The Flight from Domestic Space: Men's Roles in the Household

1979 ◽  
Vol 28 (4) ◽  
pp. 599 ◽  
Author(s):  
Jerome Tognoli
Keyword(s):  
Domestic Space

Addicted to Christ

2018 ◽  
Author(s):  
Helena Hansen
Keyword(s):  
Cultural Anthropology ◽  
Domestic Space ◽  
Spiritual Power ◽  
Transformation Techniques ◽  
Industrial Culture ◽  
Depth Analysis ◽  
Alternative Masculinities ◽  
Street Corner ◽  
Post Industrial ◽  
The U.S

How are spiritual power and self-transformation cultivated in street ministries? This book provides an in-depth analysis of Pentecostal ministries in Puerto Rico that were founded and run by self-identified “ex-addicts,” ministries that are also widespread in poor Black and Latino neighborhoods in the U.S. mainland. The book melds cultural anthropology and psychiatry. Through the stories of ministry converts, the book examines key elements of Pentecostalism: mysticism, ascetic practice, and the idea of other-worldliness. It then reconstructs the ministries' strategies of spiritual victory over addiction: transformation techniques to build spiritual strength and authority through pain and discipline; cultivation of alternative masculinities based on male converts' reclamation of domestic space; and radical rupture from a post-industrial “culture of disposability.” By contrasting the ministries' logic of addiction with that of biomedicine, the book rethinks roads to recovery, discovering unexpected convergences with biomedicine while revealing the allure of street corner ministries.

Early Debates

2018 ◽  
Author(s):  
Samuel Llano
Keyword(s):  
Eighteenth Century ◽  
Public Space ◽  
Domestic Space ◽  
Limited Resources ◽  
Public And Private ◽  
Conduct Manuals ◽  
The Public ◽  
Clear Cut ◽  
The Social ◽  
Undeserving Poor

This chapter provides an account of how organilleros elicited public anger because their activity did not fit into any of the social aid categories that had been in place since the late eighteenth century. Social aid in Spain relied on a clear-cut distinction between deserving and undeserving poor in order to rationalize the distribution of limited resources and reduce mendicancy on the streets. Organilleros could not, strictly speaking, be considered idle, since they played music, but their activity required no specific skills and was regarded with suspicion as a surrogate form of begging. The in-betweenness of the organillero caused further anger as it challenged attempts to establish a neat distinction between public and private spaces. On one hand, organillo music penetrated the domestic space, which conduct manuals of the nineteenth century configured as female; on the other, it brought women into the public space, which those manuals configured as male.

Home and Vehicle in American Folklore and Folklife

2018 ◽  
pp. 624-642
Author(s):  
Cory Thomas Hutcheson
Keyword(s):  
Final Section ◽  
Public Spaces ◽  
Domestic Space ◽  
Cultural Performance ◽  
Domestic Sphere ◽  
Home Office ◽  
Political Performance ◽  
American Folklore ◽  
And Performance ◽  
Yard Art

This chapter unfolds the intersectionality of the domestic sphere in three parts. First, the home itself presents a multivalent space in which individual locations become realms of practice and performance for different groups, such as bathrooms used by children at slumber parties as the locus of legend ostension. Issues of personal identity and even “solo folklore” appear in spaces like treehouses and apartments, as do considerations of material cultural performance. Questions of gender and occupation appear in rooms like the “man cave” or the “home office” as well. Beyond the domestic space is the intersection of home and public spaces in practices such as holiday decoration, yard art, porch culture, and backyard cookouts. The automobile informs the final section, demonstrating the connection between domestic, familial, social, and political performance.

Livestreaming from the bedroom: Performing intimacy through domestic space on Twitch

2020 ◽  
pp. 135485652097832
Author(s):  
Bonnie ‘Bo’ Ruberg ◽  
Daniel Lark
Keyword(s):  
Digital Media ◽  
Video Game ◽  
Performing Arts ◽  
Domestic Space ◽  
Domestic Spaces ◽  
Affective Labor ◽  
Wide Range ◽  
History Of ◽  
Media Form ◽  
Cultural Connotations

This article looks at the appearance of domestic spaces on the popular livestreaming platform Twitch.tv, with a focus on livestreams that appear to be shot in streamers’ bedrooms. Many Twitch streamers broadcast from their homes, making domestic space central to questions of placemaking for this rapidly growing digital media form. Within the home, bedrooms merit particular attention because they carry particular cultural connotations; they are associated with intimacy, embodiment, and erotics. Drawing from observations of gaming and nongaming streams, we map where bedrooms do and do not appear on Twitch. We locate the majority of bedrooms in categories that foreground connections between streamers and viewers, like Just Chatting, Music & Performing Arts, and autonomous sensory meridian response (ASMR). By contrast, across a wide range of video game genres, bedrooms remain largely absent from gaming streams. The presence of bedrooms on Twitch also breaks down along gender lines, with women streaming being far more likely to broadcast from their bedrooms than men. Here, we build from existing research on both livestreaming and digital placemaking to argue for an understanding of place on Twitch as fundamentally performative. This performance is inherently gendered and bound up with the affective labor of streaming. In addition, we demonstrate how the bedroom, even when it does not appear on screen, can be understood as a ‘structuring logic’ of placemaking on Twitch. Given the history of livestreaming, which grows out of women’s experiments with online ‘lifecasting’, the bedroom sets expectations for the type of spatial and emotional access a stream is imagined to offer viewers. In this sense, the absence of bedrooms in gaming streams can be understood as a disavowal of intimate domestic space: an attempt by predominantly male streamers to distance themselves from the implicit parallels between livestreaming and practices like webcam modeling.

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