Relevant bibliographies by topics / Precarity reading

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  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters

Academic literature on the topic 'Precarity reading'

Author: Grafiati
Published: 30 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Precarity reading"

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Birmingham, Peg. "Superfluity and Precarity." Philosophy Today 62, no. 2 (2018): 319–35. http://dx.doi.org/10.5840/philtoday201865217.

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In this essay I take up Butler’s and Arendt’s respective accounts of the production of precarity and superfluity, asking whether they are proximate accounts, as they seem to be, or whether Butler’s turn to precarity misses the radical nature of Arendt’s genealogy of the production of superfluity, a genealogy that begins at the inauguration of modernity, attempts to find a “perfect superfluousness” in the death camps, and continues unabated in the contemporary global world. Reading Arendt against Butler, I argue that an ontology rooted in bodily precariousness cannot adequately address the production of superfluity which produces precarity as one of its effects. If precarity is an effect of superfluity, as I argue it is, then precarity’s remedy is found not in an appeal to the general ontological condition of bodily precariousness, but in a confrontation with the production of superfluity that threatens to eradicate all conditions of worldly and earthly existence, including the ontological condition of bodily vulnerability.
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Ridout, Nicholas, and Rebecca Schneider. "Precarity and Performance: An Introduction." TDR/The Drama Review 56, no. 4 (December 2012): 5–9. http://dx.doi.org/10.1162/dram_a_00210.

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Precarity has become a byword for life in late and later capitalism. How do we pay attention to precarity—economic precarity, neoliberal precarity—through a close reading of the performing body? Does the place of the arts in global capitalism, and the particular relations implied by “affective labor” and “creative capital,” mean that we are working and living in the affect factory? What can theatre and performance tell us about this condition?
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Smith, Chris, and Ngai Pun. "Class and Precarity: An Unhappy Coupling in China’s Working Class Formation." Work, Employment and Society 32, no. 3 (June 2018): 599–615. http://dx.doi.org/10.1177/0950017018762276.

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In refuting Guy Standing’s precariat as a class, we highlight that employment situation, worker identity and legal rights are mistakenly taken as theoretical components of class formation. Returning to theories of class we use Dahrendorf’s reading of Marx where three components of classes, the objective, the subjective and political struggle, are used to define the current formation of the working class in China. Class is not defined by status, identity or legal rights, but location in the sphere of production embedded within conflictual capital–labour relations. By engaging with the heated debates on the rise of a new working class in China, we argue that the blending of employment situation and rights in the West with the idea of precarity of migrant workers in China is misleading. Deconstructing the relationship between class and precarity, what we see as an unhappy coupling, is central to the article.
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Schneider, Rebecca. "It Seems As If…I Am Dead: Zombie Capitalism and Theatrical Labor." TDR/The Drama Review 56, no. 4 (December 2012): 150–62. http://dx.doi.org/10.1162/dram_a_00220.

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Reading the zombie marches of the Occupy Wall Street movement beside a 2011 production of Ibsen's play John Gabriel Borkman raises questions about theatrical labor in neoliberal capitalism. What happens when “dead labor” plays live onstage? Or when live protest actions are played across the living dead? Perhaps the answers can be found in considering economic precarity and precarity in/as performance together.
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Shams, Parisa. "Revisiting The Father: Precarity and subversive performativity." Feminist Theory 19, no. 3 (November 20, 2017): 289–302. http://dx.doi.org/10.1177/1464700117741244.

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The ambiguity of August Strindberg’s approach to women has engendered varying interpretations, including accusations of misogyny. Among his allegedly misogynistic plays is the 1887 naturalistic masterpiece, The Father. Chronologically coinciding with the rise of the women’s movement in Sweden, The Father, rather than endorsing a misogynistic culture, allows for an alternative reading that contributes to the destabilisation of gender binaries and an understanding of gender identities as relational and performative. In its portrayal of a fierce struggle between a seemingly diabolic wife and a supposedly tyrannical husband, the play delves deeply into the dynamics of gender and the subversion of normatively established orders. This article analyses Strindberg’s play in relation to Slavoj Žižek’s conception of the ‘femme fatale’ and Judith Butler’s account of gender performativity to illustrate how the play’s central characters performatively subvert the hegemonic norms by which they are constituted.
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Bulut, Ergin. "Can the Intern Resist? Precarity of Blue-Collar Labor and the Fragmented Resistance of the White-Collar Intern in Laurent Cantet’s Human Resources." Journal of Communication Inquiry 41, no. 1 (July 24, 2016): 42–59. http://dx.doi.org/10.1177/0196859916658028.

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Drawing on the literature regarding internships and cinema of precarity, this article addresses how one “learns” to intern and negotiate his or her class identity between a blue-collar past and white-collar future through an analysis of Laurent Cantet’s Human Resources. In contrast to Lauren Berlant’s astute though pessimist reading of the movie, I propose that internships may highlight the creative and organizing potential of labor power. A critique of Human Resources serves as an analytical lens through which the constitutive role of internship, its political desire to lead to crisis at work and its ability to resist precarity, albeit in a fragmented manner, may be revealed.
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Sen, Malcolm. "Risk and Refuge: Contemplating Precarity in Irish Fiction." Irish University Review 49, no. 1 (May 2019): 13–31. http://dx.doi.org/10.3366/iur.2019.0376.

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Financial speculation and capitalist accumulation leave spatial and temporal traces. When the waves of the global financial collapse reached Ireland and culminated in the extreme measure of the comprehensive state guarantee, the receding excesses of the Celtic Tiger revealed a landscape that was gentrified and alienating. The spectrality of the ghost estates of Ireland became a synecdochal signifier of Ireland's ignominious fall from the podium of neoliberal grace and the focus of both popular lament and critical intervention. This essay provides a deferred assessment of the uncanniness of dwelling in post-Celtic Tiger Ireland by concentrating on the socioecological fallout of ruins and the longterm casualties of land speculation: that is, transformations of landscape into real estate, and of place into property. Reading Ireland's ghost estates as ‘imperial formations’ that ‘register the ongoing quality of processes of decimation, displacement, and reclamation’ – to use Ann Laura Stoler's term – the essay brings to the fore questions of dwelling and homeliness that suggest more protracted imperial processes which ‘saturate the subsoil of people's lives and persist, sometimes subjacently, over a longer durée’. To demonstrate these arguments the essay will analyse works by Kevin Barry, Sara Baume, and Claire Keegan.
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Parker, Deven M. "Precarious Correspondence in The Woman of Colour." Essays in Romanticism 27, no. 2 (October 1, 2020): 135–51. http://dx.doi.org/10.3828/eir.2020.27.2.4.

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This essay argues that the expansion of the transatlantic packet network in Napoleonic-era Britain informs the form, politics, and racial discourse of the 1808 epistolary novel, The Woman of Colour. My reading of this text demonstrates that it draws upon the political instability of the wartime packet network in order to underscore its heroine’s social and emotional precarity as a woman of color, forced into marriage abroad. Departing from readings that assert Olivia Fairfield’s ability to transcend her precarious situation and achieve autonomy, I demonstrate that the novel’s invocation of the transatlantic packet context in fact casts doubt on her ability to escape from or transcend her predicament. In refusing to provide a hopeful ending, the novel instead offers a powerful, pessimistic condemnation of racism and misogyny in England.
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Cirolia, Liza Rose, and Suraya Scheba. "Towards a multi-scalar reading of informality in Delft, South Africa: Weaving the ‘everyday’ with wider structural tracings." Urban Studies 56, no. 3 (March 27, 2018): 594–611. http://dx.doi.org/10.1177/0042098017753326.

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Informality is a critical theme in urban studies. In recent years, ‘the everyday’ has become a focus of studies on informality in African cities. These studies focus on particularity and place. They offer a useful corrective to top-down and universalising readings which exclude the daily experiences and practices of people from analysis. As we show in this article, everyday studies surface valuable insights, highlighting the agency and precarity which operates at the street level. However, a fuller understanding of informality’s (re)production requires drawing together particularist accounts with wider and more structural tracings. These tracings offer insights into the ways in which state and financial processes influence and interface with the everyday. In this article, we use the case of housing in Delft, a township in Cape Town, to demonstrate this approach and argue for a multi-scalar and relational reading of the production of informality.
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Ridinger-Dotterman, Angela. "Precarity as Personhood in Kazuo Ishiguro’s Never Let Me Go." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 65–85. http://dx.doi.org/10.2478/abcsj-2018-0017.

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Abstract Kazuo Ishiguro’s Never Let Me Go lures readers into a dystopic world that has the artifice of a country boarding school. When the characters to which readers have become attached are revealed to be clones raised for organ harvesting, the novel forces the readers to confront questions about what it means to be human, and at what cost humanity is willing to preserve itself. In this science fiction narrative about cloning, Ishiguro invokes multiple representations of the disabled body: the clones have been created, to ameliorate disability from the rest of society. Their organs are harvested to forestall the inevitable disabilities that the ailing or aging body will experience. The novel also replicates the social apparatuses that have traditionally been used to contain and eliminate disability. Reading Ishiguro’s narrative of cloning from a disability studies perspective reveals the novel’s use of defamiliarization as a literary technique to examine both the ideological constructions of disability and the physical structures that have contained disabled bodies during the nineteenth and twentieth centuries. Finally, approaching Never Let Me Go from this critical perspective reveals the novel’s answer to the central question it poses: What does it mean to be human?
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Dissertations / Theses on the topic "Precarity reading"

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Jonsson, Martina. "”Den här platsen krossar de som är gjorda av glas. Gör kroppar till skärvor.” : Prekaritetsläsningens möjligheter i Sara Stridsbergs Kärlekens Antarktis och Elin Perssons De afghanska sönerna." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105049.

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This thesis focuses on the possibilities of precarity as a perspective in the field of literary studies in order to analyse how insecurity is portrayed in literature. Sweden has a great tradition of proletarian literature, but researchers in the neoliberal era find it problematic to understand the emancipating aspects of the new proletarian literature that does not focus on collective movement and articulated emancipation. This thesis explores the possibilities of precarity as a perspective for analysing how literature narrated through an individual and passive perspective can work as a social critique. The analysis focuses on the novels Kärlekens Antarktis [The Antarctica of Love] by Sara Stridsberg and De afghanska sönerna [The Afghan Sons] by Elin Persson and tries to answer questions about how these novels portray precarity and how the perspective of precarity enables an understanding of how the novels work as social criticism. The thesis mostly uses theories by Judith Butler and Isabell Lorey, and the analysis uses a comparative method in combination with a reading that focuses on the thematics of precarity. This is disposed in connection to Lorey’s three dimensions of precarity – precariousness, precarity, and governmental precarization. The analysis results in an understanding of how these kinds of novels can capture the biopolitical perspective, where politics and life emerge. The reading’s focus on the aspect of the body, followed by the hierarchical and societal aspects, shows how the novels’ individual perspectives can have collective tendencies in connection to the reader’s ability to feel solidarity with the characters.
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Book chapters on the topic "Precarity reading"

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Laursen, Ole Birk. "Reading the Riots: Precarity, Racial Injustice and Rights in the Novels of Alex Wheatle." In Reworking Postcolonialism, 214–28. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137435934_14.

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Connell, Liam. "Anxious reading." In Precarity in Contemporary Literature and Culture. Bloomsbury Academic, 2021. http://dx.doi.org/10.5040/9781350166738.0008.

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Heuguet, Guillaume. "Reading inquiry through the prism of unemployement." In Savoirs de la Précarité / knowledge from precarity, 201–16. Editions des archives contemporaines, 2020. http://dx.doi.org/10.17184/eac.3337.

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This exploratory text starts from a doctoral-unemployed experience and was triggered by the discussions within a collective of doctoral students on this particularly ambiguous status since it is situated between student, unemployed, worker, self-entrepreneur, citizen-subject of social rights or user-commuter in offices and forms. These discussions motivated the reading and commentary of a heterogeneous set of texts on unemployment, precariousness and the functioning of the institutions of the social state. This article thus focuses on the relationship between knowledge and unemployment, as embodied in the public space, in the relationship with Pôle Emploi, and in the academic literature. It articulates a threefold problematic : what is known and said publicly about unemployment? What can we learn from the very experience of the relationship with an institution like Pôle Emploi? How can these observations contribute to an understanding of social science inquiry and the political role of knowledge fromm precariousness?
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Ridge, Emily. "‘No one is safe from the beggar’s pack’: Portability and Precarity." In Portable Modernisms. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474419598.003.0004.

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Chapter 3 traces the progressive alignment of portability with precarity from the late 1920s to the 1940s against a backdrop of political instability. The unfolding crisis of mass displacement across Europe served to reduce earlier literary fantasies of travelling light to nightmarish visions of involuntary exodus. These changing resonances are perceptible in the pointed obfuscations of tropes of tourism, adventure and dispossession in 1930s literature as well as the noticeable intrusion of the figure of the refugee on the artistic consciousness. If luggage becomes a figurative focal point in the works of political exiles and refugees, it is not in aid of a fantasy of creative renewal but of material, cultural and individual preservation. The chapter ends with an analysis of the fictional and non-fictional work of Elizabeth Bowen, with the inclusion of an extended close reading of The House in Paris as an updated version of Forster’s Howards End in a troubled 1930s context.
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"Precarity and Picaresque in Contemporary Nigerian Prose: An Exemplary Reading of Ben Okri’s The Famished Road." In Negotiating Afropolitanism, 47–60. Brill | Rodopi, 2011. http://dx.doi.org/10.1163/9789042032231_006.

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Armstrong, Joshua. "A Tale of Two Frances." In Maps and Territories, 115–39. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942012.003.0006.

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This chapter reads Virginie Despentes’s Vernon Subutex trilogy (2015-17), a comédie inhumaine that depicts a deeply divided—increasingly neoliberal and reactionary—France. Despentes, in a rather utopian vein, would heal those divisions, staging a collective social awakening. As such, the trilogy is symptomatic of a trend one encounters in a swath of recent French novels, in which a sudden refusal of the neoliberal socio-political order ignites revolutionary movements. A key element of these novels (including Despentes’s) is the representing of a post-Mitterrand France for whom society is marked by la précarité [precarity]. Vernon Subutex must fall through the cracks of society and become homeless in order to, in a surprising reversal, encounter new, utopian, and borderline-mystical social possibilities. I uncover the internal contradictions of this reversal, however, noting that such contradictions are also symptomatic of that recent utopian novelistic impulse that must imagine another world at all costs. This chapter reads Despentes’s depiction of a divided, pre- and post-‘Charlie Hebdo’ France in the light of Emmanuel Todd’s Qui est Charlie: Sociologie d’une crise religieuse ? [Who Is Charlie?: Xenophobia and the New Middle Class], as well as via a reading of Despentes’s own writings on gender and society.
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Dezeuze, Anna. "Introduction: almost nothing." In Almost Nothing. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719088575.003.0001.

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This introduction introduces the term ‘precariousness’ by contrasting it with the ‘ephemeral’. Precarious practices that explore the ‘almost nothing’ are situated in the context of studies of ‘nothingness’ and empty exhibitions in contemporary art. Such debates focus on the ‘dematerialisation’ of the art object since the 1960s, which will be addressed from a new perspective following Lawrence Alloway’s 1969 definition of ‘an expanding and disappearing’ work of art. Re-readings of the materiality of contemporary art since the 1960s are related to continental debates concerning ‘precarity’ in the 1990s, and traced back to Hannah Arendt’s 1958 remarks on The Human Condition. Two different philosophical books — Vladimir Jankélévitch’s 1957 Le Je-ne-sais-quoi et le presque rien, and Simon Critchley’s 1997 Very little, almost nothing — point to some of the questions and methods raised by the study of precarious practices.
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