scholarly journals Interplay of Things

2021 ◽  
Author(s):  
Anthony B. Pinn
Keyword(s):  
Performance Art ◽  
Richard Wright ◽  
Nella Larsen ◽  
Pop Art ◽  
Symbiotic Relationship ◽  
Cultural Codes ◽  
And Gender ◽  
Open Nature

In Interplay of Things Anthony B. Pinn theorizes religion as a technology for interrogating human experiences and the boundaries between people and other things. Rather than considering religion in terms of institutions, doctrines, and creeds, Pinn shows how religion exposes the openness and porousness of all things and how they are always involved in processes of exchange and interplay. Pinn examines work by Nella Larsen and Richard Wright that illustrates an openness between things, and he traces how pop art and readymades point to the multidirectional nature of influence. He also shows how Ron Athey's and Clifford Owens's performance art draws out inherent interconnectedness to various cultural codes in ways that reveal the symbiotic relationship between art and religion as a technology. Theorizing that antiblack racism and gender- and class-based hostility constitute efforts to close off the porous nature of certain bodies, Pinn shows how many artists have rebelled against these attempts to counter openness. His analyses offer a means by which to understand the porous, unbounded, and open nature of humans and things.

scholarly journals Romantic Sublime in Kalidas’s Works: An Ecocritical Approach to the Study of ‘Abhijnanashakuntalam’

2018 ◽  
Vol 6 (10) ◽  
pp. 14
Author(s):  
Chandra Shekhar Dubey
Keyword(s):  
Intrinsic Value ◽  
Environmental Responsibility ◽  
Symbiotic Relationship ◽  
Emotional Experiences ◽  
Man And Nature ◽  
And Gender ◽  
Living Objects ◽  
Ecological Catastrophe

    Kalidas’s plays are replete with descriptive details of flora and fauna and vivid pictures of naturedrawn from diverse sources and rich imagery. His works particularly “Ritusambharam’’, “Meghdutam’’ and ‘’Abhijnanashakuntalam’’ also show a symbiotic relationship between man and nature. Though there are many works on his plays and epicscritiquingnature,its grandeur and other related aspects. This paper attempts to critique the Ecocritical concept of Romantic sublime in “Abhijnanashakuntalam “. This paper examines the ecosystem presented in this play by Kalidas, which endorses the emotional experiences of the wonder of nature. It also critiques the text with reference to Lee Rozelle’s  concept of ‘ ecosublime’ which suggests that sublime encounter with nature inspires awe which further invites ecological catastrophe as well as environmental responsibility. This paper further discusses the profundity of thought, emotion and spirit represented by spectacular landscapes, characters and living and non-living objects in the forest. It further interrogates the ecocentric setting of the play which extends an egalitarian perspective with respect to all elements of nature and acknowledges the intrinsic value of all living beings. The paper concludes that ‘Abhjjnashakuntalam’ presents the ecocritical perspective of society, culture and gender,which highlight nature and evoke emotional experiences with awe and wonder in postmodern world faced with danger of environmental catastrophe.

Nature, Nation, Science and Gender

2018 ◽  
Vol 67 (3) ◽  
pp. 334-347
Author(s):  
Gita Chadha
Keyword(s):  
Symbiotic Relationship ◽  
Complex Relationship ◽  
Mother Goddess ◽  
Indian Scientist ◽  
Feminist Perspectives ◽  
And Gender ◽  
Relationship Of ◽  
The Relationship

The article explores the equation among nature, nation and gender in the nationalist context. Developing the argument that both nature and nation were feminised and deified as mother and mother goddess in the nationalist context, the article deploys feminist perspectives to critically examine this on a fourth-axis science. By looking at the relationship of the scientist, J. C. Bose, to these categories, the article hopes to unravel the complex relationship of the Indian scientist to nation, nature, gender and science. It is argued that due to being a ‘Sakta’, Bose had a symbiotic relationship to nature, and consequently to science, thereby presenting an ‘alternative’ to Western modes of relating to science and nature. The article submits that this alternative was cast in patriarchal constructions of both science and nature and views the associations of mother with nation and nature within larger feminist critiques of science. The article submits that while these sleeping metaphors set an alternative paradigm to the Western modes of relating to nature through science, they reproduced patriarchal constructions of the same. The article is an effort at grafting feminist perspectives on (a) science and (b) nationalism with postcolonial perspectives on science and modernity.

Looking for Mundo Meza

2019 ◽  
pp. 55-82
Author(s):  
Robb Hernández
Keyword(s):  
Performance Art ◽  
Art History ◽  
Public Access ◽  
Gender Nonconforming ◽  
Aids Crisis ◽  
And Gender

The death of the artist Mundo Meza at age twenty-nine is one of the greatest tragedies of the AIDS crisis. After his death, his extant work was scatteredand all but removed from public access, scholarly documentation, or the broader annals of Chicanx art history. Located in photographic glimpses and media clips, the detritus constituting his archival body of record demands another way of understanding an incomplete and little known oeuvre.. What is revealed in Meza’s marginality are creative practices derived from the trendy underground of Hollywood fashion, shocking window tableaus, and gender nonconforming performance art in East LA. This chapter uncovers the tenuous system ofpartial visions stewarded by his former lover and collaborator, Simon Doonan, and the plastic world of mannequins surrogating his life and memory.

Roads to and from Revolution

2021 ◽  
pp. 65-88
Author(s):  
Doris Kadish
Keyword(s):  
Feminist Theory ◽  
Richard Wright ◽  
Popular Front ◽  
Soviet Policy ◽  
Meridel Le Sueur ◽  
John Reed ◽  
And Gender ◽  
Attention To Diversity ◽  
Personal Reflections ◽  
Political Radicalism

This chapter traces Rahv’s forays into and retreats from political radicalism. Letters to Ethel Richman and essays published in the early 1930s (“An Open Letter to Young Writers”, “The Literary Class War”) reveal his deep-seated faith in Marxism and ambivalent commitment to Communism. It describes the founding of Partisan Review, sponsored by the Communist John Reed Club. It considers the magazine’s attention to diversity and social justice and the modern feminist theory of intersectionality, through which interconnected categories of race, class, and gender create overlapping systems of discrimination. The chapter focuses on Partisan Review’s publication of works by proletarian writers including Richard Wright and several women writers: Meridel Le Sueur, Tillie Lerner (Olsen), Grace Lumpkin. It explains Rahv’s break with communism after 1934, in response to the Soviet policy of the Popular Front and Stalin’s infamous Moscow Trials. The “Personal Reflections” sections shows how Communism touched my life.

scholarly journals “Neither here nor there”: traces of the feminine in the photoperformances of Ana Mendieta

2017 ◽  
Vol 32 ◽  
pp. 319-330
Author(s):  
Olga da Costa Lima Wanderley
Keyword(s):  
Performance Art ◽  
Cultural Memory ◽  
Political Dimension ◽  
Cuban American ◽  
Transmission Of Knowledge ◽  
American Artist ◽  
The Feminine ◽  
Ana Mendieta ◽  
And Gender ◽  
Constitutive Factor

This article addresses the questions triggered by the work of the Cuban-American artist Ana Mendieta, who has a large part of her work composed exclusively of camera performances and what she termed earth-body-works. Through her strategies of representation based on the disappearance of the female body, Mendieta draws our attention to the legitimized violence and erasures through the establishment of fixed identities – ethnic and gender – within the hegemonic discourses of power. The notions of performance as an instrument for transmission of knowledge and cultural memory, of performativity as a constitutive factor of the categories of identity, as well as of archive, repertory and live event will be explored in the effort to problematize as the themes of exile and feminine, regular in the art of Mendieta, reach a deeply political dimension based on their artistic propositions that integrate photography with performance art.

Tamil Nadu Politics and Tamil Cinema: A Symbiotic Relationship?

2021 ◽  
pp. 239386172110541
Author(s):  
Selvaraj Velayutham ◽  
Vijay Devadas
Keyword(s):  
Tamil Nadu ◽  
The State ◽  
Political Life ◽  
Symbiotic Relationship ◽  
Critical Survey ◽  
Political Ideologies ◽  
Wide Range ◽  
Everyday Politics ◽  
Tamil Cinema ◽  
And Gender

From the second-half of the twentieth century, a nascent Tamil cinema became increasingly influential in Tamil society and more prominent in political life. The Dravidar Kazhagam, founded by Periyar E. V. Ramasamy in 1944, morphed into the DMK and AIADMK, two dominant state political parties in Tamil Nadu. Through the medium of film, some of its leading lights, C. N. Annadurai, M. Karunanidhi, M. G. Ramachandran and Jayalalitha, cultivated cinema audiences and the voting public in the political ideologies of the Dravidian movement and subsequently became Chief Ministers of Tamil Nadu. The symbiotic relationship between politics and Tamil cinema has meant that political and social commentaries and the assertion of Tamil nationalistic ideas was commonplace in Tamil films. In recent years, Tamil cinema has become the vehicle for raising a wide range of concerns ranging from caste, class and gender and state/nation politics, marking a shift that focusses on everyday politics in the state. In this article, we present a critical survey of the role of Tamil cinema in disseminating particular realities and politics of identity that speak to an essentialised notion of Tamil cultural and linguistic identity, the concomitant disavowal of broader conceptions of Indian-ness or belonging to the Indian nation, as well as the use of cinema to address everyday politics in the State.

(Desperate) Housewives, Domestic Angels, or Femmes Fatales

2021 ◽  
pp. 233-260
Author(s):  
Debora Ricci
Keyword(s):  
Sexual Identity ◽  
Gender Stereotypes ◽  
Visual Language ◽  
Natural Consequence ◽  
Psychological Violence ◽  
Cultural Codes ◽  
The Media ◽  
Linguistic Practices ◽  
And Gender ◽  
Physical And Psychological Violence

Language and linguistic practices, based on androcentric type principles, appear as a privileged vehicle for demanding and reiterating certain values and cultural codes. This chapter aims at analyzing the visual language in the media, with a focus on advertising language, in the attempt to demonstrate how the language used is responsible for the formation and preservation of sexual identity and gender stereotypes. A natural consequence of its reiteration would be the passage from an objectified view of women to physical and psychological violence against them. The images appearing on billboards will be correspondingly analyzed with the intention of reflecting on certain gender-related issues that most often go unnoticed.

CULTURAL- AND SELF-IDENTIFICATION IN AFRICAN AMERICAN WOMEN’S POETRY: MAYA ANGELOU, SONIA SANCHEZ, AUDRE LORDE

2018 ◽  
pp. 28-37
Author(s):  
Olga Dolgusheva
Keyword(s):  
African American ◽  
African American Women ◽  
Women Poets ◽  
Audre Lorde ◽  
Community Members ◽  
Women's Poetry ◽  
Women Studies ◽  
Maya Angelou ◽  
Cultural Codes ◽  
And Gender

The paper addresses the issue of cultural- and self-identification as constituted by African American women poets. The question of identification in the analyzed poems by Maya Angelou, Sonia Sanchez, and Audre Lorde is viewed mostly from a multicultural perspective, which includes ethnic, national, racial and gender awareness. The author also discusses linguistic and rhetorical means that secure the identification on the textual level. They include conceptual and linguistic oppositions and dichotomies, allusions to precedent names, usage of music and tale-telling patterns, lexical and syntactical repetitions, etc. A special emphasis is made on the dialogic nature of poetry that is viewed as a linking chord between generations or community members in transmitting cultural codes. The theoretical framework of the paper is outlined by the ideas of women studies, US history and literature studies within the multiculturalist paradigm.

scholarly journals Proliferating Panic: Regulating Representations of Sex and Gender during the Culture Wars

1970 ◽  
Vol 14 (2) ◽  
Author(s):  
Cristyn Davies
Keyword(s):  
Performance Art ◽  
The United States ◽  
Culture Wars ◽  
National Endowment ◽  
Sex And Gender ◽  
Karen Finley ◽  
The Arts ◽  
American Citizen ◽  
The Media ◽  
And Gender

During the culture wars in the United States surveillance of representations of the American citizen reached a particular frenzy. This article explores the moral panic that has accompanied attempts by the New Right to shape and define the American citizen as heterosexual, monogamous, white, and a believer in middle-class family values. Davies focuses on the work of performance artists Karen Finley and Holly Hughes whose work challenges hegemonic discourses of gender and sexuality. They were two of those artists branded by the media as the ‘NEA Four’, practitioners whose work was considered indecent and consequently de-funded by the National Endowment for the Arts. The article imagines performance art as a queer time and space; that is, not only does performance art contest normative structures of traditional theatrical performance, so too does it challenge understandings of normative subjects, and the relation of the arts to structures of power.

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