scholarly journals Making my bed : Tracey Emin's hysterical confessions of the abject

2021 ◽  
Author(s):  
Alicia Chantelle VanDeWeghe
Keyword(s):  
Reality Television ◽  
Status Quo ◽  
The Body ◽  
Cultural Discourse ◽  
Alternative Representation ◽  
Traumatic History ◽  
The Status ◽  
Personal Trauma ◽  
A Performance

Tracey Emin's My Bed (1998) presents an alternative representation to normative notions of the body, offending hegemonic propriety so greatly that it caused a tabloid media sensation when it was shortlisted for the 1999 Turner Prize. Emin applies certain feminist notions as she continues the motif of the reclining nude, offering semiotic gestures that indicate evidence of the body rather that the body itself. My Bed is the site of trauma and disgust, with all of the abjection left intact, and above all, a self expressionist piece documenting her personal trauma. The expressionist qualities harkens back to cultural discourse of hysteria, reinforcing the legitimacy of the feminist lens. Hysteria is a performance that Emin represents through confessing her traumatic history. Like the archetypal reality television star, she confesses personal emotions and histories, but breaks the status quo by offering an alternative representation with the abjected authenticity of the bed.

scholarly journals Making my bed : Tracey Emin's hysterical confessions of the abject

2021 ◽  
Author(s):  
Alicia Chantelle VanDeWeghe
Keyword(s):  
Reality Television ◽  
Status Quo ◽  
The Body ◽  
Cultural Discourse ◽  
Alternative Representation ◽  
Traumatic History ◽  
The Status ◽  
Personal Trauma ◽  
A Performance

Tracey Emin's My Bed (1998) presents an alternative representation to normative notions of the body, offending hegemonic propriety so greatly that it caused a tabloid media sensation when it was shortlisted for the 1999 Turner Prize. Emin applies certain feminist notions as she continues the motif of the reclining nude, offering semiotic gestures that indicate evidence of the body rather that the body itself. My Bed is the site of trauma and disgust, with all of the abjection left intact, and above all, a self expressionist piece documenting her personal trauma. The expressionist qualities harkens back to cultural discourse of hysteria, reinforcing the legitimacy of the feminist lens. Hysteria is a performance that Emin represents through confessing her traumatic history. Like the archetypal reality television star, she confesses personal emotions and histories, but breaks the status quo by offering an alternative representation with the abjected authenticity of the bed.

Construction of Battery Swap Station for Electric Passenger Car

2012 ◽  
Vol 253-255 ◽  
pp. 2231-2236
Author(s):  
Rong Yi Niu ◽  
Xiao Yan Yin ◽  
Ming Yu Zhao
Keyword(s):  
Electric Vehicle ◽  
Status Quo ◽  
The Body ◽  
Battery Pack ◽  
Body Structure ◽  
Passenger Cars ◽  
Passenger Car ◽  
Different Types ◽  
The Status

Basing on the status quo of the development of electric vehicle and electric vehicle’s Charging/battery swap infrastructure, Discussion and analysis is made with focus on the battery swap mode and it’s practising method of electric passenger car. According to the body structure of different types of electric passenger car and the Situation that the battery pack is equipped with, Electric passenger car are divided into two types: chassis battery type and battery rear-equipped type. Respectively, analyzed the battery swap mode for the two types of electric passenger cars; And two feasible battery swap projects are advanced , analysed and compared.Then pointed out the difficulties and problems with the construction of the battery swap station for electric passenger car; Finally, suggestions and methods to solve the problems were offered.

scholarly journals Filial Phantasmagoria

2019 ◽  
Vol 93 (1-2) ◽  
pp. 5-40
Author(s):  
Jennifer L. Lambe
Keyword(s):  
Status Quo ◽  
The Body ◽  
Racial Inequalities ◽  
Cuban American ◽  
Before And After ◽  
The Status ◽  
Narrative Spaces ◽  
Opening Up

Abstract Antonio Maceo Grajales (1845–1896) is one of the most celebrated heroes of Cuban independence. Though he died before he could see the dawn of a sovereign, if U.S.-occupied, Cuba, Maceo would become an important node of nationalist commemoration. Throughout this process, Maceo’s blackness represented both a source of his prestige—the struggle against African slavery had been intimately tied to independence—and a barometer of lingering racial inequalities. Posthumous depictions thus tended to downplay racial tensions in a unifying vision of nation. Yet Maceo’s martyrdom in the Spanish-Cuban-American War also reverberated in more uncanny registers. Before and after his death, apocryphal sons emerged periodically from the shadows, opening battles over Maceo’s legacy. In their movement across borders, these real and apocryphal children gave voice to silences around race and sovereignty as they converged on the body of their lionized “father,” while also opening up narrative spaces wherein the status quo could be reimagined.

Neue Blicke auf einen ›alten Dichter‹

2021 ◽  
Vol 62 (1) ◽  
pp. 91-149
Author(s):  
Barbara Sasse
Keyword(s):  
Early Modern ◽  
Early Modern Period ◽  
Status Quo ◽  
The Body ◽  
Future Research ◽  
Fields Of Study ◽  
Modern Period ◽  
The Status ◽  
Hans Sachs ◽  
Potential Use

»Old Poet«, New Readings: Recent Work on Hans Sachs and Perspectives for Future Research Stimulated by the flourishing of research on literature and culture of the early modern period in recent decades across the disciplines, interest in the body of literary works by the Nuremberg author Hans Sachs (1494–1576) is also on the rise again. This paper offers a report on scholarship devoted to his wide-ranging creative output and published between the re-emergence of Sachs studies in the mid-1970s up until the present day. Beginning with a retrospective that is primarily thematic in structure, it then turns to a discussion (in terms both of methodology and of content) of the focus and findings of studies to date, including the consideration of continuing gaps and desiderata. The latter are in the main related to textual problems, but also touch on many other aspects (literary, historical etc.) yet to be properly examined. There follows, finally, a delineation, based on the status quo as presented, of four highly relevant fields of study: the report thus provides a thematic and methodological framework of potential use for future research.

scholarly journals My performance is my world. Queer and normativity in the practices of New York’s ballroom culture

2021 ◽  
Vol 14 ◽  
pp. 59-68
Author(s):  
Łukasz Kiełpiński
Keyword(s):  
Human Body ◽  
Status Quo ◽  
The Body ◽  
Safe Space ◽  
Central Concept ◽  
The Status ◽  
Social Advancement ◽  
Verbal Discourse ◽  
Form Of Expression ◽  
Ballroom Culture

The central concept of the article is performance as a form of expression specific to non-normative people. In confrontation with the oppressive discourse of dominant groups, the body of an excluded individual and its metamorphoses in themselves appear to be an alternative way of non-alienated expression. This phenomenon is discussed via the example of the practices of New York’s ballroom culture — primarily via the example of the film Paris is Burning from 1990, directed by Jennie Livingston. In the ballroom community, black and non-heteronormative Americans found a safe space for experiments with their identity, thanks to which they could experience a form of capitalistic success through an ephemeral performance. However, these practices, despite their apparent subversiveness and emancipatory potential, did not have the ambition to change the status quo. They only allowed experiencing the feeling of social advancement within the existing system. The story that ballroom culture members in the 1980s told about themselves through their own performances was part of a unique, non-verbal discourse of excluded groups, which developed a specific communication code based on the human body, its ways of moving and its aesthetic metamorphoses.

scholarly journals “Headship”: Making the Case for Fruitful Equality in a World of Indifferent Sameness and Unbridgeable Difference

Religions ◽  
2020 ◽  
Vol 11 (6) ◽  
pp. 295
Author(s):  
Margaret Harper McCarthy
Keyword(s):  
Cultural Influence ◽  
Status Quo ◽  
Image Of God ◽  
The Body ◽  
The Third ◽  
The World ◽  
Christ Church ◽  
The Status ◽  
Second Wave

The article takes up the biblical category of “headship,” one of the “third rails” for Christians in a context dominated by the limited conceptions of equality, especially those assumed by “second wave” and “difference” feminism, viz., that of interchangeable sameness and unbridgeable difference. Headship is easily dismissed as an instance of (bad) cultural influence that spoiled Christianity’s egalitarian beginnings. Less radically, headship is simply avoided, or glossed over with apologetic caveats. Headship is an embarrassment, because it suggests not only exclusive differences—the “head” is not the “body”—but an order between them. Head and body are “subject to each other” in distinct and coordinated ways. In what follows, the author claims that headship is not only not an affront to equality, but its very condition between subjects who belong to each other in a generous relation of reciprocal and fruitful unity and distinction. Moreover, it is the expression of the novelty of Christianity, regarding first of all the nature of God in whom there is an original Head, and a “positive other,” without any hint of subordinationism (inequality). On the contrary, the Father is never absolute, but always already determined by the Son. This original headship then informs the Christian conception of the world, its positivity, even to the point that it can give something to God. Finally, it informs the this-worldly headships (Christ–Church and husband–wife). There, headship counters the status quo, by countering the “body’s” default immanentistic “certainty” about her exclusive life-giving power, enjoining her to acknowledge a transcendent source. It restores equality to the head. For the “head,” it counters the false absolutist image of God, while enjoining him to “radiate” something of which he is first “subject,” to “be involved with,” and determined by, the woman, as a positive other. It restores equality to the body. In sum, the article urges us to turn towards the deepest resources of Christianity, to find therein a more fruitful equality.

Dinasti Politik dalam Pilkada di Indonesia

2018 ◽  
Vol 1 (2) ◽  
pp. 111 ◽  
Author(s):  
Martien Herna Susanti
Keyword(s):  
Political Parties ◽  
National Level ◽  
Status Quo ◽  
The Body ◽  
The Political ◽  
Checks And Balances ◽  
The Status ◽  
Party Elites ◽  
Dynastic Politics

The presence of political dynasties in power struggles from regional to national level is inseparable from the role of political parties and the regulation of the regional head elections. Oligarchy on the body of a political party can be seen from the tendency of candidates nominating by political parties based more on the wishes of party elites, not through democratic mechanisms by considering the ability and integrity of the candidates. Simultaneously, political dynasties continue to establish solid networks of power so they can dominate and kill democracy within political parties. In the context of society, there is also an effort to maintain the status quo in the region by encouraging families or people close to the head of the region to replace the incumbent. Weak regulation to trim political dynasties has contributed to the widespread political dynasty in the regional head elections. The practice of dynastic politics is also suspected to make the weakness of checks and balances function to the effect of corruption acts committed by the head of the region and their relatives. In the year 2017 is the second half of a new round of regional head elections, after the first half in 2015. The regional head elections system is new, but the old faces that are nothing but the continuity of the political dynasty characterize this Pilkada event which is feared could threaten the phase of democratic transition towards consolidation of democracy.Keyword: Political Dynasties, Democracy, The Regional Head Elections

ELECTROACOUSTIC VOICES: SOUNDS QUEER, AND WHY IT MATTERS

Tempo ◽  
2017 ◽  
Vol 71 (280) ◽  
pp. 68-79 ◽  
Author(s):  
Alexa Woloshyn
Keyword(s):  
Third Space ◽  
Status Quo ◽  
Electroacoustic Music ◽  
The Body ◽  
Power Structures ◽  
Mediating Role ◽  
The Core ◽  
Fixed Media ◽  
The Status ◽  
The Voice

AbstractQueer processes abound in fixed media electroacoustic music with voice, in both the composition and listening processes. ‘Queer’ means transgressive, unstable, and disruptive, and queer processes break down restrictive traditional binaries. In this article, I name the queer where some may have thought it does not or could not exist, in well-known works by Berio, Stockhausen and Lucier, as well as lesser-known works by Truax, Normandeau and Westerkamp. Any claim to the queer in these electroacoustic works is inherently political because the core of the term's meaning is to disrupt and perturb the status quo, which is maintained by existing power structures. I outline how composers unsettle the gendered voice and exploit its mediating role between the body and language. Studio manipulation is further enhanced by the acousmatic listening context, which is intimate and unsettling (‘queer’), and can depict the ‘third space’ between the bodies of the voice and listener.

Discourses of the “Too Abled”: Contested Body Hierarchies and the Oscar Pistorius Case

2010 ◽  
Vol 3 (3) ◽  
pp. 288-307 ◽  
Author(s):  
Thomas F. Corrigan ◽  
Jamie Paton ◽  
Erin Holt ◽  
Marie Hardin
Keyword(s):  
New York ◽  
New York Times ◽  
Status Quo ◽  
The Body ◽  
General Interest ◽  
Cultural Assumptions ◽  
Discursive Strategies ◽  
The Status ◽  
Athletes With Disabilities ◽  
Media Discourses

Using Foucault’s ideas about discourse and the body, this study explores coverage of Oscar Pistorius’s quest to compete in the 2008 Summer Olympics. The authors used textual analysis of coverage in The New York Times and Time magazine, two popular and influential general-interest U.S. publications, to interrogate fairness as the primary rationale in discourse about Pistorius. Journalists also privileged a medical view of disability, used descriptions of prosthetics to reflect cultural assumptions about “normal” bodies, and reinforced fear of the “cyborg.” Media discourses around Pistorius, as contested sites for meanings inscribed on the body, reinforced the body hierarchy and positioned progress for athletes with disabilities as threatening to the institution of sport and its values. The authors suggest alternative discursive strategies, such as those that question the Paralympic/Olympic divide or focus on the rights of athletes with disabilities to compete, as ways to radically challenge the exercise of biopower reinforcing the status quo.

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