Introduction

2018 ◽  
Author(s):  
Leah Modigliani
Keyword(s):  
Power Dynamics ◽  
Women's Bodies ◽  
Avant Garde ◽  
Male Control ◽  
Central Argument ◽  
Dominant Narratives

The central argument of the book is introduced; that the counter-tradition Jeff Wall helped develop with other artists in Vancouver has included a gendered bifurcation of space since its earliest incarnation in 1970 as the "defeatured landscape." The introduction contains brief descriptions of Wall and his peers’ early work in relation to Wall’s international position as leader of the Vancouver School of Photo-Conceptualism; a brief discussion of existing theory about the development of avant-garde movements; and the necessity of understanding the avant-garde in the context of wider social contests of power, in particular settler colonial control over land and male control over women’s bodies and representations of them. The introduction also summarizes the need to intervene in current histories of avant-garde practice, dominant narratives that continue to frame male artists achievements in formal terms divested of the power dynamics that engender them or result from them.

Genre and Capital in Avant-garde Electronica

2016 ◽  
Vol 21 (1) ◽  
pp. 61-71
Author(s):  
Eliot Britton
Keyword(s):  
Electronic Music ◽  
Electroacoustic Music ◽  
Music Technology ◽  
Power Dynamics ◽  
Artistic Practice ◽  
Avant Garde ◽  
Music Making ◽  
Tools And Techniques ◽  
Flexible Boundaries ◽  
Structured Approach

This article applies a genre level approach to the tangled discourse surrounding the points of convergence between avant-garde electronica and electroacoustic music. More specifically the article addresses related experimental practices in these distinct yet related fields of electronic music-making. The democratisation of music technology continues to expand into an increasingly diverse set of musical fields, destabilising established power dynamics. A flexible, structured approach to the analysis of these relationships facilitates the navigation of crumbling boundaries and shifting relationships. Contemporary electronic music’s overlapping networks encompass varying forms of capital, aesthetics, technology, ideology, tools and techniques. These areas offer interesting points of convergence. As the discourse surrounding electronic music expands, so must the vocabulary and conceptual models used to describe and discuss new areas of converging artistic practice. Genre level diagrams selectively collapse, expand and arrange artistic fields, facilitating concrete, coherent arguments and the examination of patterns and relationships. Through the genre level diagram’s establishment of distinct yet flexible boundaries, electronic music’s sprawling discourse can be cordoned off, expanded or contracted to suit structured analyses. In this way, this approach clarifies scope and facilitates simultaneous examination from a variety of perspectives.

Conclusion: The Shame is (Not) Over

Writing Shame ◽  
2020 ◽  
pp. 245-254
Author(s):  
Kaye Mitchell
Keyword(s):  
Short Stories ◽  
Sexual Violence ◽  
Queer Theory ◽  
Political Action ◽  
Women Authors ◽  
Women's Bodies ◽  
Female Desire ◽  
Shame Culture ◽  
Central Argument ◽  
Central Strand

The Conclusion of Writing Shame reflects back on the key discussions of the book: the origins and manifestations of a contemporary ‘shame culture’; the persistence of shame and the challenges that it poses for writers; the formal and generic disruptions involved in the writing of shame; the uses and limitations of shared feelings of shame as a basis for political action or solidarity; the uses of shame as a tool of analysis, within and beyond queer theory and feminism; the fraught relationship between shame, pleasure and spectacle; and above all, the particular imbrication of shame and femininity, of shame and women’s supposed sexual impropriety – the central argument here, that shame’s role in femininity is constitutive, not merely regulatory. In addition, the Conclusion touches briefly on several recent novels and collections of short stories by women authors, revealing therein a continuing preoccupation with questions of desire, sexuality, sexual violence and embodiment, and suggesting that, while shame may not be the central strand, it remains on the edges of all of these considerations of femininity, female desire and women’s bodies within patriarchal cultures.

Power Dynamics and Learning in Collaborations

2004 ◽  
Vol 10 (2) ◽  
pp. 56-68 ◽  
Author(s):  
Nuzhat Lotia
Keyword(s):  
Collaborative Learning ◽  
Learning Process ◽  
Theoretical Basis ◽  
Future Research ◽  
Power Dynamics ◽  
Power Bases ◽  
Collaboration Environment ◽  
Political Perspective ◽  
Central Argument

ABSTRACTThis paper examines the learning process within collaborations from a political perspective and explores the implications of power for the process of learning. The central argument is that the processes of collaboration and collaborative learning are inherently influenced by dynamics of power that occur at the organisational, collaboration and collaboration-environment levels. These power dynamics develop as a consequence of the interactions among collaborating organisations and their power bases. The paper presents a theoretical basis for considering the nature and impact of power dynamics at the various levels on the collaborative learning process and outcomes and sets forth some propositions that provide an agenda for future research.

scholarly journals Understanding Compliance Dynamics in Community Justice Settings

2016 ◽  
Vol 27 (1) ◽  
pp. 40-59 ◽  
Author(s):  
Pamela Ugwudike
Keyword(s):  
United Kingdom ◽  
Service User ◽  
Active Participation ◽  
User Participation ◽  
Power Dynamics ◽  
Service Users ◽  
Key Factors ◽  
England And Wales ◽  
Community Justice ◽  
Central Argument

This article seeks to expand the existing literature on compliance in community justice settings by highlighting the importance of service user participation in efforts to achieve compliance. The article’s central argument is that although co-productive strategies can enhance service user participation, the degree to which co-production is achievable in penal supervision is perhaps uncertain, and has received insufficient theoretical or empirical attention. To address the gap in knowledge, the article draws on the data generated from a study of compliance in Wales, United Kingdom, and employs the Bourdieusian concepts of habitus, field, and capital to argue that the convergence of two key factors undermines the viability of co-productive strategies in penal settings. One factor is the service users’ habitus of powerlessness which may breed passivity rather than active participation. The second also relates to the power dynamics that characterize penal supervision contexts. Within these contexts, practitioners are statutorily empowered to implement and enforce the requirements of community orders. In the current target-focused policy climate in England and Wales, practitioners may prioritize measurable compliance over forms of compliance that stem from service user participation and engagement perhaps because these are not readily quantifiable.

Soft Rejuvenation: Cosmetics, Idealized White Femininity, and Young Women’s Bodies, 1880–1930

2020 ◽  
Vol 53 (4) ◽  
pp. 906-921
Author(s):  
Michelle J Smith ◽  
Jane Nicholas
Keyword(s):  
Twentieth Century ◽  
Young Women ◽  
Female Body ◽  
Self Care ◽  
White Female ◽  
Women's Bodies ◽  
Male Control ◽  
Early Twentieth Century ◽  
White Femininity ◽  
Late Nineteenth

Abstract In this article we draw together the histories of rejuvenation and cosmetic use in order to examine discourses of “soft rejuvenation” in the late nineteenth and early twentieth centuries. While rejuvenation has typically been considered in relation to transnational medicalized attempts to restore youthful vitality and virility, we suggest that the logic of rejuvenation was feminized through the promotion of cosmetic and daily self-care regimens in this period. Drawing on material from British, American, and Canadian contexts relating to beauty and hygiene, we suggest that daily practices of caring for and disciplining the white female body, especially through cosmetic use, were legitimated, in part, using the rhetoric of rejuvenation. The article considers how the transnational, the modern, and the propagation of whiteness in the early twentieth century were mobilized in these ideas of how daily bodily work could preserve the (white) youthful face and body, which was understood to embody health and vigor. This discourse was significant for young women, who were subject to male control over their bodies as they began to be employed in nontraditional workplaces; however, we also argue that these cosmetic practices can be understood as a component of girls’ and women’s own self-fashioning of modern identities.

Touch in Irish performance art: Haptic encounters in Becoming Beloved (1995) and The Touching Contract (2016)

Scene ◽  
2020 ◽  
Vol 8 (1-2) ◽  
pp. 159-174
Author(s):  
Kate Antosik-Parsons
Keyword(s):  
Sexual Health ◽  
Performance Art ◽  
The Body ◽  
Power Dynamics ◽  
Women's Bodies ◽  
Sexual Health Information ◽  
Women’S Sexual Health ◽  
Maternity Hospitals ◽  
Cultural Climate ◽  
A Site

Over the last 50 years, Irish feminists have campaigned for women’s sexual health and reproductive rights, including access to contraception, legal abortion and choice in maternity care and childbirth. Recent cases like Ms. Y (2014), P. P. v. HSE (2014) and Ms. B (2016) invite a close scrutiny of the power dynamics relating to women’s reproductive bodies in Ireland. This article examines Becoming Beloved (1995) and The Touching Contract (2016), two performance-based artworks located in Dublin maternity hospitals. Both artworks centred the body as a site of production to interrogate these power dynamics while engaging with specifics of each location. This article charts the management of childbearing bodies in Ireland, looking specifically at issues concerning reproductive and sexual health, information and consent. It details how Irish performance art has responded to the political, social and cultural climate of restrictions on women’s bodies. Becoming Beloved and The Touching Contract both employed haptic encounters, multisensory perceptions composed of tactile, kinaesthetic and proprioceptive sensations that extended beyond a visual aesthetic. These haptic encounters contributed to a dimension of viewer engagement, integral in performance art to activating meaning. This article examines how these two artworks utilized haptic encounters to produce a situated, corporeal knowledge that critiqued the authority wielded over reproductive bodies by political, religious and medical establishments in Ireland.

The Work of Editing, its Context and Transformations: Denis Roche’s Fiction & Cie Collection (1974-2004)

2021 ◽  
Vol 58 (2) ◽  
pp. 123-136
Author(s):  
HERVÉ SERRY
Keyword(s):  
Source Material ◽  
Power Dynamics ◽  
Avant Garde ◽  
Political Debates ◽  
Editorial Practice ◽  
The Relationship

Drawing on source material from archives and press articles, this article presents the conditions in which the Fiction & Cie collection, published by Éditions du Seuil, was founded by Denis Roche in 1974 and how it subsequently evolved. Imagined by an avant-garde writer, this collection offered a new editorial model that ultimately brought about a reconfiguration of the power dynamics within Le Seuil. It illustrates how, at the end of the 1970s, as Marxist or structuralist theoretical-political debates subsided, space opened up for other approaches to editing and aesthetics. Through the prism of Roche’s editorial practice, the relationship between different forms of aesthetic discourse and editorial logic over a period of three decades is examined. Translated by Daniel Henkel

Power Dynamics and Learning in Collaborations

2004 ◽  
Vol 10 (2) ◽  
pp. 56-68 ◽  
Author(s):  
Nuzhat Lotia
Keyword(s):  
Collaborative Learning ◽  
Learning Process ◽  
Theoretical Basis ◽  
Future Research ◽  
Power Dynamics ◽  
Power Bases ◽  
Collaboration Environment ◽  
Political Perspective ◽  
Central Argument

ABSTRACTThis paper examines the learning process within collaborations from a political perspective and explores the implications of power for the process of learning. The central argument is that the processes of collaboration and collaborative learning are inherently influenced by dynamics of power that occur at the organisational, collaboration and collaboration-environment levels. These power dynamics develop as a consequence of the interactions among collaborating organisations and their power bases. The paper presents a theoretical basis for considering the nature and impact of power dynamics at the various levels on the collaborative learning process and outcomes and sets forth some propositions that provide an agenda for future research.

scholarly journals Curating #AanaJaana [#ComingGoing]: gendered authorship in the ‘contact zone’ of Delhi’s digital and urban margins

2021 ◽  
pp. 147447402199341
Author(s):  
Ayona Datta ◽  
Arya Thomas
Keyword(s):  
Mobile Phone ◽  
Contact Zone ◽  
Young Women ◽  
Power Dynamics ◽  
Space Technology ◽  
Women's Bodies ◽  
Gendered Authorship ◽  
The City ◽  
Self Authorship ◽  
Public Exhibition

This paper examines the curation of a month-long public exhibition titled #AanaJaana [#ComingGoing] in one of New Delhi’s busiest metro stations, as a form of self-authorship by young women from its digital and urban margins. #AanaJaana [#ComingGoing] is a metaphor for journeys, communications, connections, associations, interceptions, social networks and individual/collective behaviours, that is curated as women ‘see’ and ‘speak’ with/through their mobile phones. Using Marie Louise Pratt’s notion of ‘contact zone’, we examine #AanaJaana as a space of encounters that emerges by visually ‘composing-with’ as well as ‘learning-with’ the realities and constraints of space, technology and power. Based on self-authorship over a period of 6 months within a ‘safe space’ of a WhatsApp group of young women living in the urban margins, we draw attention to #AanaJaana as a set of crosscutting networks of power dynamics over women’s bodies across the home, mobile phone and the city. #AanaJaana refers to how young women in the margins negotiate the ‘freedoms’ of moving (aana) in online space with the ‘dangers’ of going out (jaana) into the city, or the restrictions of entering (aana) online space with the freedom of leaving (jaana) home. We argue first, that #AanaJaana is a space of confinement because of the infrastructural paralysis in the peripheries. Second that it is also at the same time translocally produced by referencing several textual, digital and material spaces of self-realisation. Finally, we argue that #AanaJaana is a space of intertextuality through encounters between emojis, shorthand, voice notes on the mobile phone, with parody and dark humour of their gendered experiences that can transform shame, humiliation and fear into reflection, resistance and agency. The paper concludes that as a polycentric practice, #AanaJaana offers an appropriate metaphor to expand the ‘contact zone’ in order to decolonise gendered knowledge and power across digital-analogue margins.

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