Shell Bodies: The Creative Agency of Molluscs across Cultures

2021 ◽  
pp. 61-102
Keyword(s):  
Author(s):  
Matteo Bonotti

This chapter rejects the ‘extrinsic’ view of public reason examined in Chapter 4, and argues that political parties can play an important role in helping citizens to relate their comprehensive doctrines to political liberal values and institutions. Once we understand the distinctive normative demands of partisanship, this chapter claims, we can see that there is no inherent tension between them and the demands of the Rawlsian overlapping consensus. This is because partisanship (unlike factionalism) involves a commitment to the common good rather than the sole advancement of merely partial interests, and this implies a commitment to public reasoning. The chapter further examines three distinctive empirical features of parties that particularly enable them to contribute to an overlapping consensus. These are their linkage function, their advancement of broad multi-issue political platforms, and their creative agency.


2019 ◽  
Vol 26 (3) ◽  
pp. 384-404 ◽  
Author(s):  
Nozomi Kawarazuka ◽  
Catherine Locke ◽  
Janet Seeley

2016 ◽  
Vol 33 (3) ◽  
pp. 263-281 ◽  
Author(s):  
Sari Muhonen

The study reported in this article investigates students’ experiences (n=41) of their primary school songcrafting, examining the potential to support creative agency within school music education programmes. Songcrafting refers to a collaborative composing practice in which everyone is considered to be a capable creator of melodies and lyrics, and where negotiation, collaboration, and openness to the situation are essential. Through semi-structured individual interviews with students who had experienced songcrafting in the past, analysed with qualitative methods, it was found that the students' narration of songcrafting included meanings related to general agency, creative agency, musical participation within the classroom community, and documented and shared collaborative musical products, or ‘oeuvres’.The results of this study illustrate the various often unforeseeable meanings produced through participation in collaborative musical activities. Furthermore, they highlight the potential to enrich meaningful teaching practices and pedagogy through the examination of students' experiences, and exploring the potentials in narrating one's musical stories. These findings suggest that music education practices could benefit from the inclusion of a broader range of opportunities for the students to create their own music, and the sensitive facilitation of collaborative music creation processes.


OASIS ◽  
2020 ◽  
pp. 49-62
Author(s):  
Nancy E. Wright

Los Estados soberanos más pequeños del mun­do, que de hecho comprenden la mayoría de los Estados soberanos en todo el mundo, tie­nen mucho que enseñarnos sobre las diferentes interpretaciones del poder. La gran parte de los estudios de relaciones internacionales (ir) se han centrado tradicionalmente en el poder como control o coerción; sin embargo, el po­der también puede significar capacidad, que se logra a través de lo que este artículo identifica como agencia creativa. Aquí, la agencia crea­tiva se define como la capacidad de acuerdo con la forma en que uno interpreta el poder y los beneficios asociados con ese poder. Por lo tanto, ciertos componentes del poder, como la hegemonía regional o global, pueden no ser relevantes para la agencia creativa; por el contrario, una identidad cultural fuerte o una economía de nicho puede ser esencial. Este artículo divide los Estados pequeños en tres categorías: (1) 2 microestados, definidos aquí como Estados con poblaciones de menos de medio millón y/o un área no marítima de menos de 1,000 kilómetros cuadrados; (2) Estados con poblaciones de entre medio millón y un millón; y (3) Estados considerados peque­ños principalmente en relación con sus vecinos más grandes. Utiliza ejemplos de todas estas ca­tegorías para ilustrar el fenómeno de la agencia creativa con respecto a la formación del Estado y el tipo de gobierno y gobernanza. Debido a que el enfoque del artículo es la pedagogía, el texto incluye referencias a temas clave que los instructores pueden presentar con Estados pequeños, así como a trabajos representativos sobre Estados pequeños de ciencias políticas, derecho, historia y antropología


2015 ◽  
Vol 69 (3) ◽  
pp. 781-811 ◽  
Author(s):  
Jacky Swan ◽  
Harry Scarbrough ◽  
Monique Ziebro

2021 ◽  
Vol 7 (4) ◽  
pp. 27-54
Author(s):  
Paloma Martínez-Cruz

Characterized by ambiguous sexual energy and resistance to male domination and objectification, the visual idiom of punk rock communicated feminist prospects through the performance of fashion. This essay interprets the creative agency of Alice Bag, Marina “Del Rey” Muhlfriedel, Trudie “Plunger” Arguelles-Barret, and Helen “Hellin Killer” Roessler as Latina and Hispanic sono-spatial artists in the early days of L.A.’s punk subculture. Situating the performance practices of Hispana (Iberian) women alongside the Latina (hemispheric Latin American) artists, L.A. punk is situated within a Spanish-American borderlands matrix of meaning, where non–Western European roots of women in punk gain coherence as a specifically bordered set of historical circumstances. By embodying musical performativity as creators of a relational theatre of musical experience, the study asserts that women punk fans redefined how alternative music was generated, circulated, and consumed.


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