Journal articles on the topic 'Nomadic feminism'
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Skott-Myhre, Kathleen. "NOMADIC YOUTH CARE." International Journal of Child, Youth and Family Studies 3, no. 2-3 (April 16, 2012): 300. http://dx.doi.org/10.18357/ijcyfs32-3201210872.
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It has been argued that the field of child and youth care is founded on a relationship. Generally, this relationship has been posited as being between two identifiable subjects, a worker and a child or youth. In this paper, I will argue for both a different theoretical framework and significant rethinking of the human individual as the central player in a relation of care. In recent writings on feminist thought, several authors have proposed what they have termed <em>nomadic feminism</em>. This work focuses on developing a theory of the human organism that is no longer centered in a binary with nature. What if we began to see care as an interdependent bringing together of all elements in our environment? What if we began to think consciously about the mingling of human and non-human form as platform for experimentation? What might happen if we broke down the rigid distinctions between staff and youth, neighborhood and agency, male and female, gay and straight, our racial and ethnic identities, not so much to abandon them but so as to open them to experiment, to see what bodies can do together?
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Alvarado, Mariana. "pedagogías cuir y feminismos rapsódicos en/desde valeria flores." childhood & philosophy 15 (April 29, 2019): 1–15. http://dx.doi.org/10.12957/childphilo.2019.38630.
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A feminist premise encourages the (un)naming of “Where is here?” It is about the possibilities of “saying” that can radically disrupt the creation of a school, the journey of a research project, or the paths of militancy. This article demonstrates the ways in which “ascribing” or “stating” are linked to ways of “making audible and visible” as an individual or collective political position, inside/outside the school. These lines of flight travel with the nomadic epistemology of val flores: the limited and specific location of a situated, precarious, itinerant knowledge, which deploys an anti-normative pedagogy animated by a feminist epistemology, from an “under-feminism, to which we intend to playfully open the door.
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Lorraine, Tamsin. "Feminist Lines of Flight from the Majoritarian Subject." Deleuze Studies 2, Suppl (December 2008): 60–82. http://dx.doi.org/10.3366/e1750224108000366.
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This paper characterises Deleuze and Guattari's conception of the majoritarian subject in A Thousand Plateaus as a particular – and inevitably transitory – manifestation of sexed and gendered subjectivity emerging with late capitalism from the always mutating flows of creative life and suggests that their notion of the schizo or nomadic subject can inspire feminist solutions to the impasses posed by contemporary forms of sexed, gendered, and sexual identity. Feminism can thus be conceived as a schizoanalytic practice that fosters the kind of alternative subjects for which Deleuze and Guattari call: subjects that move beyond oppressive self–other relations towards a form of subjectivity that can welcome differences as well as the differentiating force of life itself.
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Tanna, Natasha. "Unravelling compulsory happiness in exile: Cristina Peri Rossi’s The Ship of Fools." Feminist Theory 20, no. 1 (June 19, 2018): 55–72. http://dx.doi.org/10.1177/1464700118772140.
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A number of feminist critics of Latin American women writers in exile have suggested that women in exile may flourish as they are freed from the traditional gender restrictions imposed on them in their home countries. In this article I reexamine the association of exile with liberation through analysing Cristina Peri Rossi’s 1984 novel La nave de los locos ( The Ship of Fools) in the light of the tension between Rosi Braidotti’s Deleuzian affirmation of feminism as a ‘joyful nomadic force’ (1994: 8) and Sara Ahmed’s critique of compulsory happiness (2010). Peri Rossi juxtaposes the prescriptive worldview of the captivating medieval ‘Tapestry of the Creation’ in the Cathedral of Girona in Catalonia, which depicts the Biblical story of Genesis, and the diasporic and unpredictable wanderings of the protagonist Ecks on his journey to feminist enlightenment. I argue that while the novel seems to champion nomadic subjectivity, it also highlights the deceptive charm of imperative positive affect that may function as a disciplinary force, compelling subjects to follow a conventional path in life, and invalidating those who ‘stray’ from it. My reading of the novel calls for a nuanced approach to exile and diaspora that takes into account wider questions of the privilege and ease of movement – or, indeed, settling – enjoyed by or denied to various subjects.
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Lunati, Montserrat. "LA TEXTUALITZACIÓ DEL CÀNCER A MILLOR QUE NO M’HO EXPLIQUIS (2003), D’IMMA MONSÓ, I ALTRES CONSTRUCCIONS CULTURALS DE LA MALALTIA." Catalan Review 19, no. 1 (January 1, 2005): 241–62. http://dx.doi.org/10.3828/catr.19.14.
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The ironic discourse of this short story by Imma Monsó questions the myths and taboos that configure the social construct of cancer, above all the tropic readings of the disease as signifying negative political or psychological realities, and the process of depoliticization brought about by the philosophy of blaming patients for their own illness. Taking as a point of departure the “nomadic” and “corporal” feminism of such thinkers as Braidotti and Grosz (hearkening back to Foucault, Deleuze and Guattari, but with a pertinent gender consciousness), and analyses of the cultural projection of cancer such as Sontag’s, Sedgwick’s or Stacey’s, this article explores the inclusive approach taken by the story towards one of the most intractable forms of alterity, that of one’s own diseased body, and relates it with other contemporary texts (Marçal, Monzó, Lorrie Moore) that deal with the same topic.
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Carter, Susan, and Vicky Gunn. "Inspiring desire: A new materialist bent to doctoral education in Arts and Humanities." Arts and Humanities in Higher Education 18, no. 4 (September 19, 2017): 296–310. http://dx.doi.org/10.1177/1474022217731224.
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Doctoral learning entails transition from experienced student to stance-defending researcher, exposed to international critique: a disorientation and reorientation into a new identity. Arts and Humanities candidates typically navigate these moves without much of a map, choosing their own topics, avoiding the more externally defined approach available to STEM students, and mapping out their own research routes. They are often driven by desire and passion for their topic. Much of each candidate’s core identity will be inflected by this transition of emergence, a transition that involves their embodiment, emotion and social persona. With intense and sometimes uncomfortable transition in mind, and desire as driver, new materialism, namely nomadic feminism and queer theory, can inform doctoral pedagogy in Arts and Humanities. The destabilization of normativity opens the potentials and challenges of inhabited and performed identity. Queer theory’s longstanding negotiation of social and personal tensions gives a heuristic model for understanding doctoral identity transition.
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Hackman, Boel. "The Potential of Travel as Nomadic Practice. The Situated and Embodied Female Subject in Ulla Bjerne’s Novel to dare being..." Studia Litteraria 15, no. 4 (2020): 263–74. http://dx.doi.org/10.4467/20843933st.20.022.12543.
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This article focuses on the novel att våga vara… [to dare being…] (1948) based on the life of the explorer Isabelle Eberhardt (1877–1904), by the Swedish author Ulla Bjerne (1890–1969). Annotations in her diary as well as Eberhardt’s diary and biography, are in addition taken into account, read as examples of female situated embodiment and part of a feminist nomadic practice, as elaborated by Rosi Bradidotti, in Bjerne’s aim to give representation to a new type of woman. It entails resistance to hegemonic, fixed and exclusionary views on feminine subjectivity, the affirmation of movement and the process of becoming, and the construction of new conceptions and images of women. The central hypothesis in the article is that travelling in att våga vara… has a potential to nomadize the female subject both literally and figuratively, in the quest to give representation to a situated, embodied female subjectivity, in both body and word.
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Cheang, Shu Lea, and Alexandra Juhasz. "When Are You Going to Catch Up with Me?" Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): 116–31. http://dx.doi.org/10.1215/02705346-8631583.
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“Digital nomad” Shu Lea Cheang and friend and critic Alexandra Juhasz consider the reasons for and implications of the censorship of Cheang’s 2017 film FLUIDØ, particularly as it connects to their shared concerns in AIDS activism, feminism, pornography, and queer media. They consider changing norms, politics, and film practices in relation to technology and the body. They debate how we might know, and what we might need, from feminist-queer pornography given feminist-queer engagements with our bodies and ever more common cyborgian existences. Their informal chat opens a window onto the interconnections and adaptations that live between friends, sex, technology, illness, feminism, and representation.
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Passos Dutra, Mariana, and Tiago de García Nunes. "LA MARCHA DE LAS PUTAS COMO REDES DE MOVIMIENTOS Y SIGNOS." Revista Prolegómenos Derechos y Valores 18, no. 36 (September 1, 2015): 153. http://dx.doi.org/10.18359/dere.939.
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<p>El objetivo de este artículo es analizar el movimiento feminista llamado Marcha de las Putas desde la perspectiva teórica de las redes de los signos desarrollada por Alberto Melucci en su obra <em>Nomads of the present</em> (1989). Se pregunta si la Marcha de las Putas puede considerarse una red de movimientos y signos capaces de realizar la unión de distintos feminismos y hacer dialogar a las tres olas del feminismo más importantes. En cuanto a la metodología, se llevó a cabo una investigación bibliográfica y documental, respecto a la Marcha de las Putas y otros órganos de representación que integran el movimiento, y la observación participante en tres marchas. A pesar de la fase exploratoria de la investigación, al final se señalan algunos límites a la representación en la Marcha de las Putas y el supuesto crecimiento de un tribunal feminista liberal.<strong></strong></p>
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Chang, Claudia. "Nomadic Subjects: Sexual Difference in Ancient and Ethnographic Studies of Pastoral Mobility." Cambridge Archaeological Journal 32, no. 2 (March 1, 2022): 321–30. http://dx.doi.org/10.1017/s0959774321000536.
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This essay explores Braidotti's nomadic subject as the starting point for a posthumanist perspective for the interpretation of ethnographic and ancient pastoral societies. Why has women's labour and positionality in such societies tended to be ignored by archaeology? The author's autobiographical discussion of her earlier work on village and transhumant pastoralists in Greece frames her personal discovery of gender and power dynamics in mobile societies. The main case study, however, examines the household archaeology of Iron Age Saka (eastern variants of Scythians) and later pastoral groups in order to put forth hypotheses about gendered production in semi-sedentary societies. Haraway's concept of the cyborg and Braidotti's concept of the nomadic subject are examined. Material studies of ceramic serving dishes, household debris and house form at an Iron Age agropastoral settlement apply some of the concepts of new feminisms. A comparison is drawn between the philosophy of nomadology and the anthropological archaeology of pastoral nomads.
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Colebrook, Claire. "Humanist Posthumanism, Becoming-Woman and the Powers of the ‘Faux’." Deleuze and Guattari Studies 16, no. 3 (August 2022): 379–401. http://dx.doi.org/10.3366/dlgs.2022.0483.
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Feminist and post-colonial theorists have embraced Deleuze and Guattari’s terminology of becoming-woman and nomadism, and have done so despite criticisms that these terms appropriate the struggles of real women and stateless persons. The force of the real has become especially acute in the twenty-first century in the wake of neoliberal mobilisations of feminism as yet one more marketing tool. Rather than repeat the criticism that identity politics deflects attention from real political struggles, we can see terms such as ‘becoming-woman’ as creating a different conceptual terrain that refuses the opposition between real politics and the fabulations of identity. The problem with identity politics is not that it divides the polity but rather that it freezes such divisions and identifications at the level of humanist recognition.
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Bracken, Claire. "Nomadic Ethics: Gender and Class in Catherine Walsh's City West." Irish University Review 46, no. 1 (May 2016): 75–88. http://dx.doi.org/10.3366/iur.2016.0202.
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This essay argues that a feminist ethics of emplaced nomadism underpins Catherine Walsh's City West. It examines Walsh's engagement with the politics of contemporary neo-liberal Ireland, and argues that her experimentation with nomadism is an attempt to navigate through the environs of late capitalism.
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Lykke, Nina. "Intersektionalitet - ett användbart begrepp för genusforskningen." Tidskrift för genusvetenskap 24, no. 1 (June 15, 2022): 47–56. http://dx.doi.org/10.55870/tgv.v24i1.4183.
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This article presents the concept of "intersectionality" and argues for its usefulness for feminist research. The concept is used in recent international feminist debates in order to theorize how gender and other sociocultural power differentials such as ethnicity, race, sexual preference, age and nationality interact in the construction of subjectivity and material conditions of subjects. The first part of the article introduces the concept, a couple of key reference texts and political contexts. It is argued that thinking in terms of intersections between gender and other markers of sociocultural power differences is a much more integrated part of feminist thinking than a first glance at the actual use of the concept "intersectionality" reveils. The argument is based on references to feminist theoretical and political debates around the relationship between gender and class, gender and sexual preference, gender, race and ethnicity, gender and age - and discussions, started in the 1970s and early 1980s. Other related feminist theoretizations, transversalism (Yuval-Davis), nomadism (Braidotti), inappropriate/d otherness (Haraway), are also interpellated in order to sustain the argument that thinking in terms of intersections is an integrated dimension of much feminist thought.
The second part of the article mobilizes key arguments for the usefulness of intersectionality as a theoretical and political tool in feminism and refers, moreover, to possible problems. Six principles are articulated on which feminist intersectionality analysis, according to the author, should be based. The main argument in favour of feminist intersectionality analysis is that this approach makes it possible to speakabout differencesand diversity in political collectives, as for exemple, women's movements, and to take into account different positionalities, without creating a slippery slope towards a discursive situation, where gendered power differentials can be "legitimately" ignored in favour of an exclusive focus on other diversity markers.
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Braidotti, Rosi. "Kvinna-i-tillblivelse. Könsskillnaden på nytt." Tidskrift för genusvetenskap 23, no. 4 (June 15, 2022): 5–26. http://dx.doi.org/10.55870/tgv.v23i4.4198.
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In this article, a shortened version of the first chapter in her book Metamorphoses: Towards a Materialist Theory of Becoming, Rosi Braidotti discusses the concept of sexual difference by comparing feminist theory to post-structuralist - especially Luce Irigaray's radical feminist bodily materialism to Gilles Deleuze's philosophy of 'becoming'. These theories share a number of crucial assumptions, one is a stated desire to move beyond Lacanianism. But whereas Irigaray wants to replace the phallic signifier with a female symbolic, expressed in an imaginary no longer mediated by Phallus, Deleuze's nomadic approach instead suggests a rethinking of subjectivity without any symbolic system whatsoever. The main dividing line between them is, according to Braidotti, a different emphasis on sexual difference understood as the dissymetrical relationship between the sexes. Here she depicts a tension that points to the difficulties involved in freeing the subject Woman from the subjugated position of Other. From a feminist perspective the redefinition of female subjectivity is how to make the feminine express 'different difference', released from the hegemonic framework of oppositional, binary thinking within which Western philosophy has confined it. The focus is as much on the deconstruction of the phallogocentric representations of the feminine, as on the experience and the potential becoming of real-life women, in their diverse ways of inhabititing the subject position of Woman. Deleuze's ultimate aim to move towards the final overcoming of sexual difference, cannot solve the main problem for feminists, Braidotti argues: one cannot deconstruct a subjectivity one has never been fully granted control over. Still in these two diverse ways of theorising difference - Irigaray's multiple, "no-one" feminine sexuality and Deleuxe's theory of the folded and unfolding intensive subject of becoming - Braidotti discerns a serious challenge to both the liberal vision of the autonomous subject and to the psychoanalytic dialectics of lack, loss and signification. She observes a shared view on the universalistic posture of separating the symbolic from the material as the mark of the partriarchal, cash-nexus of power, and in this unity traces the emergence of a new radical materialist type of politics.
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Grenz, Sabine. "Book review: Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory and Nomadic Theory: The Portable Rosi Braidotti." European Journal of Women's Studies 22, no. 3 (July 23, 2015): 358–63. http://dx.doi.org/10.1177/1350506815590583.
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Kozhisseri, Deepa, and Sudhir Chella Rajan. "Unfolding nomadism? A feminist political ecology of sedentarization in the Attappady Hills, Kerala." Journal of Political Ecology 27, no. 1 (November 25, 2020): 939–60. http://dx.doi.org/10.2458/v27i1.23600.
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The landscape of the Attappady Hills in the Nilgiri range of Kerala, South India, is home to several Adivasis or indigenous peoples and settler communities, and has had intermittent cycles of agrarian crisis and sufficiency, according to colonial accounts from the early 20th century. Since the 1970s, rapid sedentarization of hunting-gathering communities, expanding capitalist markets, conservation projects, and sizable development interventions have contributed to agrarian and nutritional distress. There is a simultaneous process of adopting capitalist market forms and holding on to communal structures, along with manifestations of patriarchy, and resistance through gender struggles within the household and through community mobilization. Adivasis in the region seem to be undergoing processes of being simultaneously alienated from the forest and rediscovering connections to their land and the non-human world. By highlighting the material aspects with relational ecological ties and patriarchal manifestations with rural women's movements, this article proposes the relevance of nomadic movement in interpreting gender and environment subjectivities that have a bearing on these communities' future foodscapes and the rest of their landscape. We point to a continuous process of becoming, a 'feminist politics of the earth' in this landscape and extend the gender-nature debate beyond dualisms and liminality by highlighting fluid dialectical processes within a feminist political ecology framework.Keywords: Agrarian transitions; sedentarization; feminist political ecology; nomadic theory
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GUNDOGDU, Nehir. "Feminist Methodology and Disadvantaged Communities: To understand Dom and Abdal." fe dergi feminist ele 14, no. 1 (June 10, 2022): 121–33. http://dx.doi.org/10.46655/federgi.1096930.
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This study presents the methodological discussion of the fieldwork of the project named “’Being educated is a distant dream to us’ Dom and Abdal Children’s Education in Turkey: The cases of Antep and Urfa”. Focusing on the processes that make it difficult and easier to reach the participants in the field, this study analyses the situations that play a role in the insider/outsider positioning of the researcher in the interviews held with a “fluid” method. While the power relations between the researcher and the participant are handled with an intersectional perspective, the dilemmas in researcher’s role to providing of well-being of participants in projects conducted with disadvantaged participants are discussed through feminist ethic. Although there are many studies on disadvantaged communities such as Dom and Abdal in Turkey, there are not many studies focusing on methodological discussions. Aiming to fill this gap in the Turkish literature, this study will propose to researchers who focus mostly on Gypsy/Nomadic communities working in precarious and low-income jobs, to refer to feminist method discussions. Since, the feminist method provides an understanding ground that will enable the researcher to realize the hierarchies in the field, the instability of "privileged" positions, and the subjectivity of the participants.
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Dzierżyc-Horniak, Anna. "A WOMAN IS A NOMADE, A WOMAN IS AN ARTIST. A LOOK AT THE BRIDES ON TOUR BY PIPPA BACCA AND SILVIA MORO IN THE FEMINIST VIEW OF ROSI BRAIDOTTI." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 168–91. http://dx.doi.org/10.5604/01.3001.0012.9835.
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Anna Dzierżyc-Horniak The Woman Is a Nomad, the Woman Is an Artist. A look at Brides on Tour by Pippa Bacca and Silvia Moro in the Feminist Take of Rosa Braidotti The text is an attempt at looking at the art project Brides on Tour from the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in uncon- ditioned hospitality in the frames of what Jacques Derrida called “Abra- ham” tradition as well as about the presence of women in public space. As a result, the project seems to be an artistic performance, which de- mands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist de- mands of Rosi Braidotti.
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Reimer, Ivoni Richter, and Jorge Alves Santana. "Transversal mobilities of Mary of Magdala in the gospel according to Jesus Christ, by José Saramago." Fragmentos de Cultura 27, no. 3 (November 23, 2017): 345. http://dx.doi.org/10.18224/frag.v27i3.5990.
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“What you teach me, it is not prison, it is freedom" (SARAMAGO, 2010, p.163) is one of several reflections that Jesus, lyrically recreated by José Saramago, does to Maria de Magdala in his novel O Evangelho Segundo Jesus Cristo (2010). The actional context corresponds to the love relationship that begins between the couple and that will be extended throughout the narrative. We will reflect in this study on aspects of the construction of this singular, and at the same time collectivized female figure, constructed dialogically and critically in relation to the canonical texts. We will follow the political-cultural strategies that Saramago uses for the production of molecular powers of the extended feminine, as well as the mechanisms of production of nomadic and frontier subjectivities in this literary field that has pragmatic links with cultural devices of varied religious spectrums.
Mobilidades transversais de Maria de Magdala em "O Evangelho Segundo Jesus Cristo", de José Saramago
“O que me ensinas, não é prisão, é liberdade” (SARAMAGO, 2010, p. 163) é uma das várias reflexões que Jesus, ressignificado literariamente por José Saramago, faz com Maria de Magdala, no romance “O Evangelho Segundo Jesus Cristo”. O contexto acional corresponde à relação amorosa que se inicia entre o casal e que se estenderá por toda essa narrativa. Refletiremos nesse estudo sobre aspectos da construção dessa singular e ao mesmo tempo coletivizada figura feminina, construída dialógica e criticamente em relação aos textos canônicos. Acompanharemos as estratégias político-culturais que Saramago utiliza para a produção de poderes transversais do feminino estendido, bem como os mecanismos de produção de subjetividades nômades e fronteiriças nesse campo literário que possui pragmáticas vinculações com os dispositivos culturais de variado espectro religioso.
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Radulovic, Neda. "Discursive changes and tendencies within theories of posthumanism: Case study: Nomadic feminist subjects." Kultura, no. 152 (2016): 93–114. http://dx.doi.org/10.5937/kultura1652093r.
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España Keller, Juliana. "The Sonic Intra-Face of a Noisy Feminist Social Kitchen." Social Sciences 8, no. 9 (August 23, 2019): 245. http://dx.doi.org/10.3390/socsci8090245.
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This paper asks what is the value of transforming the kitchen into a sonic performative work and public site for art and social practice. A Public Kitchen is formed by recreating the private and domestic space of a kitchen into a public space through a sonic performance artwork. The kitchen table is a platform for exploring, repositioning and amplifying kitchen tools as material phenomena through electronic and manual manipulation into an immersive sonic performance installation. This platform becomes a collaborative social space, where somatic movement and sensory, sonic power of the repositioned kitchen tools are built on a relational architecture of iterative sound performances that position the art historical and the sociopolitical, transforming disciplinary interpretations of the body and technology as something that is not specifically exclusively human but post-human. A Public Kitchen represents a pedagogical strategy for organizing and responding collectively to the local, operating as an independent nomadic event that speaks through a creative practice that is an unfolding process. (Re)imagining the social in a Public Kitchen produces noisy affects in a sonic intra-face that can contribute to transforming our social imaginations, forming daring dissonant narratives that feed post-human ethical practices and feminist genealogies. This paper reveals what matters—a feminist struggle invaluable in channeling the intra-personal; through the entanglement of the self, where language, meaning and subjectivity are relational to human difference and to what is felt from the social, what informs from a multi-cultural nomadic existence and diffractive perspective. The labored body is entangled with post-human contingencies of food preparation, family and social history, ritual, tradition, social geography, local politics, and women’s oppression; and is resonant and communicates as a site where new sonic techniques of existence are created and experiences shared.
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Wang, Zhuoyi. "From Mulan (1998) to Mulan (2020): Disney Conventions, Cross-Cultural Feminist Intervention, and a Compromised Progress." Arts 11, no. 1 (December 26, 2021): 5. http://dx.doi.org/10.3390/arts11010005.
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Directed by the feminist filmmaker Niki Caro, Disney’s 2020 live-action remake of Mulan (1998) strove to be a more gender progressive, culturally appropriate, and internationally successful adaptation of the Chinese legend of Mulan than the animated original. Contrary to the film’s intended effect, however, it was a critical and financial letdown. The film was criticized for a wide range of issues, including making unpopular changes to the animated original, misrepresenting Chinese culture and history, perpetuating Orientalist stereotypes, and demonizing Inner Asian steppe nomads. In addition, the film also faced boycott calls amid political controversies surrounding China. It received exceptionally low audience ratings in both the US and China, grossing a total well under its estimated budget. This article argues that Mulan (2020) is not, as many believe, just another Disney film suffering from simple artistic inability, cultural insensitivity, or political injustice, but a window into the tension-ridden intersectionality of the gender, sexual, racial, cultural, and political issues that shape the production and reception of today’s cross-cultural films. It discusses three major problems, the Disney problem, the gender problem, and the cultural problem, that Mulan (2020) tackled with respectful efforts in Caro’s feminist filmmaking pattern. The film made significant compromises between its goals of cultural appropriateness, progressive feminism, and monetary success. Although it eventually failed to satisfactorily resolve these at times conflicting missions, it still achieved important progress in addressing some serious gender and cultural problems in Mulan’s contemporary intertextual metamorphosis, especially those introduced by the Disney animation. By revealing Mulan (2020)’s value and defects, this article intends to flesh out some real-world challenges that feminist movements must overcome to effectively transmit messages and bring about changes at the transcultural level in the arts.
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O'Dell, Yvonne, and Oliver J. T. Harris. "What Can A [Feminist] Body Do? Immanent and Emergent Capacities of Bodies at Chinchorro and Wor Barrow." Cambridge Archaeological Journal 32, no. 2 (February 24, 2022): 295–303. http://dx.doi.org/10.1017/s095977432100055x.
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What can a body do? To answer Baruch Spinoza's question, we engage with posthumanist feminist concepts of nomadic subjectivity and relations with non-humans. Through an exploration of two ‘patches’, the Chinchorro Mummies of the Atacama Desert in South America and the burials at Wor Barrow in the Neolithic of southern England, we suggest that these approaches open up a new way of encountering past bodies. What capabilities do bodies, past and present, have? This question is one in which bodies’ capacities are revealed as immanent, historically contextual and emergent.
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Braidotti, Rosi. "Punk Women and Riot Grrls." Performance Philosophy 1, no. 1 (April 10, 2015): 239. http://dx.doi.org/10.21476/pp.2015.1132.
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This paper deals with feminist cultural politics, nomadic thought and media activism. It combines theoretical insights from Gilles Deleuze’s philosophy with Riot Grrrl bands and women’s punk music. The paper explores two central aspects of the Pussy Riot’s performances: the visual and the musical. The visual includes an analysis of “the face” as a landscape of both power and resistance and discusses also the function of the mask as a cultural and political device. It then highlights the role of iconic images like Queen Beatrix, Angela Davies, the Guerrilla Girls and others in popular culture. The musical component includes Janis Joplin, the ultimate Riot Grrrl band Bikini Kill, Nina Hagen and, of course, Pussy Riot. Embodying the slogan “If I can’t dance, I don’t want to be part of your revolution” the paper argues for an affirmative and creative approach to feminist theory and practice and to contemporary cultural politics.
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Mortensen, Ellen. "Butches and nomads: The dynamic imperative in feminist theory." NORA - Nordic Journal of Feminist and Gender Research 4, no. 1 (January 1996): 53–62. http://dx.doi.org/10.1080/08038740.1996.9959689.
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Braidotti, Rosi. "Nomadism with a difference: Deleuze's legacy in a feminist perspective." Man and World 29, no. 3 (July 1996): 305–14. http://dx.doi.org/10.1007/bf01248440.
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Murray, Ros. "Revisiting Jeanne Dielman: Autour de Jeanne Dielman (2004), Woman Sitting After Killing (2001) and Akerman’s ‘cinéma de ressassement’." Moving Image Review & Art Journal (MIRAJ) 8, no. 1 (September 1, 2019): 54–66. http://dx.doi.org/10.1386/miraj_00005_1.
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This article revisits Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975), seeking to map its nomadic trajectories through different media. I elaborate on Akerman’s notion of a ‘cinéma de ressassement’, a cinema of mulling over or chipping away. Rather than focusing on the film itself, I concentrate on two lesserknown works that explicitly return to Jeanne Dielman, functioning both as works in their own right and as paratexts, revealing the film’s processes in different but corresponding ways: the installation Woman Sitting After Killing, made for the 2001 Venice Biennale, and Autour de Jeanne Dielman, a making-of documentary shot on Portapak by Sami Frey in 1975, edited by Akerman and Agnès Ravez in 2004, and released as a special feature on the Criterion Collection DVD edition of the film. The article contends that these two ‘returns’ to Jeanne Dielman rework the complex temporalities of the film in addition to revisiting its political concerns. Autour de Jeanne Dielman places Jeanne Dielman squarely within a feminist framework through its central positioning of Delphine Seyrig’s feminist discourse. I map the ways in which ressassement exposes the processes of a feminist filmmaking concerned with disrupting ‘chrononormative’ (Elizabeth Freeman) narratives. Building on B. Ruby Rich’s characterization of Akerman’s work as a ‘cinema of correspondence’, ultimately the article asks what counts as productive labour, suggesting that Akerman’s returns to Jeanne Dielman highlight its commitment to feminist and queer failure as a productive working method.
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Helm, Yolande. "Nomadic Voices of Exile: Feminine Identity in Francophone Literature of the Maghreb by Valérie Orlando." Women in French Studies 8, no. 1 (2000): 241–42. http://dx.doi.org/10.1353/wfs.2000.0032.
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Blackmore, Jill. "Tracking the nomadic life of the educational researcher: What future for feminist public intellectuals and the performative university?" Australian Educational Researcher 30, no. 3 (December 2003): 1–24. http://dx.doi.org/10.1007/bf03216795.
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Carlyle, Donna, and Kay Sidebottom. "Deleuze Becoming-Mary Poppins: Re-Imagining the Concept of Becoming-Woman and Its Potential for Challenging Current Notions of Parenting, Gender and Childhood." Humanities 10, no. 4 (October 20, 2021): 113. http://dx.doi.org/10.3390/h10040113.
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In this paper, we consider the major and controversial lexicon of Deleuze’s ‘becoming-woman’ and what an alternative re-working of this concept might look like through the story of Mary Poppins. In playfully exploring the many interesting aspects of Travers’ character, with her classic tale about the vagaries of parenting, we attempt to highlight how reading Mary Poppins through the Deleuzian lens of ‘becoming-woman’ opens up possibilities, not limitations, in terms of feminist perspectives. In initially resisting the ‘Disneyfication’ of Mary Poppins, Travers offered insights and opportunities which we revisit and consider in terms of how this fictional character can significantly disrupt ideas of gender performativity. We endeavour to accentuate how one of its themes not only dismantles the patriarchy in 1910 but also has significant traction in the twenty- first century. We also put forth the idea of Mary Poppins as an icon of post-humanism, a nomadic war machine, with her robotic caring, magic powers and literal flights of fancy, to argue how she ironically holds the dual position of representing the professionalisation of parenting and the need to move beyond a Dionysian view of children as in need of control and regulation, as well as that of nurturer and emancipator. Indeed, in her many contradictions, we suggest a nomadic Mary Poppins can offer a route into the ideas of Deleuze and his view of children as de-territorialising forces and activators of change.
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Widegren, Kajsa, and Linnea Isberg. "Perversa flickfantasier - Anne-Marie Berglunds textlekar, rumsligheter och ironier." Tidskrift för genusvetenskap 34, no. 2-3 (June 13, 2022): 89–109. http://dx.doi.org/10.55870/tgv.v34i2-3.3370.
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This article examines short stories by the Swedish writer Anne-Marie Berglund (1952- ). The starting point for the article is the possibility of a literary deconstruction of the stable, chronologically aging and developing subject. By analysing girlhood, not foremost as an age category, but rather as nomadic subjectivity, a gettingaway- from feminine adulthood, we observe how Berglund and the characters of her writings find ways to escape from, play with and undermine, or in other ways resist, the seriousness and limitations of adulthood. The theoretical work of Rosi Braidotti, with the concept nomadic subjects, is used in the article to link thinking, emotions and fantasies as important aspects of the literary analysis of age, not as stable, biological ground, but as contextual states of body and mind. Judith/Jack Halberstam and Sara Ahmed’s theorizations of queer time and space, and their deconstruction of life narratives are also used to point out the disruptions and spaces that are created in Berglund’s short stories. The article identifies three different important themes in Berglund’s work, presented in three parts. The first is ”Nomadic age – time and place”, a section which examines how adulthood capacities are found in girl characters that need to run away in order to escape age-normativity. The second is ”Spatialities” that examines the agency of rooms and objects in Berglund’s short stories, and the third part analyses the ironic mirroring of the European culture of seriousness. We also identify a meta-perspective on writing, where the literary texts open up for a linking of creativity, embodiment and critique of psychoanalytical discourses on hysteria and the woman writer as an intruder and paradox in the literary landscape. This meta-perspective occurs throughout the entire work of Berglund, commenting on the multiple ways her characters resist and undermine restrictions of the writing woman.
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Hamer, Magda. "SUBJECTIVITY, CREATIVE ACT AND EROS OF WOMEN: "THE ESSENCE" COMIC AND SELECTED FEMINIST THEORIES." Kultura Popularna 60, no. 2 (January 31, 2020): 60–70. http://dx.doi.org/10.5604/01.3001.0013.7334.
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Starting from the modern interpretation of the theories: parler femme by Luce Irigaray (adopting a speaking position that will enable woman/women to articulate their own sexuality, speak with their own voice) and écriture feminine by Hélène Cixous (a text freed by writing a female desire that carries the potential of revolutionary transformations) I come to the theory of the nomadic subject by Rosi Braidotti (the central categories are movement, changeability and the endless process of shaping the subject). I ask questions about the possibilities and limitations of finding or building a female identity and subject through creativity, empowering women in the domain of images related to sexuality, and the right to talk about their desires as creating their own place in the space of culture. As an example of creative acts building subjectivity, I present an erotic comic "Being" which is the first collective work on Polish soil that is supposed to express erotic fantasies from the perspective of women.
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Gould *, Elizabeth. "Feminist theory in music education research: grrl‐illa games as nomadic practice (or how music education fell from grace)." Music Education Research 6, no. 1 (March 2004): 67–79. http://dx.doi.org/10.1080/1461380032000182849.
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Ghaussy, Sohelia. "Das Vaterland verlassen: Nomadic Language and "Feminine Writing" in Emine Sevgi Ozdamar's Das Leben ist eine Karawanserei." German Quarterly 72, no. 1 (1999): 1. http://dx.doi.org/10.2307/407900.
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Mantin, Ruth. "Can Goddesses Travel with Nomads and Cyborgs? Feminist Thealogies in a Postmodern Context." Feminist Theology 9, no. 26 (January 2001): 21–43. http://dx.doi.org/10.1177/096673500100002603.
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Aljbour, Atef Fleih, and Fawwaz Al-Abed Al-Haq. "An Investigation of Feminine Personal Names in Beni Sakhr Tribe of Jordan: A Sociolinguistic Study." International Journal of Linguistics 11, no. 6 (November 13, 2019): 41. http://dx.doi.org/10.5296/ijl.v11i6.14960.
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The research paper examined the feminine personal names within Beni Sakhr tribe, which inhabits the Jordanian central desert with the aim of pointing out the sociolinguistic implications of the names, and the differences in naming practices throughout three generations (grandmothers, mothers. daughters). For this reason, 300 names of female school students in the elementary stage were obtained from Almwaqqar Directorate of Education alongside their mothers and grandmothers. Analysis of a total number of 900 names, divided equally between the three categories, revealed that 69 % of the grandmothers' names are Bedouin-exclusive names opposed to (9%) and only (2%) of the mothers and daughters’ names respectively. Grandmothers’ names derive mainly from the needs of the dwellers of desert regions, the severe conditions they experienced, and the social values of the Jordanian nomadic tribes. Only 9 (3%) names of a religious background are identified in this category compared to 42 (14%) in the mothers’ names and 25 (8.3%) in the daughters’ names. In general, the paper finds evidence to suggest that the change in the lifestyle of Beni Sakhr tribe does influence the naming practice in this community.
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Adil Mohammed, Jwan. "Doris Lessing’s Our Friend Judith as a Projection of Liberal Feminism." Arab World English Journal For Translation and Literary Studies 6, no. 2 (May 24, 2022): 111–19. http://dx.doi.org/10.24093/awejtls/vol6no2.8.
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The current study attempts to provide light on Doris Lessing’s prominence as one of the most influential English novelists of the 1960s. She is an author who is interested in the portrayal of Western women’s identities of 20th-century English society. She has presented the socio-economic status of women in the masculine society through the characters of Judith and Betty. This study would like to demonstrate Lessing’s treatment of the question of socio-economic, and cultural inequalities with regard to women of modern times as reflected in Our Friend Judith. Judith represents a generation of open-minded, strong, independent, and unfettered women who support liberal causes for other women with dedication and noble mission. On the other hand, Betty has matched herself with the features of a nomad because of her traditional imprisonment. So, this study aims to foster a difference between a liberal woman and a traditional woman to foster the practical picture of women’s status in the masculine society. It would like to examine Lessing’s treatment of liberal feminism through the art of characterization and plot construction.
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A, Poongodi. "Virali and Artistic Background Change." International Research Journal of Tamil 3, no. 4 (August 31, 2021): 24–31. http://dx.doi.org/10.34256/irjt2144.
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Humans carried the ideas that came to their minds to the people through the arts. Artists are those who have the power to express the arts to others through their culture. The role of such artists in the Sangam era was of great importance. Ninga had a place in the kingdom and in the battlefields. In Sangam songs, the words for the artist were Panar, Porunar, Kuiluvar, Vayiriyar, Viraliyar, Kuttar, Kannular and Patiniyar. Although all of these are generic, there is a subtle difference between the names in terms of musical instruments' playing, dancing, and singing skills. Of these, Viraliyar is a feminist and singer. Virali is a performer who leads a nomadic life. Virali, who excelled in receiving gifts, exemplified the success of kings through their arts. The literature shows that they received valuables gifts like mountain, country, gold, jewelers when they sang songs in praise of the kings. In perumpanatrupadaiviralis beauty was lauded from head to toe. The detailed description is present inkesathipatha. From these descriptions we can get to understand their significance. Such a beautiful and elegantviralis transferred intoparaththiyarover a period of time.
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Dzierżyc-Horniak, Anna. "Kobieta jest nomadką, kobieta jest artystką. Spojrzenie na panny młode w podróży Pippy Bacca i Silvii Moro w feministycznym ujęciu Rosi Braidotti." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 168–92. http://dx.doi.org/10.5604/01.3001.0012.9848.
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The text is an attempt at looking at the art project Brides on Tour from the perspective of the nomadic subjectivity by Rosi Braidotti. The project, in the new context lent by the death of Giuseppina Pasqualino di Marineo, known under as Pippa Bacca, gave rise to diverse commentaries, at the same time becoming a reference point for successive artistic and social endeavours. The article analyses the strategy undertaken by “the brides” as women-artists, the cultural symbols and archetypes used by them, while as a counterweight questions are asked about the faith in unconditioned hospitality in the frames of what Jacques Derrida called “Abraham” tradition as well as about the presence of women in public space. As a result, the project seems to be an artistic performance, which demands including the specific, embodied female experience to be a subject in culture and politics. Its true value is located in the acquired experience; in the exchange that the artists initiate with people encountered on their way; in breaking the borders between art and everyday life. This is quite an alternative model of art and as such is an answer to the feminist demands of Rosi Braidotti.
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Sellberg, Karin. "Rosi Braidotti (2002) Metamorphoses: Towards a Feminist Theory of Becoming, Cambridge: Polity Press. Rosi Braidotti (2006) Transpositions: On Nomadic Ethics, Cambridge: Polity Press." Deleuze Studies 2, Suppl (December 2008): 137–40. http://dx.doi.org/10.3366/e1750224108000408.
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Kuduma, Anda. "Lokālais un globālais Guntas Šnipkes dzejā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 143–51. http://dx.doi.org/10.37384/aplkp.2020.25.143.
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The article deals with the representation and interaction of the local and global elements in Liepāja poet and professional architect Gunta Šnipke’s poetry writing. The research aims to establish and evaluate the importance of local and global aspects in Šnipke’s poetry creation process by determining the conceptually characteristic ways in the formation of poetic expression. The article particularly emphasizes the phenomenon of memory which reveals the dimension of time in Šnipke’s poetry space, allows to speak not only of the individual but also of the cultural memory by precise emphasis of concrete geographic places, topographic details (showing both the local and global scale) which have directed the author to an observation. The phenomenon of memory reveals the dimension of time and illuminates several levels of individual and collective memory – historical, cultural, autobiographical, feminine. The theoretical and methodological basis of the research includes the viewpoints of feminism theoreticians (Rosi Braidotti, Virginia Woolf and others) on the aspects of mental nomadism in the perspective of gender studies, as well as several aspects of the cultural memory research (works by Aleida Assmann, Marija Semjonova and others). The local and global issues have been researched mostly in Šnipke’s newest poetry collection “Ceļi” (‘Roads’, 2018) concurrently demonstrating the broader context and development process of the poet’s creative activity since the publishing of the first two poetry collections – “…Bērns ienāca…” (‘…A Child Came in…’, 1995), “...Un jūra” (‘…And the Sea”, 2008). The dominant of Šnipke’s poetic expression is a powerful impulse of thought which allows the creation of broader contexts concerning the current events and phenomena, thus expanding the boundaries of experience established by the strict form. The poet’s strong intellect is in a certain confrontation with an equally strong emotional experience. Šnipke’s poetry is characterised not only by the natural union of the intellectual and emotional elements in one poem but also by a successful amalgamation of various important levels – geographical, cultural and historical, social and personal, autobiographical. This feature is soundly used in creating the artistic concept of the poetry collection “Ceļi”. The collection was highly praised by professionals and awarded by several significant literary prizes. Šnipke’s poetry coincides with the current tendencies in the contemporary Latvian poetry process both in content and form; the poetic thought is mostly expressed in expanded and associatively dense syntactic structures. Šnipke’s poetry complies with the feminine poetry tendency to record the history of one’s own family within significant historic events pouring the individual experiences into layers of collective experience. Personal and seemingly insignificant becomes of global importance joining the space of common European memory, the distant and foreign phenomena are made closer and more understandable. In the longer forms, a woman and the feminine language become the main narrators of the past.
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Ilea, Laura T. "La littérature féminine en infrarouge. Au-delà du nihilisme." Caietele Echinox 43 (December 1, 2022): 401–13. http://dx.doi.org/10.24193/cechinox.2022.43.27.
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The article analyzes two versions of feminine nihilism in the French-speaking Canada: Nelly Arcan, especially in her posthumous book, Burqa de chair, and Catherine Mavrikakis, in two of her novels, Deuils cannibales et mélancoliques and La ballade d’Ali Baba. By emphasizing the terms mélanomanie and néantisme, the headliners of the “professors of despair” in the homonymous book by Nancy Huston, my text defends the idea that the story-telling operation specific to the search for the “great novel” in La ballade d’Ali Baba is capable, through its reiteration of nomadism, cosmopolitanism and a “poisoned narrative”, to overcome the nihilism inherent to the solipsistic writings of Nelly Arcan.
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Gedalof, Irene. "Can nomads learn to count to four?: Rosi Braidotti and the space for difference in feminist theory." Women: A Cultural Review 7, no. 2 (September 1996): 189–201. http://dx.doi.org/10.1080/09574049608578273.
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Lentin, Ronit. "‘Irishness’, the 1937 Constitution, and Citizenship: A Gender and Ethnicity View." Irish Journal of Sociology 8, no. 1 (May 1998): 5–24. http://dx.doi.org/10.1177/079160359800800101.
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This paper argues that ‘Irishness’ has not been sufficiently problematised in relation to gender and ethnicity in discussions of Irish national identity, nor has the term ‘Irish women’ been ethnically problematised. Sociological and feminist analyses of the access by women to citizenship of the Republic of Ireland have been similarly unproblematised. This paper interrogates some discourses of Irish national identity, including the 1937 Constitution, in which difference is constructed in religious, not ethnic terms, and in which women are constructed as ‘naturally’ domestic. Ireland's bourgeois nationalism privileged property owning and denigrated nomadism, thus excluding Irish Travellers from definitions of ‘Irishness’. The paper then seeks to problematise T.H. Marshall's definition of citizenship as ‘membership in a community’ from a gender and ethnicity viewpoint and argues that sociological and feminist studies of the gendered nature of citizenship in Ireland do not address access to citizenship by Traveller and other racialized women which this paper examines in brief. It does so in the context of the intersection between racism and nationalism, and argues that the racism implied in the narrow definition of ‘Irishness’ is a central factor in the limited access by minority Irish women to aspects of citizenship. It also argues that racism not only interfaces with other forms of exclusion such as class and gender, but also broadens our understanding of the very nature of Irish national identity.
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Figueredo, Maria. "Painting, literature and film in Colombian feminine culture, 1940–2005: of border guards, nomads and women." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 38, no. 2 (July 3, 2013): 342–44. http://dx.doi.org/10.1080/08263663.2014.940722.
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Rojas-Sotelo, M. "Painting, Literature, and Film in Colombian Feminine Culture, 1940-2005: Of Border Guards, Nomads, and Women." Hispanic American Historical Review 94, no. 2 (January 1, 2014): 340–41. http://dx.doi.org/10.1215/00182168-2641496.
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Lin, Lu. "If you are in, you will understand: A new ‘dress code’ on TikTok is reframing lesbian teens’ safe space." Fashion, Style & Popular Culture 00, no. 00 (July 20, 2022): 1–15. http://dx.doi.org/10.1386/fspc_00145_1.
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I intend to offer in this article a visualized research of teenager lesbian style on TikTok and a discourse of queer safe spaces in networked contexts. Due to the influence of the queer feminist movement, the social acceptance of queerness has increased in most countries. Lesbian, gay, bisexual, transgender and questioning groups are no longer limited by the gay ‘dress code’, which is historically used to protect queer identity from discrimination and violence. During my personal nomadic experience moving from China to the Netherlands, I noticed that it is hard to pick out someone who ‘looks gay’ in the street. The freedom of dressing and self-expression has gradually become universal in western countries. Whereas, without legalized same-sex marriage in mainland China, visibility in style is still a signification of sexuality and a way of communication. Beyond the diversity of style, a new form of lesbian ‘dress code’ on TikTok has triggered me to examine safe spaces for teenagers. Due to the COVID-19 pandemic, the fashion industry finds itself in a challenging condition, which is accelerating its digital transformation. An increasing number of fashion labels see potential in TikTok as a new public territory to practise self-exploration for numerous teens. By analysing the visual content and interviewing four TikTok creators, this article addresses the gap between public and insider prejudice around codes of dressing. It proposes not only to rethink the relation between fashion and identity but also to ruminate on queer safe space through researching ways of dressing.
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Fonio, Filippo. "Straniamenti e spaesamenti di Luigi Gualdo." Incontri. Rivista europea di studi italiani 36, no. 1 (September 9, 2021): 95–105. http://dx.doi.org/10.18352/inc11009.
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Estrangement and Out-of-Placeness in the Works of Luigi Gualdo
Characters and places between ideal and reality, cosmopolitanism and uprooting
This paper focuses on the different forms of estrangement and out-of-placeness which can be found in Luigi Gualdo’s works. Gualdo (1844-1898) was a prominent writer whose works are influenced by French realism and Parnasse, Italian scapigliatura and the European decadence and estheticism. Moreover, he lived between France and Italy and he was one of the main passeurs between French and Italian literature of his time. This particular condition of the writer is reflected in his works and in particular in the portraiture of his characters, which are often rootless artists and mundane women with a strong component of cosmopolitism. The aim of this paper is to analyse some of the characteristics and features of Gualdo’s characters according to the parameters of estrangement and out-of-placeness. In particular I will focus on the ambiguous nature of the relation between ideal world and reality, of artistic genius and its place in society and the normal world, as well as on more specific topics related to the subject, such as spleen, places described as theatrical decors, hotel rooms and feminine nomadic attitudes, cosmopolitism as both a challenge and an opportunity for the characters. I will conclude on a specific issue regarding the struggle between the estranged character, time, and aging.
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Osborne, Elizabeth. "Desiring Domestic Workers in "The Maid" and "The Desert Bride"." Comparative Cinema 8, no. 15 (December 14, 2020): 41–59. http://dx.doi.org/10.31009/cc.2020.v8.i15.04.
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This article analyzes the representation of feminine desires in two Southern Conefilms, The Maid (La nana, Sebastián Silva, Chile, 2009) and The Desert Bride (La novia del desierto, Valeria Pivato and Cecilia Atán, Argentina/Chile, 2017), that feature female protagonists who have worked as live-in domestic employees for the same families for over twenty years. Both films eschew traditional depictions of domestic workers as either servile or aggressive to instead present these women as desiring and desirable subjects, thereby questioning how desire and desirability are determined by dominant social norms of femininity predicated on privileges of age, class, and race. Following Rosi Braidotti’s work on nomadism, the article examines desire, as depicted in these films, as a fluid notion that emphasizes transformation and the process of becoming. Ultimately the desires that the protagonists experience in horizontal, affective relationships lead them to embrace newfound independence outside of employment.
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Koski, Pirkko. "Challenging the Centre: Asylum Seekers Encounter Native Citizens." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 42. http://dx.doi.org/10.7146/nts.v27i1.24238.
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In Paper Anchor (Paperiankkuri) at the Small Stage of the Finnish National Theatre in 2011 a group of actors, dancers, asylum seekers and eventually also stage technicians (re-)enacted the asylum seekers’ stories: how they had fled their home countries, feared for their lives and faced problems in their country of destination, Finland. It brought the spotlight on asylum seekers, who occupy a marginal position in society and made them visible on many levels: they were present in the stories that were told on stage, in the encounter between performers and spectators and in an art institution that has great national significance. The periphery and the centre, in this case the asylum seekers and the native Finns, met in shifting circumstances and also in a way that is characteristic of the theatre: the performers and spectators were simultaneously physically present, whereas the public debate on refugee issues usually takes place in written texts. In Paper Anchor, the asylum seekers also assumed the role of a witness, whereas in official processes they are obligated to defend themselves and search for evidence. The impact of Paper Anchor was largely based on the aesthetic form of the performance. Although the dominant power structures between the centre and the periphery remained untouched, theatre testified to its ability to affect the spectator through the presence of individual subjects and consequently their subject positions. The debate was shifted to differences within a culture instead of between cultures, as Rosi Braidotti writes: “It is the syntax of social relations, as well as their symbolic representation, that is in upheaval.” (Rosi Braidotti, Nomadic Subjects. Embodiment and Sexual Difference in Contemporary Feminist Theory, Columbia University Press, New York 2011, p.8.)