A Study on Postcolonial-Feminism & the Politics of Representation in Lee Yeon-Ju’s Poetry - Focusing on 『The Night Market with a prostitute』

Carrol Clarkson’s chapter wrestles with the contentious question of Coetzee’s relation to the Black Consciousness Movement in South Africa of the 1970s and early 1980s, which took its philosophical bearings from Frantz Fanon and found expression in the writings of Steve Biko. Clarkson focuses on the ways in which Coetzee departed from the ideas about writing and resistance that were circulating in his contemporary South Africa, particularly as articulated by novelist Nadine Gordimer. Clarkson discusses two related literary-critical problems: an ethics and politics of representation, and an ethics and politics of address, showing how Coetzee explores a tension between freedom of expression and responsibility to the other. In the slippage from saying to addressing we are led to further thought about modes and sites of consciousness—and hence accountabilities—in the interlocutory contact zones of the post-colony. The chapter invites a sharper appreciation of what a postcolonial philosophy might be.

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“We’re a Part of This City, Too”: An Examination of the Politics of Representation of D.C. Native via #DCNativesDay

Social Media + Society ◽

10.1177/2056305120984446 ◽

2021 ◽

Vol 7 (1) ◽

pp. 205630512098444

Author(s):

Loren Saxton Coleman

Keyword(s):

Public Schools ◽

Cultural Analysis ◽

Black Communities ◽

Politics Of Representation ◽

Marginalized Communities ◽

Movie Theaters ◽

Online Spaces ◽

Twitter Users ◽

The City

This cultural analysis explores how D.C. natives represented themselves on Twitter via #DCNativesDay. The analysis found that Twitter users engaged in hashtag activism to share stories about their connection to place(s) (e.g., movie theaters, neighborhoods, public schools) in the city that were integral in the construction of their individual and collective Black D.C. native identities. Constructed identities were not monolithic, and users engaged in some self-reflexivity. The users’ emphasis on place seemed to signify reclamation of changing city landscapes and legitimacy in the city. Ultimately, this research raises questions about how alternative representations that map marginalized communities onto city spaces in online spaces can create possibilities of transformation for Black communities during gentrification in offline spaces.

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Premchand, nationalism and civil resistance in colonial North India

The Indian Economic & Social History Review ◽

10.1177/0019464619835663 ◽

2019 ◽

Vol 56 (2) ◽

pp. 171-194

Author(s):

Shailendra Kumar Singh

Keyword(s):

Status Quo ◽

The Other ◽

Moral Duty ◽

North India ◽

Politics Of Representation ◽

Field Of Study ◽

Apparent Lack ◽

Civil Resistance ◽

Other Hand ◽

The One

The theme of nationalism in the works of Premchand, the pre-eminent Urdu–Hindi writer of the 1920s and 1930s, not only serves as an organising principle but also constitutes a protean and contentious field of study, which has resulted in conflicting interpretations. On the one hand, his nationalist narratives are categorically denounced for their apparent lack of radicalism, while on the other hand, they are unequivocally valorised for their so-called subversive content. Both these diametrically opposed schools of criticism, however, share a common lacuna, that is, both of them tend to conflate the writer’s nationalist narratives with his peasant discourse, thereby precluding the possibility of different themes yielding different interpretations. This article examines the theme of nationalism in Premchand’s works, in general, and the question of civil resistance in particular, in order to demonstrate how the writer’s politics of representation in his nationalist writings differs from the one that we find in his peasant narratives. It argues that as opposed to the authorial valorisation of the fictive peasant’s conformity to the exploitative status quo, civil resistance in Premchand’s nationalist narratives is not only necessary and desirable but also synonymous with dharma (moral duty) itself.

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Getting On

Critical Studies in Television The International Journal of Television Studies ◽

10.1177/1749602016642956 ◽

2016 ◽

Vol 11 (2) ◽

pp. 190-203

Author(s):

Beth Johnson

Keyword(s):

National Health Service ◽

Health Service ◽

Medical Staff ◽

Life Experience ◽

Politics Of Representation ◽

British Broadcasting Corporation ◽

Close Attention ◽

Social Exchanges ◽

New Managerialism ◽

Male Privilege

This article examines the feminist foundations, style and performances of key writer-stars Jo Brand, Vicki Pepperdine and Joanna Scanlan in the British Broadcasting Corporation sitcom Getting On (2009–2012). Paying close attention to the ‘life experience’ of these women, it aims to think through the multiple, acute politics of representation that the show offers up, suggesting that sex, class and age operate as key emotional loadstones. Examining the hierarchical interactions between medical staff, this article also argues that the minutiae of social exchanges made visible in the sitcom reveal the sickness of the National Health Service to be connected to new managerialism and male privilege.

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Curating Beirut: A Conversation on the Politics of Representation

Art Journal ◽

10.1080/00043249.2007.10791258 ◽

2007 ◽

Vol 66 (2) ◽

pp. 98-119

Author(s):

Sandra Dagher ◽

Catherine David ◽

Rasha Salti ◽

Christine Tohme ◽

T. J. Demos

Keyword(s):

Politics Of Representation

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Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work

Organization ◽

10.1177/1350508417690396 ◽

2017 ◽

Vol 24 (3) ◽

pp. 330-354 ◽

Cited By ~ 5

Author(s):

Patrizia Zanoni ◽

Annelies Thoelen ◽

Sierk Ybema

Keyword(s):

Ethnic Minority ◽

Identity Work ◽

Creative Industries ◽

The Other ◽

Politics Of Representation ◽

Cultural Industries ◽

Creative Work ◽

The West ◽

The Subject ◽

Creative Subject

Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

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