</span></li></ul><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><u style="box-sizing:border-box"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Works Cited</span></u></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 8pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Allison, Anne 2000. Permitted and Prohibited Desires: Mothers, Comics, and Censorship in Japan. Berkeley: University of California Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Bernstein, Elizabeth 2018. Brokered Subjects: Sex, Trafficking, and the Politics of Freedom. Chicago: University of Chicago Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><u style="box-sizing:border-box"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"><span style="box-sizing:border-box;text-decoration-line:none"> </span></span></u></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Buggenhagen, Beth 2010. Islam and the Media of Devotion in and out of Senegal. <i style="box-sizing:border-box">Visual Anthropology Review</i> 26 (2):81-95.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Duggan, Lisa and Hunter, Nan 2006. Sex Wars: Sexual Dissent and Political Culture. New York: Routledge.<b style="box-sizing:border-box"></b></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Frank, Katherine 2002. G-Strings and Sympathy: Strip Club Regulars and Male Desire. Durham: Duke University Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Hoang, Kimberly Kay 2016. Dealing in Desire: Asian Ascendancy, Western Decline, and the Hidden Currencies of Global Sex Work. Berkeley: University of California Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Lancaster, Roger 2011. Sex Panic and the Punitive State. Berkeley: University of California Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Larkin, Brian 2008. Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria. Durham: Duke University Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Maia, Suzana 2016. Transnational Desires: Brazilian Erotic Dancers in New York. Nashville: Vanderbilt University Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Mazzarella, William 2013. Censorium: Cinema and the Open Edge of Mass Publicity. Durham: Duke University Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Meyer, Birgit 2015. Sensational Movies: Video, Vision, and Christianity in Ghana. Berkeley: University of California Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Miller-Young, Mireille 2014. A Taste for Black Sugar: Black Women in Pornography. Durham: Duke University Press.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Rancière, Jacques 2007. The Future of the Image. London: Verso.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Rubin, Gayle 1984. "Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality." </span><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:rgb(55,61,63);background-image:initial;background-position:initial;background-size:initial;background-repeat:initial;background-origin:initial;background-clip:initial">In</span><em style="box-sizing:border-box;outline:0px"><span style="box-sizing:border-box;font-family:Arial,sans-serif;border:1pt none windowtext;padding:0in"> Pleasure and Danger: Exploring Female Sexuality.</span></em> by C. Vance (Ed.). New York: Routledge.<span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"></span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Sansi, Roger 2013. Encountering Images in Candomblé. Visual Anthropology, 26: 18-33.</span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black"> </span></p><p style="box-sizing:border-box;margin:0in 0in 0.0001pt;color:rgb(51,51,51);font-size:14px;background-color:rgba(0,0,0,0.02);line-height:normal;vertical-align:baseline;font-family:Calibri,sans-serif"><span style="box-sizing:border-box;font-family:Arial,sans-serif;color:black">Van der Port, Mattijs 2005. Visualizing the Sacred: Video Technology, ''Televisual'' Style, and the Religious Imagination in Bahian Candomble´. American Ethnologist, 33(3): 444–461</span></p></div><div><br></div>-- <br><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr">Juliana Friend<div>PhD Candidate in Anthropology</div><div>University of California, Berkeley</div><div>Contributing Editor, Society for Cultural Anthropology</div><div><a href="http://www.many-to-many.net" target="_blank">www.many-to-many.net</a></div></div></div></div>