Visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also "train" us in ways of focusing on targets, ways of regarding suffering and loss.

One struggles always with these norms. So one doesn't construct oneself freely without respect to norm but one works with one's historical situation and sees where there might be some play. Where there might be some freedom to move.

It is clear that whatever language of democracy Obama and his administration use is very tactically deployed, and has as its main aim the extension of US power and interests.

I am much more open about categories of gender, and my feminism has been about women's safety from violence, increased literacy, decreased poverty and more equality.

To say that gender is performative is a little different because for something to be performative means that it produces a series of effects. We act and walk and speak and talk in ways that consolidate an impression of being a man or being a woman.

Look, "Gender trouble" includes a critique of the idea that there are two ideal bodily forms, two ideal morphologies: the masculine and the feminine. I want to suggest that today the intersex movement is very engaged with criticizing that idea.

Surely binationalism is not love, but there is, we might say, a necessary and impossible attachment that makes a mockery of identity, an ambivalence that emerges from the decentering of the nationalist ethos and that forms the basis of a permanent ethical demand.