This paper proposes a framework for understanding and analysing online social resistance movements based on Hilde Lindemann’s concept of counterstories (Damaged Identities, Narrative Repair, 2003). This framework is based on the premise that we shape our identities in shared social spaces, and that such shared spaces are structured according to so-called ‘master narratives’. Master narratives define the ‘realm of possible identities’ that we can assume, and form the basis for either recognizing or denying recognition to various (...) social groups in specific roles that they might occupy. Social oppression occurs when master narratives preclude or forbid a certain form of self-expression, or alternatively force members of a specific social group into a determinate societal role (say, women who receive recognition only in the roles of mother or housewife). Counterstories serve as a corrective to these aspects of oppression by challenging the oppressive facets of master narratives. Based on this framework, I propose an interpretation of the #MeToo movement as a counterstory that aims to change the oppressive aspects of the patriarchal master narrative that (partially) structures many shared social spaces in the modern Western world. I end this paper by applying the framework to consider potential obstacles #MeToo may encounter as a distinctively online movement. (shrink)

Employing Critical Autism Studies and Narrative Analysis, this project examines how autistic Twitter users engage in narrative meaning-making through social media. By analyzing the hashtags #ActuallyAutistic and #AskingAutistics this project broadly explores how individuals construct identity when lacking access to positive representations and identity communities. Answering the research question, “How do autistic people construct individual and collective identity narratives through Twitter?,” findings indicate that autistic Twitter users use their social media presence to build virtual learning communities. Common knowledge (...) about autism is often oversimplified and highly medicalized. Therefore, autistics use Twitter to make meaning of their experiences that are not represented within cultural notions of what it means to be autistic. Autistic Twitter users reject medicalized narratives by contesting stereotypes, flipping negative narratives into positive stories, re-inscribing “deficiencies” as beneficial, and resisting rehabilitation and “cure.” Users do important social activist work by building strong autistic communities in ways that counter current negative representation, constructing positive self-affirming individual and community identities and resisting eugenic notions that autistic people are “less valuable.”. (shrink)

This paper addresses and challenges the pronatalist marginalization and oppression of voluntarily childless women in the Global North. These conditions call for philosophical analyses and for sociopolitical responses that would make possible the necessary moral spaces for resistance. Focusing on the relatively privileged subgroups of women who are the targets of pronatalist campaigns, the paper explores the reasons behind their choices, the nature and methods of Western pronatalism, and distinguishes three specific sources of some of the more lasting, and stigmatizing (...) attacks: popular culture, law and policy, and medicine itself. I then argue that because they are construed by motherhood-essentializing, and increasingly popular, pronatalist narratives as, among other things, “failed” or “selfish,” voluntarily childless women are subsequently burdened with damaged identities that can leave them personally othered and uniquely liminal in ways that are destructive to moral agency. Finally, I conclude with a challenge to the pronatalist master narratives by suggesting the possibility of counter narratives to the voluntarily childless woman's liminality that might serve as the ground of moral and political solidarity among differently situated women, regardless of their motherhood status. (shrink)

Our paper proposes to follow the history of the “Burning Bush”, a spiritual and cultural movement in the 1940s in Romania that had proposed the solution of spiritual resistance to communism through culture and faith. The analysis holds as key-concepts: discourse analysis, narrativity, semantics and hermeneutics, following the discourse of the Securitate’s archives with reference to the Burning Bush in terms of: - conflictual discourses: inquisitor vs. imprisoned; - motives and themes of the incriminatory discourse of the Securitate; - the (...) existence of a master narrative of the archives. (shrink)

Hilde Lindemann Nelson focuses on the stories of groups of people--including Gypsies, mothers, nurses, and transsexuals--whose identities have been defined by those with the power to speak for them and to constrain the scope of their actions. By placing their stories side by side with narratives about the groups in question, Nelson arrives at some important insights regarding the nature of identity. She regards personal identity as consisting not only of how people view themselves but also of how others view (...) them. These perceptions combine to shape the person's field of action. If a dominant group constructs the identities of certain people through socially shared narratives that mark them as morally subnormal, those who bear the damaged identity cannot exercise their moral agency freely.Nelson identifies two kinds of damage inflicted on identities by abusive group relations: one kind deprives individuals of important social goods, and the other deprives them of self-respect. To intervene in the production of either kind of damage, Nelson develops the counterstory, a strategy of resistance that allows the identity to be narratively repaired and so restores the person to full membership in the social and moral community. By attending to the power dynamics that constrict agency, Damaged Identities, Narrative Repair augments the narrative approaches of ethicists such as Alasdair MacIntyre, Martha Nussbaum, Richard Rorty, and Charles Taylor. (shrink)

Infiltrated consciousness occurs when a subject's sense of self comes to be strongly and negatively shaped by victimizing master narratives. Consider the stay-at-home dad who has internalized a harmful narrative of traditional masculinity and so feels ashamed because he is not the family's bread winner. One way master narratives infiltrate consciousness is through conditioning self-simulation by assigning a hierarchy of values to different social roles. Further, master narratives confine self-simulation by prescribing certain social roles to (...) an individual and prohibiting others. One common suggestion for counteracting infiltrated consciousness is to transform it through membership in new communities with new master narratives. But how does such healing happen? This essay offers a response. Recent psychological research on constructivist theories of memory outlines a naturalistically plausible mechanism for self-simulation. I argue that this mechanism is implicated in transforming infiltrated consciousness. This clarifies features of our psychological architecture that make the alteration of self-concepts possible. (shrink)

Recent studies on non-dominant or minority groups have begun to look at how their members reconstruct resistance, sculpt a positive identity for themselves and engage in solidarity formation for group empowerment. The present study contributes to this growing scholarship by examining the Black Lives Matter (BLM) movement’s use of Twitter to promote an emancipatory agenda for Black communities/people. Based on the tweets produced by the BLM movement, I analyze various discursive mechanisms utilized by the movement to resist institutional oppression and (...) systemic racism with vehemence, while advocating freedom, liberation and justice for Black people. Three discursive strategies were identified: (1) critiquing oppressive institutions and systemic racism, (2) denouncing white supremacy and redefining demeaning racial narratives and (3) calling out racist attitudes and commending people who oppose such behavior. Through these strategies, the BLM movement amplifies the voice(s) of Black people and moves issues concerning their development, progress and welfare from the margins to the center. The paper illustrates the agentive power of discourse to stimulate action towards social change. (shrink)

I defend the view that a person's identity is injured when a powerful social group views the members of her own, less powerful group as unworthy of full moral respect, and in consequence unjustly prevents her from occupying valuable social roles or entering into desirable relationships that are themselves identity constituting. We may call this harm deprivation of opportunity. Further, a person's identity is injured when she endorses, as a portion of her self-concept, a dominant group's dismissive or (...) exploitative understanding of her group, and in consequence loses or fails to acquire a sense of herself as worthy of full moral respect. We may call this harm infiltrated consciousness. Either injury to the identity constricts the person's ability to exercise her moral agency. ;I argue that because identities are narratively constituted and narratively injured, they can be narratively repaired. The morally pernicious stories that construct the identity according to the requirements of an abusive power system can be at least partially dislodged and replaced by identity-constituting counterstories that portray group members as fully developed moral agents. I develop the concept of the counterstory: it is a purposive act of moral definition, developed on one's own behalf or on behalf of others. It sets out to resist, to one degree or another, the stories that identify certain groups of people as targets for ill treatment. Its aim is to reidentify such people as competent members of the moral community and so to free their moral agency. (shrink)

It is sometimes argued that medical professionals should protect a future child's rights by prohibiting disabled parents from using technology to deliberately have a disabled child because disability is taken as an inevitable, severe threat to a child's otherwise “open” future. I will first argue that the open future that allegedly protects a child's future autonomy is precluded by the very conditions needed to develop that future autonomy. Any child's future will be narrowed as they are socialized in a way (...) that gives them the capacity for autonomous choice. However, oppressive master narratives can diminish a future child's autonomy by distorting their narrative identity and constricting their agency. In fact, the open future argument does just this by advancing one of the most damaging master narratives about disability: that disability inevitably and severely restricts a person's autonomy and closes their future. (shrink)

This essay examines Harriet Jacobs’s Incidents in the Life of a Slave Girl (1861) in light of new archival findings on the medical practices of Dr. James Norcom (Dr. Flint in the narrative). While critics have sharply defined the feminist politics of Jacobs’s sexual victimization and resistance, they have overlooked her medical experience in slavery and her participation in reform after escape. I argue that Jacobs uses the rhetoric of a woman-led health reform movement underway during the 1850s to persuade (...) her readers to end slavery. This essay reconstructs both contexts, revealing that Jacobs links enslaved women’s physical and sexual vulnerability with her female readers’ fears of male doctors’ threats to modesty and of their standard bleed-and-purge treatments. Jacobs illustrates that slavery damages women’s health as much as heroic medicine, and thus merits the political activism of her readers. Specifically, Jacobs dramatizes her conflicts with the rapacious physician-master at moments that are crucial to women’s health: marriage, pregnancy, childbirth, and motherhood. Ultimately, this essay advances a new understanding of the role of health reform in social change: it galvanized other movements such as women’s rights and abolition, particularly around issues of bodily autonomy for women and African Americans. (shrink)

The article sets the future of Christianity within the context of different master narratives, beginning with those employed by social scientists, scrutinizing some of their key characteristics. It then considers characteristics of master narratives in general, before looking at paradoxes of universalism and particularity, the collective and the individual, in relation to the inherent character of political reason.

In this paper, I argue that, even when disability rights activists are most clearly acting as activists, they can advance the scholarly activity of disability bioethics. In particular, I will argue that even engaging in non-violent direct action, including civil disobedience, is an important way in which disability rights activists directly support the efforts of disability bioethics scholars. I will begin by drawing upon Hilde Lindemann’s work on relational narrative identity to describe how certain damaging master narratives about disability (...) hinder the uptake of arguments from disability bioethics. Then, I will argue that disability activism, especially non-violent direct action and civil disobedience, provides an effective counterstory to some of the worst of these master narratives, thereby laying the groundwork for the scholarly argument s of disability bioethicists to be given more serious consideration. Ultimately, I conclude that the field of bioethics is improved when it abandons the gross grained, generalizations about who disabled people are and how they act put forth by oppressive master narratives in favor of the more nuanced self-descriptions offered by the counterstories being offered by disabled people themselves. So it is that, by challenging these oppressive master narratives that constrain and distort the social meaning of disability, disability activism can improve mainstream bioethics. (shrink)

This article investigates Madison Smartt Bell’s Haitian trilogy as a neocaptivity narrative that combines in new ways the conventions of the slave narrative and the Barbary captivity narrative. Furthermore, it examines the culture-crossing of the character of Doctor Hébert in the course of the successful slave uprising of Saint Domingue. Captivity, I argue, constitutes the central theme and structuring device and also triggers Hébert’s culture-crossing in a reversed Hegelian master-slave dialectic that needs to be read together with Riau’s enslavement. (...) Lacking the social recognition of a free subject, Riau attains his independent self-consciousness through physical resistance and Saint-Domingue’s distinct black culture. Whereas Hébert learns to actively resist slavery as he crosses over into the Haitian society. In their struggles, both undergo the three phases of rites of passage. (shrink)

This comparative case study examines the place of white supremacy in teacher lessons on the U.S. South. Multi-day lesson plans and interviews with three teacher participants revealed that open encounters with white supremacist histories were supported by a high degree of professional freedom in their school settings. The teachers held a common commitment to teach about white racism and violence. However, extending these lessons into a more comprehensive confrontation with harmful white supremacist master narratives is complicated by highly varied (...) conceptions of the history classroom, among these teachers and in the field of social studies. This study supports continued efforts to provide teachers with resources and space to address racist legacies. I recommend that these efforts should be paired with an inspection of the individual and collective conceptions of social studies classrooms so that master narratives may be addressed more directly. (shrink)

Numerous social, economic and academic pressures can have a negative impact on representations of biomedical research. We review several of the forces playing an increasingly pernicious role in how health and science information is interpreted, shared and used, drawing discussions towards the role of narrative. In turn, we explore how aspects of narrative are used in different social contexts and communication environments, and present creative responses that may help counter the negative trends. As traditional methods of communication have (...) in many ways failed the public, changes in approach are required, including the creative use of narratives. (shrink)

In an age of postmodern suspicion of master narratives, the egalitarianism and universality inherent in a normative system of rights defended by liberalism is countered by disbelief in the idealized conceptions of a ‘public subject’, divorced from the particularity of both individual and historical communal narratives, as well as an impartial collective good. Simultaneously, the excessive fragmentation of opposed and contradictory aspirations of counterpublics, privileged by a communitarian approach, runs the risk of giving priority to individual rights over (...) class='Hi'>social well-being. This article explores the liberal and communitarian approaches to rights, inquiring into whether freedom or equality offer the best criteria of judgement to preserve the space of cultural plurality within the public sphere. While Habermasian discourse ethics subordinates the particularistic to the general will, the communitarian perspective on justice, represented by Paul Piccone and Charles Taylor, argues that the law is not universal in scope and cannot be separated from particularistic conceptions of the ‘good life’. The article ultimately claims that freedom is the criterion that allows cultural pluralities to both stand on their own, resisting assimilation within any master discourse, and establish dialogue among themselves. In this perspective, the public sphere promotes complex modes of interaction, among modernity’s differentiated spheres. This view of the public sphere is in tune with Jencks’ description of postmodernism as preserving the ‘fragmental holism’ (1996: 478) of plural lifeworlds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.4 (1999) 58-83 [Access article in PDF] Imagi-Nation: The Imagined Community and the Aesthetics of Mourning Marc Redfield Of the many relics of the Romantic era that continue to shape our (post)modernity, the nation-state surely ranks among the most significant. Two decades ago Benedict Anderson commented that "'the end of the era of nationalism,' so long prophesied, is not remotely in sight" [IC 3], and the intervening years (...) have made it increasingly clear that the developments and processes we summarize as "globalization" operate in mingled synchrony and tension with the political form of the nation-state. 1 That the nation-state should remain the premier vehicle of political and economic legitimation in an era dominated by American imperialism and international capital--forces that, of course, regularly and flagrantly violate the sovereignty of disadvantaged nations--is unsurprising if one accepts the continuing pertinency and power of a Western master-narrative of modernity, according to which the nation represents the emergence of a people into history and prefigures the global achievement of universal human concord. As the proper subject of history, the nation-state can prefigure history's end because, as David Lloyd writes, "the particularism of [nationalism's] contents, potentially in contradiction with the universalism of modernity, is subsumed in the formal congruence between its own narratives of identity, directed at one people, and the narrative of identity that universal history represents for humanity in general" ["Nationalisms" 178]. Lloyd goes on to note that the nation's intermediate status in this narrative--halfway between primitive tribalism and modernity's ever-deferred perpetual peace--accounts for nationalism's irreducibly double association with modernization and atavism. In consequence, the modernist paradigm continues to rule many skeptical or hostile accounts of nationalism, for so long as the nation-state is taken to supersede other political or social formations, the cosmopolitan critique fails to challenge "the fundamental philosophy of universal history that underwrites nationalism's inscription in modernity" ["Nationalisms" 177]. Indeed, both in the corporate media and in mainstream Western political discourse generally, nations and nationalisms are commonly treated as atavistic or progressive depending on the degree to which their behavior harmonizes with globalizing imperatives. That these imperatives emanate quite blatantly from Wall Street in no way seriously troubles the effectiveness of modernity as a narrative paradigm. 2Seeking to discredit universalizing narrative, much cultural criticism in recent years has exchanged cosmopolitanism and the abstract question of "nationalism" for an emphasis [End Page 58] on the contextual construction of national movements or identities. 3 This valuable body of work has sought to recover the particularity of cultural and socioeconomic circumstance, stressed the fundamental role of racism in colonialist contexts, and noted ways in which nationalist movements draw on or unleash forms of resistance that challenge representationalist politics. The pages that follow, however, remain focused on the nationalist fantasy proper to the discourse of modernity. Cultural critique can only profit from knowing as much as possible about the favored turns of the universal-historicist model, particularly since, as Lloyd and others have emphasized, this model is an aesthetic one that grants a world-historical role to "culture." The state, in a tradition that in its main lines runs from Schiller through Hegel and Matthew Arnold and is still very much alive today, represents the community to itself, thereby giving the community form and in a certain sense giving it an ethical imperative and a future: the state represents "our best self" [Arnold 99, passim], "the archetype of a human being" [Schiller 17], because it signifies the formal unification both of the citizen with the community and of the community with universal humanity. Because this unification is ideal rather than actual, it can be projected as the ethical terminus of history (that is, as the ideal of an accomplished modernity). The state's core mission thus becomes pedagogical: its job is to acculturate its subjects into citizens. The production of a docile citizenry thereby obtains an ethical aura and an aesthetic character, insofar as the artwork and the domain of aesthetic or "cultural" experience generally become... (shrink)

In the United Kingdom, clinical governance has become a master narrative for health care over the last decade. While many see this political imperative as embodying both enlightening and humanistic goals, I argue that it has also become an apparatus for resuscitating a hypermodernist worldview which further conceals the political drivers of health care delivery. While resistance to clinical governance seems futile, insistence on the inclusion of historical analysis in understanding modern health care delivery may be profitable. Drawing from (...) selected dramatic texts by Henrik Ibsen, an historical moment of clinical governance may be analysed showing the complex interplay of the personal, social, empirical and ethical dimensions of health care delivery. (shrink)

Social studies’ explanations of race can marginalize educators of color, due to a lack of focus in the curriculum or conversations in the classroom. This article addresses the problem through composite counter-narratives, created from collaborations between the author and current social studies teachers of color. Two teachers, Charlie Smith and Rosita Hernandez, describe their experiences learning and teaching social studies through the lens of community. Current research positions counter-narratives as a pedagogical tool for pre-service teachers resisting majoritarian (...) narratives or as a curricular tool for elementary social studies teachers challenging mainstream historical texts. However, a gap exists on in-service social studies teachers using community to create counter-narratives. Composite counter-narratives serve as a starting point in addressing this gap. This article aims to provide scholarship space for the voices of teachers of color while situating the community as a significant influence in teaching social studies. (shrink)

The paper focuses on the issue of truth-telling in non-fictional narratives of (in)justice. Based on examples of rape narratives, domestic abuse narratives, human trafficking narratives and asylum seeker narratives, I examine the various difficulties in telling the truth in such stories, particularly those related to various culturally conditioned ideas of how the world works, which at the same time form the basis of, among other things, legal discourse and officials’ decision-making processes. I will also demonstrate that such culturally conditioned ideas, (...) which are the basis of official discourse, can be considered within the category of both the social imaginary of the just world in the Taylorian sense of the term, and the social master narrative, which in the case of stories of (in)justice is often based on the just world hypothesis. (shrink)

Social media is changing social accountability practices. The release of the Panama Papers on April 3, 2016 by the International Consortium of Investigative Journalists (ICIJ) unleashed a tsunami of over 5 million tweets decrying corrupt politicians and tax-avoiding business elites, calling for policy change from governments, and demanding accountability from corporate and private tax avoiders. The current study uses 297,000+ original English-language geo-codable tweets with the hashtags #PanamaGate, #PanamaPapers, or #PanamaLeaks to examine the trajectory of Twitter-based social (...) accountability conversations and the potential for the emergence of a longer-term social accountability user network. We propose that it is the combination of financial inscriptions and evaluative ethical utterances that incite and sustain social accountability conversations and social accountability networks. Financial inscriptions simultaneously remind audiences of both the information event that fomented the initial public reaction and the monetary magnitude of the event. Value-based ethical messaging, in turn, enunciates an ethical stance that simultaneously evaluates existing practices and emphasizes the need for accountability. It is the combining of these two types of messaging that helps to construct and sustain a normative narrative about social accountability. The results illustrate how the repetition and re-working of these two forms of messaging facilitated the construction of a normative narrative that coalesced into a social accountability network which persisted beyond the initial Panama Paper information event and which was re-activated in 2017 when the ICIJ published the Paradise Papers. (shrink)

This chapter contains sections titled: Diversity Complexity Respectability Critiques Darwinism Conclusion Works cited.

ABSTRACT Using the example of the Twitter feed #MeToo, this paper argues that CDS, in its task to understand more about how social media can offer ways for voices to challenge ideologies from below, needs to explore the ideas of ‘nodes’. Right wing populism in the west: Social media discourse and echo chambers. https://www.researchgate.net/profile/majid_khosravinik/publications) and ‘echo chambers’ in greater detail. Though #MeToo did provide an ideological challenge, I show how it is also discursively chaotic and partly driven by (...) influencers who may have a range of other motivations to align with the moral capital in the feed. At another level, #MeToo is highly nodal in terms of affect and moral conviction. These features can be understood in regard to nodal power of affective connectivity. Affective publics and structure of storytelling: Sentiment, events and mediality. Information, Communication and Society, 19, 307–324. https://doi.org/10.1080/1369118x.2015.1109697) and also in terms of major shifts in accepted norms of debating politics and society driven by social media. I consider what this means for CDS in relation to identifying discourses and discovering ideology in the social media landscape. (shrink)

Digital technology has prompted philosophers to rethink some of the fundamental categories we use to make sense of the world and ourselves. Particularly, the concept of ‘identity’ and its reconfiguration in the digital age has sparked much debate in this regard. While many studies have addressed the impact of the digital on personal and social identities, the concept of ‘collective identity’ has been remarkably absent in such inquiries. In this article, I take the context of social movements as (...) an entry point to discuss the reconfiguration of collective identity in social media environments. I do so by introducing a narrative approach to collective identity. I argue that Twitter’s affordances invite new ways of constructing collective identities and imply a shifting relationship between the individual and the collective. (shrink)

This paper explores abuse received by a Chilean right-wing female politician in tweets produced with the #CamilaPeluche hashtag, which aimed to shame her sexually. The data considers the period of 22 days since the creation and spread of the hashtag, which took place 5 days into the 2019 uprising in Chile. This paper follows a corpus-based critical discourse analysis that examines the most frequently used adjectives, that is, predication strategies, that characterise the politician, as well as their legitimating function through (...) the identification of van Leeuwen’s legitimation strategies. Results showed that what started as gendered aggression evolved towards a focus on social class and political stance due to the politician’s characteristics and those of the sociohistorical context where the aggressions originated. Furthermore, it was found that the politician’s anti-democratic values were used to justify abuse against her, presenting it as reasonable. (shrink)

At the heart of the human experience lies anxiety caused by the realization that the world is unknown, forever eluding our control. And out of this anxiety arise the master passions of ambition and envy, which we repress to mask their power over our lives. Discussion of the role of the emotions in our lives is not new, but Mihnea Moldoveanu and Nitin Nohria go much further, showing how these passions shape not only our individual lives but our (...) class='Hi'>social and organizational culture as well.The master passions are not pretty, and so we cover them with the more socially acceptable faces of reason and morality. Moldoveanu and Nohria guide the reader in revealing the real impetus behind such actions as firing a friend, leaving a lover, or even pillaging your own people. Below the rational explanation, they show, often lies a willingness to hurt or even destroy others to fuel our own ambitions or quench the fires of envy. The authors offer intriguing thought experiments and examples from their own lives as they expose the power of the master passions. Deftly weaving ideas from psychology, sociology, literature, and philosophy with the personal, they build a strong argument that society would be much healthier if we faced the deception and self-deception that pervade our lives. (shrink)

The master narrative of Apartheid South Africa created a specific identity for white boys and men and, together with this identity, a very particular role and place within the South African context. This identity was exemplified in the men who were conscripted into the military from 1967 until 1994, and who participated in operations on the border regions of Namibia and Angola as well as within local townships in the war of liberation against apartheid and minority rule. Many veterans (...) have been left grappling not only with the traumas associated with combat but also with the loss of their identities as war heroes in a country under changed political control. As a result, many of their personal stories and experiences of combat have been silenced by society at large and also, to varying degrees, within their own families, the Church, and among the younger generation who have grown up under a different dispensation. The conflict between vacillating narratives of villains who fought on the wrong side of history and victims of a closed socialisation system has supported the identity struggle faced by many veterans today. Against this backstory, this article explores the effects of storytelling as a trauma release using a narrative approach.Contribution: This article offers a contribution to the use of storytelling in pastoral conversations as a trauma release for untold stories. This insight links to the focus and scope of the journal as a pastoral narrative approach has been used under the umbrella of Practical Theology. (shrink)

In this article, we examine how white working-class women reimagine gender in the face of social and economic changes that have undermined their ability to perform normative femininity. As blue-collar jobs have disappeared, scholars have posited that white working-class men and women have become increasingly isolated, disconnected from institutions, and hopeless about the future, leading to a culture of despair. Although past literature has examined how working-class white men cope with the inability to perform masculinity through wage-earning and family (...) authority, gender has been undertheorized in these discussions, treating working-class women’s and men’s despair interchangeably. Drawing on 37 in-depth interviews conducted in a former coal-mining town in northeastern Pennsylvania, we identify three overarching strategies that women deploy in their life histories to cope with disruption: embracing pain as an opportunity for self-growth; dispelling shame and striving for equality; and enduring suffering. These strategies allow women to feel hopeful and worthy as they confront enormous challenges, whether starting over following relationship dissolution, learning to be independent from men, or simply surviving hardship for the sake of their children. We explore the implications for recreating gender identity in each strategy and question how different strategies might serve to protect women from, or alternatively solidify, sentiments of despair. (shrink)

For many authors, the transformations of capitalism have had the effect of causing suffering (stress, stigmatization, disaffiliation, etc..) whose social dimension is not recognized. For Emmanuel Renault, theoretical critique can analyze these new sufferings and become a "spokesman" giving voice to suffering beings. In this article, the author proposes to problematize this form of critical intervention, building on Paul Ricœur's reflections on the issue of the dispossession of the actors’ power to recount their actions themselves. If Renault’s intervention makes (...) sense in relation to the ideologization of narrative identity, it remains unsatisfactory against “internal” resistances to the emplotment of the self. Ricœur’s analysis of the analytic experience teaches us that these resistances cannot be lifted through mere intellectual understanding and that the narrative restructuration of the personality must sometimes take the form of real work. (shrink)

Using life history narratives, the present study investigates processes of agency and consciousness among 14 women who identified themselves as tomboys. Most informants shared two “moments” of consciousness—a rejection of femininity and a choice of masculinity. Participants also revealed two forms of agency—active gender resistance and conformity. Implications for building agentic understandings of gender identity are discussed. While agency appears to be an important factor in gender identification, it tends to be overlooked by individuals themselves, perhaps through a process of (...) “naturalized embodiment.” In addition, gender consciousness appears to be critical in understanding agency in identification processes. (shrink)

Prior to Chinese unification in 221 bc and the beginning of imperial history, there was a “golden age” of philosophical debate among various scholars about the best way to live life, construct a social contract, and act in harmony with heaven and earth. The most influential of these scholars, collectively called the “various masters,” or zhu zi 諸子, attracted disciples who recorded the teachings of their “masters” and passed these teachings on. These texts, collectively called “masters- texts”, became the (...) bedrock of Chinese intellectual history. (shrink)

The choice to pursue fertility treatments is a complex one. In this paper I explore the issues of choice, agency, and gender as they relate to assisted reproductive technologies (ARTs). I argue that narrative approaches to bioethics such as those by Arthur Frank and Hilde Lindemann Nelson clarify judgments about autonomy and fertility medicine. More specifically, I propose two broad narrative categories that help capture the experience of encounters with fertility medicine: narratives of hope and narratives of resistance. This narrative (...) typology captures the inevitable conflict that women feel when they become subjects of fertility medicine. On the one hand, they must remain hopeful; on the other, they must not surrender themselves completely. Nelson's account of counterstories as narratives of resistance helps us see how women can reconcile the experience of a strong desire to have children with the desire to remain authentic and whole. (shrink)

This transdisciplinary study will examine how the narration of self, motivation, and eudaimonic virtues like wisdom and compassion develop within a social ecology of family master narratives and social institutions that either foster or constrain the development of such virtues. Drawing from a larger, longitudinal study of character development and life stories in adulthood, we will interview individuals and their families about virtue-relevant events in life, such as conflicts of belief, virtue-focused projects and activities, and self- and (...) family-defining memories. Narratives will be analyzed qualitatively and critically as well as quantitatively and in relation to other measures of eudaimonic and personal development. We expect that specific virtues will serve as motivational themes in personal and family stories and that these narrative themes will predict specific paths of virtuous self-development. We further expect that specific inequalities in family and social-institutional contexts will correspond to specific conflicts in the development of eudaimonic qualities in individuals’ lives. (shrink)

Alternative food movements work to create more environmentally and economically sustainable food systems, but vary widely in their advocacy for social, racial and environmental justice. However, even those food justice activists explicitly dedicated to equity must respond to the unintended consequences of their work. This paper analyzes the work of activists in Oakland, CA, who have increasingly realized that their gardens, health food stores and farm-to-table restaurants play a role in what scholars have called green gentrification, the upscaling of (...) neighborhoods through the creation of environmental amenities. Gentrification has had grave consequences for the low-income communities of color that food justice activists seek to serve. Activists are reflexive about this dynamic, and have developed strategies to push back against displacement. Most commonly, non-profit organizations and individual social entrepreneurs found businesses that seek to raise the profile of people of color in the trendy Oakland food scene while employing long-term residents in well-paying, green jobs. However, while these efforts are an essential component of a broader agenda to create both food justice and development without displacement, even these relatively high paying “good food jobs” cannot keep up with escalating rents. For this reason, we also highlight the direct action and policy-oriented strategies engaged by a smaller number of food justice activists, and argue that these are necessary compliments to a market-based approach. (shrink)

This book provides a feminist analysis of #MeToo and the sexual assault allegations against celebrity perpetrators which have emerged since the Weinstein story of October 2017. It argues for the importance of understanding #MeToo in relation to an on-going history of Anglo-American feminist activism, theory and interdisciplinary research. Boyle investigates how speaking out about rape, sexual assault and harassment on social media can be understood in relation to second-wave feminist traditions of consciousness-raising. Her argument explores the media depiction of (...) feminism – and feminists - in the wake of Weinstein and the cultural values associated with men’s abuse, particularly within the film and television industries. The book concludes with an exploration of what the #MeToo era has meant for men as victims/survivors and as alleged perpetrators, in relation to narratives of victimisation and of monstrosity. (shrink)

Increasingly, social media platforms are understood by researchers to be valuable sites of politically-relevant discussions. However, analyses of social media data are typically undertaken by focusing on ‘snapshots’ of issues using query-keyword search strategies. This paper develops an alternative, less issue-based, mode of analysing Twitter data. It provides a framework for working qualitatively with longitudinally-oriented Twitter data, and uses an empirical case to consider the value and the challenges of doing so. Exploring how Twitter users place “everyday” talk (...) around the socio-political issue of UK welfare provision, we draw on digital ethnography and narrative analysis techniques to analyse 25 user-timelines and identify three distinctions in users’ practices: users’ engagements with welfare as TV entertainment or as a socio-political concern; the degree of sustained engagement with said issues, and; the degree to which users’ tweeting practices around welfare were congruent with or in contrast to their other tweets. With this analytic orientation, we demonstrate how a longitudinal analysis of user-timelines provides rich resources that facilitate a more nuanced understanding of user engagement in everyday socio-political discussions online. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“El secreto oficio de la abeja”A Sociopolitical Metaphor in the CelestinaCristina Guardiola (bio)Rojas returns again and again in La Celestina to the theme of the disruption of human relationships.—Stephen Gilman, The Spain of Fernando de RojasEnabled by the old bawd Celestina, the loco amor felt by the clandestine lovers Calisto and Melibea exposes a society living in disorder and conflict. Calisto and Melibea’s transgressive desire, and those who make (...) it possible, may be seen as directly contradicting moral and social laws upon which the tragicomedy claims to be predicated. Most of the characters in the work live their lives as transgression; their disorderly conduct leads inevitably to their death and destruction [Baranda 9]. The negative example offered by this work was, according to Maravall, what led early readers such as Quevedo to understand how the work: “debaxo del nombre de Comedia, enseña a vivir bien, moral y políticamente, acreditanto las virtudes y disfamando los vicios [under the title of Comedy, teaches one to live well, both moral and politically, accrediting virtues and discrediting vices]” [qtd. in Maravall 19].1 The Celestina lays bare its social and moralistic message by exposing the corruption of social and moral values prevalent in this late fifteenth-century work. Bringing together the aristocratic world of courtly love (already brought low through the Calisto’s crass treatment of waspish Melibea) and the bawdy world of the whorehouse, Rojas debases the people and passions therein. Connecting both worlds through her comings and goings is Celestina. Characterized as abeja, a political animal used in the Middle Ages and early modern period that informs the ideal structure of society, Celestina exposes a satire of society and its corruption of moral values.As the Síguese and prologue indicate, the tragicomedy was written with a dual and moral intent. The author wrote to disabuse the many “galanes y enamorados mancebos [handsome young men and enamored youth]” of his country from the cruel and evil fires of love, but also to expose “engaños de las alcahuetas y malos y lisonjeros siruientes [the deceptions of procuresses and evil sycophantic servants].” In the Celestina, the deceits of the bawd and servants Sempronio and (later) Pármeno complicate the narrative and move it to its tragic conclusion. As Celestina and Sempronio set out to profit by Calisto’s lovesickness, they are met with opposition from Pármeno. The initial resistance Pármeno puts up to defend himself and his master from the economic lust felt by Celestina and Sempronio serves to expose a conflict in social class. The heedless attainment of wealth demonstrated by the servants contradicts a more aristocratic principle that was perceived to guide economic thought in the Middle Ages [Maravall 60]. Celestina’s spoken adage, “[a] tuerto o a derecho, nuestra casa hasta el techo [by hook or by crook, our house [End Page 147] through the roof],” exposes her unmitigated greed and contrasts sharply with Calisto’s more courtly (if yet parodic) examples of largesse. The alcahueta’s greed is not merely opportunistic, it belies a certain Schadenfreude felt for Calisto’s woes. Like “cirurjanos [ante] los descalabrados [surgeons before patients with head trauma],” Celestina pursues Calisto in search of money, which at this particular moment in history was slipping through the hands of her real-life counterparts and into those of state-appointed brothel keepers. As Lacarra notes, the granting of royal mercedes for the incomes derived from prostitution to royal towns or notable persons became prevalent during the reign of Ferdinand and Isabel [40]. One must imagine women such as Celestina doubly feeling the pinch from this seemingly “catholic” imposition. Income from the alcahueta livelihood from all of Castile certainly must have been dwindling. At the same time, the alcahueta’s dishonest way of living was being usurped by speciously honorable citizens who no doubt maligned the prostitutes on whom their wealth was gained. Despite the growing danger of her increasingly clandestine profession, Celestina shows little shame or fear. Indeed, her sense of “honor” for the putería is so brightly and enthusiastically expressed in the work bearing her name that one wonders if it might not stem from... (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

In this paper, I explore the significance of an intersectional lens when it comes to our conversations surrounding the #MeToo movement, in particular the way that such a lens helps us in recognizing narratives of sexual assault and harassment that are not typically viewed as such. The mainstream discourse on #MeToo in the United States has been quite exclusionary when it comes to women who are non-dominantly situated within societal structures. In particular, this paper looks at how Muslim American women’s (...) issues surrounding sexual assault and harassment are presented as exotic and a function of their religion and culture, further narrowing what is considered worthy of attention within the discourse of the #MeToo movement. I argue that one such instance of sexual harassment that isn’t seen as such, is hijab snatching within particular contexts. Furthermore, I argue that a lack of an intersectional lens results in not only privileging certain harmful voices under the guise of inclusivity, but even when invaluable voices are allowed to enter mainstream discourse, they are often the sort that sidestep issues of Western imperialistic practices, Islamophobia, racialization of Muslims, etc. I highlight the dangers of speaking for others, especially in ways that attribute sexual violence experienced by Muslim women to their cultures and/or their men. I argue that acknowledging these dangers is in itself a crucial part of an inclusive conversation on #MeToo. (shrink)

We start from an understanding of the human person as a communicative and symbolic reality. We emphasise the more subjective aspect of education, as showing the best of the person (educere) by creatively appropriating the treasures of history (educare). With these premises, we approach narratives that are surprising for the heterodoxy (resistance) they manifest, with respect to the social reality in which they were written, in the 1st century, in which they were written. In this approach it becomes evident (...) that the interruption of the silence of women, which appears in these narratives, shows the radical value of the human personal reality, opening an egalitarian educational space. (shrink)

continent. 2.3 (2012): 218–223 Vijay Prashad. Arab Spring, Libyan Winter . Oakland: AK Press. 2012. 271pp, pbk. $14.95 ISBN-13: 978-1849351126. Nearly a decade ago, I sat in a class entitled, quite simply, “Corporations,” taught by Vijay Prashad at Trinity College. Over the course of the semester, I was amazed at the extent of Prashad’s knowledge, and the complexity and erudition of his style. He has since authored a number of classic books that have gained recognition throughout the world. The Darker (...) Nations , a peoples’ history of the Third World, sent defibrillating shockwaves through an academic world that had almost forgotten the epic scope and historic dignity of the non-aligned movement and post-colonial struggles. In his recent, award-winning work, Arab Spring, Libyan Winter , Prashad delves into his capacious knowledge of the Third World to excavate the discourses and narratives surrounding the upheavals of 2011. “Revolutions have no specific timetable,” states Prashad in the opening line of this exciting and provocative look at contemporary events. Instantly, an atmosphere of suspense emerges. The reader is alerted to the problem of history. Does the making of history then involve a suspension of historical time, or is it a continuous narrative structure into which events must eventually be integrated? Arab Spring, Libyan Winter shows that the answer to the question, “How is history made?” lies just as easily in the asking. The first half of the book works through the events that transpired to bring about the explosive popular uprisings of Arab Spring: Tunisia and Egypt, Yemen and Bahrain. But the events are not put together in a cohesive, chronological fashion. Using an uncommonly gripping style more akin to the folk-story motif of the djeli than to traditionally Orientalist academia, Prashad suspends a given situation, points out its components, and traces back the characters and genealogies that define each link before resuming a narrative. Every moment is an end to itself, and an origin of something different. Thus, the making of history becomes the suspension of its own progress, it’s catastrophic 'stability,' in a process of differentiation through inclusion. Empirically, one might suggest that history is a condition of time, and by extension, of the subject, but history is also an eminent producer of the Subject and her concept of time through memory and narrative. Hence, history is often overdetermined by a dominant narrative of the sovereign. The apparently chaotic composition of Prashad’s historicity is, then, an interstitial morphology of resistance. It illustrates that the time to act for the revolutionary lies in the gaps within the dominant historical realities. It points out the sorties of signifiers constituting nothing in the obliterated ruins of history. Through such illuminations, Arab Spring, Libyan Winter breaks through “the surface of history” to elaborate revolution’s snapping synapses, exploding interruptions and breaches, connecting flows. Messianic Politics It is tempting to think, 'History is either singular, or it is diffuse. It is either one coherent factual narrative, or it is comprised of the aletheia of the multitude.' Yet the reader finds Prashad examining the structure of history on multiple levels. For Prashad, world history is shaped by geographically defined political movements, such as communism or national liberation, with historical agents like the working class for the former and the nationalist militant for the latter. Religion, however, is another matter: “Religion has an unshakable eschatology which a post-utopian secular politics lacks.” Within the telos of religion, there appears on the horizon the image of Benjamin’s thoughts on messianic time—time as “a small fissure in the continuous catastrophe,” a break with history, may contain an ultimate redemption of the human beyond the political power struggle. Succoring the split between geo-political and utopian-religious (messianic) time in the context of Arab Spring, Prashad indicates that the base of “the deep desire and commitment to some form of democracy” is forged by the affinity between eschatological Islamist politics with the People. To think about the Subject of messianic time in the context of the lack of a “coherent timetable” for emancipatory politics, it is perhaps best to return to the modern tradition of Martin Luther King, Jr., whose prefigurative blending of liberation theology and emancipatory politics became most important during his works of 1963, the climactic year of “The Letter from a Birmingham Jail,” the March on Washington, and the bombing of the 16th Street Baptist Church. In “The Letter,” King states the point bluntly: Frankly, I have yet to engage in a direct-action campaign that was “well timed” in view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant ‘Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.” The timing of rebellious action must not be a part of history. It must change history. The kairos appears spontaneous and untimely in its convulsive, shocking presence, yet it is, deeper still, a path, a longue durée , forged through diligent and rigorous praxis. King put a finer point on the path of historic liberation in his declaration in his 1963 speech at Western Michigan University: “[T]ime is neutral.... Somewhere along the way we must see that time will never solve the problem alone but that we must help time. Somewhere we must see that human progress never rolls in on the wheels on inevitability. It comes through the tireless efforts and the persistent work of dedicated individuals who are willing to be co-workers with God. Without this hard work, time itself becomes an ally of the insurgent and primitive forces of irrational emotionalism and social stagnation. We must always help time and realize that the time is always right to do right.” Time, then, exists in “the neutral,” while action must turn to the kairos , not only of taking time, but taking the right time. By turning our relation to time into kairos , we move time from its context within history to a duration between histories—the longue dure?e of Messianic time. The implementation of neutrality in this context suggests a broad space of time to extend through the valley of positive and negative. In Roland Barthes’s lectures from 1978, the neutral takes place in this minimal distance of non-conflict that exists outside of two extremes. It is, in the words of Maurice Blanchot, “the non-general, the non-generic, as well as the non-specific.” For Blanchot, the neutrality of time permeates life as death, impassive and beyond control; such is the neutrality of messianic time, which permeates the charge of history, changing the "I" into the "one." The neutrality of time therefore implicates history in a case against extremism, showing that the work of the radical is not to tend to any particular side, but to have the time to navigate through the terrible terrain of history by altering its course, its patterns and rhythms of movement, connection, sociality. Hence, one does not simply “make history,” one alters the course of history in accordance to “the right time.” The historical path toward emerging power is transmitted as a gesture to the outside of history, against history; a gesture as simple as reaching out. Thus a counterhistory, to use Foucault’s term, is brought forward as the guide of time past a point of no return, a Rubicon, the point where the normal path of history falls to the past. The subject, who must be the only true agent of history, facilitates time through helpfulness, and both the Subject and her history become decentered in relation to one another. Yet history negates the neutrality of time. As Barthes discloses, although the neutral is the “thought and practice of the nonconflictual, it is nevertheless bound to assertion, to conflict, in order to make itself heard.” Engaged with history, time is charged with a destiny, and becomes an opposition. As Prashad insists, “For Arab lands, the events of early 2011 were not the inauguration of a new history, but the continuation of an unfinished struggle that is a hundred years old.” The emergence of the Subject during Arab Spring did not conceive of a new history, but changed the path of history toward a different destiny. “Historical grievances combined with inflationary pressures now met with the subjective sense that victory might be at hand—this was not simply a protest to scream into the wind, but a protest to actually remove autocrats from their positions of authority. The facts of resistance had given way to the expectation of revolutionary change.” The negativity of this charge toward “revolutionary destiny” rendered control, as a positive force, seriously lacking. The lack of control lies in the problem that the Subject is not totally detemporalized or timeless, but untimely in her presence. The Subject is untimely, because her work is visionary, and it is only through such visionary work that the Rubicon can be crossed. Still, the crossing of this border is haunted by anxiety over an impending disaster that lays in wait. It is only through the form of what Benjamin calls divine violence, captivated not with the justice of the means, but the ends—the transformation of history—that a revelation of history’s traumatic foundations can be liberated, and patterns and rhythms of time developed throughout obscured traditions awakened. In this situation, the Subject appears to be outside of right, but setting the state to rights. Because her position is correct, in-so-far as the rebelling subject rebels due to a lack of recognition, her representation appears outside of the norm, which is mistaken as right. Therefore, such visionary work must be carried out through obscured traditions, underground, away from the surveillance of empire. Explaining his method from the start along the lines of Marx’s metaphor of the mole, Prashad insists, “It is the burrowing that is essential, not simply the emergence onto the surface of history.” Arab Spring, Libyan Winter is a book on uncharted networks of time, spread out over the 252 pages like an elaborate spider’s web of passages intertwining with and overwhelming the machinery of the state. Although untimely, Arab Spring was not a flash in the pan, or a Facebook or Twitter revolution. Prashad notes that the government’s suspension of these tools led to further radicalism by furthering communications through face-to-face encounters. In existential terms, Arab Spring might be thought of as a revolution of Being over techne , an uprising of the unchartable, infinite potential of the Other. The name of this Other is found in Chance. The faith of the revolution lies in the proper decentering of the subject, its giving to the Other of time, for only with respect to time does history actually appear on the horizon of the subject, rather than as an imposition. This time of historical agency appears as a moment when anything can happen—a revolutionary truth event where everything comes into question while being realized in its Otherness as a community of the people begins anew in the streets amidst discourse, friendship, reconfigurations of hegemony, and a becoming of a constituent power. Throwing a wrench into the gears of the “cobwebbed tradition” of Orientalism, the decentering of history in Arab Spring, Libyan Winter is a defining quality of its impassioned revolutionary cry. But perhaps the most paradigmatic points of the book emerge from the unexpected voices. To make the connection between the particular manifestations of revolutionary demands to the general historic terms of revolution, Prashad quotes an anonymous young Egyptian in Tahrir Square, who reminds us, “[T]he French Revolution took a very long time so the people could eventually get their rights.” Far from timelessness, the historicization of Arab Spring must exist precisely within the most uncanny appearance of time, as something that does not appear to come from the natural state of time as we know it, but in arriving has completely transformed the way that we understand time. Strange Monsters Revolution is never as simple as a revolt from below against a rusting structure of elites trying to remain in power. As with the French Revolution, Arab Spring consisted of complex familial ties, outside interests, and religious factions fighting alongside, often in awkward juxtaposition to, liberals, working class parties, farmers, and students. It is perhaps because of this historically difficult and incongruous composition that the Arabic word for revolution is thawra , referring to the image of the bull, or thawr , which has religious significance as a pagan deity for the Ancient Semitic tribes and Cartheginians. If Daniel Guérin was correct in saying, “Anarchism and Marxism drink from the same spring,” then it is quite a different oasis that drove the thirsty beast of revolution through what Prashad calls, “the Libyan labyrinth.” Recalling Bataille’s Acéphale, the intestinal labyrinth gains significance as the mode of metabolism and rumination in which, “(the Acephale) has lost himself, loses me with him, and in which I discover myself as him, in other words, as a monster.” Unraveling the discourse of the revolution, the flows of power and hegemony—from Qaddafi’s nationalist coup in 1969 to the wars with Chad from 1978 to 1987, the neoliberal reforms of the 1990s to, finally, the War on Terror—we find that the metabolic process of Libyan Winter ends in the production of oil. In a process of what Prashad calls “involution,” Qaddafi’s bellicose policies, along with his attempts to nationalize Islam together with oil, mutated the source of his power, turning his house against itself. Already a divided nation, with its two major cities on opposite geographic sides of the country, Libya became split between two opposed political powers—liberal reformists and staunch nationalists—as Qaddafi’s political disengagement manifested through what can only be described in psychoanalytic terms as a recursive passage a l’act (mysteriously calling Wikipedia “Kleenex,” declaring that opponents drank hallucinogens with their instant coffee, and so on). Prashad declares, “The mercurial style that Qaddafi adopted was not about his personality alone, but also a leader’s natural response to a system that relied upon power brokers whose own loyalty… did not have any ideological commitment to the system.” As in the case of other nations during Arab Spring, the true expression of revolt was an outward exposition of what had inwardly been happening in microcosmic societies throughout the realm—from indigenous tribes to political parties, for a century, the people, partly motivated by (and in resistance to) economic impositions of development, had been changing the traditional social compositions and participating in what Ruth Wilson Gilmore calls, “the relative autonomy of the movement from the leaders.” It was this empowerment of political reconfigurations taking place under the context of new democratic assemblages that shocked the elites and evoked such a powerful response. Unlike Qaddafi’s awkward policy choices and rants, real acts of power from the West were clear and decisive. Prashad sets the stages of war and diplomacy, far removed from the deserts, mountains, and cities that forged the backdrop of popular politics. Taking place under the now-classic architecture of the “four pillars” of US interests—oil, the War on Terror, Israel, and the circumvention of Iranian hegemony—we find elites rubbing elbows in “Heliopolist cocktail parties and hushed conferences in Kasr al-Ittihadiya” as well as the Concorde-Lafayette hotel in Paris, which provides the setting for a meeting of anti-Qaddafi figures consolidating their power. These scenes are buttressed with the careful portraiture of key historical actors. As Prashad brings the stage of history to life, we find the diplomats and liberals like Frank Wisner, whose career has brought him from Enron in the late 1990s to the Obama Administration, under the aegis of which he was meeting with Mubarak about military support during Arab Spring. We spy the provocateurs, for instance, gauche cavalier , Bernard Henri-Levy, who telephones Sarkozy from Benghazi about the need for more NATO air strikes. We follow the rebel military establishment as it suffers mysterious deaths and even more mysterious assents (like that of apparent CIA cohort, Khalifa Hifter). In each of these intriguing characters, we find different representations of the security state biopolitique: an oil-injected reification that drives Arab Spring from the resentment of rising food prices to the brink of implosion in Libyan Winter. Reminiscent of the scenes of Cold War soirées represented in old Bond films, the aristocratic fight for oil against democracy that was Libyan Winter presents a harsh truth that the new global crisis is simply the continuation of the old history: the global exploitation of capitalism waged against the imagination of the people. As Benjamin laments, “The labyrinth is the right path for the person who always arrives early enough at his destination. This destination is the marketplace.” Yet, “(t)he labyrinth is the habitat of… a humanity (a class) which does not want to know where its destiny is taking it.” Thus, the labyrinth leads, like the desert, only further into itself. As Blanchot explains, “The desert is even less certain than the world; it is never anything but the approach to the desert.” Only the visionary can take time out of the involution toward oblivion. It is here, in this approach to and escape from history, that we find ourselves within Benjamin’s Golgotha, Blanchot’s desert: A space of indeterminate uncertainty where we become familiar only with our own exile. Blanchot writes, “For the moderated and moderate man, the room, the desert, and the world are strictly determined places. For the man of the desert and the labyrinth, devoted to the error of a journey necessarily a little longer than his life, the same space will be truly infinite, even if he knows that it is not, all the more so since he knows it.” The desert, as allegory, provides an eschatology, a mortality in the destiny of Arab Spring. But any allegory of nature might lead to a labyrinthine eschatology (for example, in Bachelard, the forest presents "a limitless world"); the prescience of the untimely is always an uncanny acceptance of the infinite within the finite—the outside of what is understood. Transgenerational and occupied with the image of the future, the untimely makes otherness its home as it proceeds toward liberation. In the work of helping time navigate this dangerous passage of history, Prashad illustrates that the more violent break with history may have occurred in the peaceable struggles of Tahrir Square, and not in the military clashes of Qaddafi with his former Generals who defected to the CIA and NATO countries. It might be possible to suggest, then, that in the case of Tunisia and Egypt, the historical subject of the people was drawn together in a Dionysian dance of different rhythms in the marvelous realm of the ancients, while we fear that the case of Libya suggests an Apollonian future where time, itself, may lay dying under the machinic hand of history. The properly Nietzschean inversion would follow: time is dead, for history has killed it. Yet, if time is dead, struck down in Golgotha, exposed in the desert, mauled by the thawra , it is only in the present sense that it is rendered impossible outside of the context into which the untimely has thrown us. Thus, if history becomes an art of revolution, life as being-towards-death (death as the provocation of the neutrality of time) becomes what Benjamin calls “the allegory of resurrection” through the glorious ruins of history. Prashad ends his work with a rousing finale: “The time of the impossible has presented itself. In Egypt, where the appetite for the possibilities of the future are greatest, the people continue to assert themselves into Tahrir Square and other places, pushing to reinvigorate a Revolution that must not die… For them the slogan is simple: Down with the Present. Long live the Future. May it be so.&rdquo. (shrink)

This paper uses narrative from the social centre movement in the UK to argue that social centres are examples of the MacIntyrean small communities that can virtuously resist the overbearing market influence. Looking at the contrast between rented and squatted centres, the paper argues that those that are squatted are practice-based communities, and those that are rented, are institutions. This therefore highlights the interrupting role of the market and argues that the rented centres are incompatible with MacIntyre’s ideal.

In this discourse analysis of a social-skills intervention, the narratives of a girl with autism and her female peers were analyzed. Some 162 narratives were identified in 12 hours of video, which documented an eight-week program. Using conversation/talk-in-interaction analysis methods, we determined that over 60% of peers’ narratives were cooperatively completed by group members compared to less than 20% of Cindy’s. In contrast, a majority of Cindy’s narratives were cooperatively sanctioned. Analysis of these unsuccessful narratives revealed that: 1) peers (...) often contest Cindy’s narratives if they are about a restricted interest; 2) Cindy often notices her peers’ resistance but persists with her storytelling activity; and 3) peers’ sanctioning becomes more intense over time. We claim that Cindy’s autism-related behaviors manifest themselves in inflexible interactions that systematically lead to her exclusion. This study emphasizes that storytelling is a fundamental tool that girls use to socialize with one another, which has implications for autism intervention practices. (shrink)

The global spread of the novel coronavirus is affected by the spread of related misinformation—the so-called COVID-19 Infodemic—that makes populations more vulnerable to the disease through resistance to mitigation efforts. Here, we analyze the prevalence and diffusion of links to low-credibility content about the pandemic across two major social media platforms, Twitter and Facebook. We characterize cross-platform similarities and differences in popular sources, diffusion patterns, influencers, coordination, and automation. Comparing the two platforms, we find divergence among the prevalence of (...) popular low-credibility sources and suspicious videos. A minority of accounts and pages exert a strong influence on each platform. These misinformation “superspreaders” are often associated with the low-credibility sources and tend to be verified by the platforms. On both platforms, there is evidence of coordinated sharing of Infodemic content. The overt nature of this manipulation points to the need for societal-level solutions in addition to mitigation strategies within the platforms. However, we highlight limits imposed by inconsistent data-access policies on our capability to study harmful manipulations of information ecosystems. (shrink)

PurposeThe purpose of this study to shed light on the importance of social media hosted content related to socially-motivated discussions. Moving from the field of communication for development, the research leverages social media as a powerful tool for collecting and analyse peer-to-peer communication towards the conceptualization of eVoices of Unheard. The deep understanding of these conversation can generate recommendations for organizations and governments designing and providing interventions fostering local socio-economic development.Design/methodology/approachThe study presents a large-scale analysis of social (...) media interactions on the topic “#favela” to generate insights into a social network structure, narrative contents and meaning generated.FindingsStructurally, the analysed networks are comparable with those presented in current academic literature; automatic text analysis confirmed the promise of the inner value of communication for development opening the floor to conceptualization of the “eVoices of unheard”, which is the collective and conscious use of social media to mediate community discussions about tangible and intangible issues related to socio-economic development.Originality/valueFramed within the rise of interactive communication for development this research show that social media an support the notion of voice proposed by Couldry moving from process towards value thereby understanding intangible issues related with socio-economic development. (shrink)

This essay suggests that a narrative genre of “kill stories” has a prominent philosophical function in the Zhuangzi 莊子. Kill stories depict the domestication and disciplining of “wild” living beings eventually resulting in their death. They typically show an incongruity between the moral attitude of the perpetrators and their destructive deeds. Thereby, they illustrate a critique of a broader sociopolitical “master narrative” associated with the Confucian tradition that had a strong impact on ideology and ethical values in early China. (...) In the diagnosis of the kill stories, ritual practice and civilizational ordering inevitably produce discontent and unease. A second narrative genre that I call “survival stories” corresponds to the kill stories and connects with the medicinal orientation of the Daoist tradition. As therapeutic allegories, the survival stories reflect strategies for maintaining sanity and ease within society. Rather than advocating escapism or a return to a primitivist state, they promote the cultivation of immunity against consumption by social demands and pressures based on an insight into the inescapability and contingency of social roles. (shrink)

This essay is a brief study of translation as a practice of aesthetic resistance seen from a historical and philosophical perspective. Translation is perceived as the process of transition and negotiation within the ‘third space’ between various different hybrid cultural contexts and their discursive constraints, and referred to as ‘paratranslation’. It summarises the first attempts to think of translation as an almost ‘holistic’ paradigm and the aesthetics of intervention from Romantic philosophy onwards. It attempts to show how Walter Benjamin’s (...) class='Hi'>master narrative, the utopia of ‘pure language’, encourages continuous resistance to the totalitarianism of the idea of the ‘original’, to aesthetics and to dominant discourses. It subsequently defines the idea of ‘progress’, which considers translation as aesthetic resistance, as a process of construction in constant deconstruction. It concludes by exemplifying the notion of translation as a paradigm of intervention in modernity with a brief analysis of the transcreation performed by Erin Mouré on Fernando Pessoa/Alberto Caeiro’s poetic cycle, O Guardador de Rebanhos. (shrink)