Kicking Round Home: Atonality in the Bone People

<p>This thesis considers the role that musical atonality plays in Keri Hulme's the bone people, and explores the ways in which an atonal reading can suggest interpretations for the novel 's cultural location. From a survey of the interdisciplinary study of music-inliterature as a method, three criteria for analysing music in the bone people are identified - narratology, symbology and sound-interpretation. The thesis traces the sometimes-intersecting histories of both Maori and Pakeha music. It considers how instances of atonality in the bone people relocate Maori singing, in function and to some extent in form, to the page. A survey of critical readings shows how the bone people has often been assigned intentions of biculturalism. This thesis challenges that notion and asserts that Hulme transforms cultural ingredients of both Maori and Pakeha in an atonal space, and re-imagines them in a Maori framework.</p>

Kicking Round Home: Atonality in the Bone People

<p>This thesis considers the role that musical atonality plays in Keri Hulme's the bone people, and explores the ways in which an atonal reading can suggest interpretations for the novel 's cultural location. From a survey of the interdisciplinary study of music-inliterature as a method, three criteria for analysing music in the bone people are identified - narratology, symbology and sound-interpretation. The thesis traces the sometimes-intersecting histories of both Maori and Pakeha music. It considers how instances of atonality in the bone people relocate Maori singing, in function and to some extent in form, to the page. A survey of critical readings shows how the bone people has often been assigned intentions of biculturalism. This thesis challenges that notion and asserts that Hulme transforms cultural ingredients of both Maori and Pakeha in an atonal space, and re-imagines them in a Maori framework.</p>

Writing intellectual disability: glimpses into precarious processes or re/making a cultural phenomenon

We make each other mean through precarious processes of engagement. This dissertation posits intellectual disability as a modernist subject category characterized by un-belonging and a presumed lack of normative expression. The author takes a hesitant, interpretive, and phenomenological approach to confronting the question of what it means to re/make intellectual disability as presence and process rather than as problem. The researcher engages with intellectual disability by introducing expressive writing as method under a feminist post structuralist framework of exploratory, relational ethics. In doing so, this project introduces the concepts of wonderment and triple-labelling to the fields of cultural studies and critical disability studies. This work advocates for a reorientation toward meaning-making and research-based engagement with intellectual disability as cultural, contextual, and relational phenomenon that remains unsettled as it situates researchers at a perceived limit of knowledge. This dissertation privileges process over resolution. The writing launches from an affect-laden epistemology of wonderment, and thus struggles to resolve its own ethical and methodological uncertainty as it attempts to center intellectual disability without (completely)privileging normative ways of un/knowing. This approach allows that the body is implicated in uncertain discursive processes that re-construct and circulate meanings about the body, the self,and the Other. Then, relying on Foucault’s conceptions of power and knowledge and Snyder and Mitchell's cultural location of disability framework, the study describes Western cultural memory: processes of mind/body splitting and subject-category building traceable through esoteric pre-modernity, eugenic modernity, and the post-identity politics of Davis’s dismodernity. A discussion of research ethics follows, which challenges rational methodological conceptions of intellectual disability that rely on preconceived notions of vulnerability. Before describing expressive writing as a primary research method, the author also makes a case for engaging with triple-labeled people (those labeled disabled, vulnerable, and incompetent) by writing in-relation-to, privileging silence and absence over “giving voice,” engaging in unfamiliarity and untranslatability, and attending to “the space between” the self and the Other.This writing uses reflexive vignettes and critical analysis to lead readers toward the researcher’s final phenomenological reflections on experiences with triple-labeled people writing in a Toronto day program.

Writing intellectual disability: glimpses into precarious processes or re/making a cultural phenomenon

We make each other mean through precarious processes of engagement. This dissertation posits intellectual disability as a modernist subject category characterized by un-belonging and a presumed lack of normative expression. The author takes a hesitant, interpretive, and phenomenological approach to confronting the question of what it means to re/make intellectual disability as presence and process rather than as problem. The researcher engages with intellectual disability by introducing expressive writing as method under a feminist post structuralist framework of exploratory, relational ethics. In doing so, this project introduces the concepts of wonderment and triple-labelling to the fields of cultural studies and critical disability studies. This work advocates for a reorientation toward meaning-making and research-based engagement with intellectual disability as cultural, contextual, and relational phenomenon that remains unsettled as it situates researchers at a perceived limit of knowledge. This dissertation privileges process over resolution. The writing launches from an affect-laden epistemology of wonderment, and thus struggles to resolve its own ethical and methodological uncertainty as it attempts to center intellectual disability without (completely)privileging normative ways of un/knowing. This approach allows that the body is implicated in uncertain discursive processes that re-construct and circulate meanings about the body, the self,and the Other. Then, relying on Foucault’s conceptions of power and knowledge and Snyder and Mitchell's cultural location of disability framework, the study describes Western cultural memory: processes of mind/body splitting and subject-category building traceable through esoteric pre-modernity, eugenic modernity, and the post-identity politics of Davis’s dismodernity. A discussion of research ethics follows, which challenges rational methodological conceptions of intellectual disability that rely on preconceived notions of vulnerability. Before describing expressive writing as a primary research method, the author also makes a case for engaging with triple-labeled people (those labeled disabled, vulnerable, and incompetent) by writing in-relation-to, privileging silence and absence over “giving voice,” engaging in unfamiliarity and untranslatability, and attending to “the space between” the self and the Other.This writing uses reflexive vignettes and critical analysis to lead readers toward the researcher’s final phenomenological reflections on experiences with triple-labeled people writing in a Toronto day program.

Untold Stories of Jamaican Canadian Immigrant Women: Building Resilience Through Faith

In this article, attention is given to the key role that Pentecostal faith plays in the cultural identity reconstruction process of some Jamaican Canadian immigrant women. For many immigrant groups, religious faith represents an anchor of hope for coping with post-migration life stressors. Although, once emotionally caged in a new socio-cultural location in Canada, the women portrayed in this summary of my research demonstrate great fortitude and endurance in navigating a new cultural and socio-historical context. Their untold stories of resilience through religious faith led them to deeper critical awareness, scholarly accountability, and recognition of their truths.

The First Public Exhibition of the “Vremya” Group in Kharkiv: a New Art Medium Manifesto

A certain liberalization of life accompanied the period known as Khrushchev’s thaw. It contributed to the formation of the new directions in artistic culture of Ukraine. Although they were not supported by the authorities, these directions were more in line with reality. Their viability depended entirely on the corresponding alternative groupings which appeared at that period. Such program was presented by the avant-garde Kharkiv “seven”, the photographers who united in the group “Vremya” in 1971. The group included Yu. Rupin and Ye. Pavlov (the founders), B. Mikhailov, O. Maliovany, H. Tubalev, O. Suprun, and O. Sytnychenko, and A. Makienko, who joined later. That was the time of apartment exhibitions and slide shows. In 1983, this group organized a show at Kharkiv House of Scientists, relying on its liberal exhibition policy and intelligent viewers. Despite the crowd, which gathered for the opening of the exhibition, the show was closed at the end of the first day. The opening included the press line‑up where the group entrusted Yuri Rupin to present the concept of the group, in particular, the “impact theory”. The exhibition became a serious mistake in the policy of such a centralized institution as Kharkiv House of Scientists. Photography appeared as a powerful art medium, not as a mere verification service. Therefore, it was very important that the background of the exhibition included a museum‑level cultural location, which was the next step after Vagrich Bakhchanyan’s nonconformist actions and street exhibitions in Kharkiv in the mid‑1960s. The “Vremya” group manifested photography as a new force of influence, which could no longer be ignored. An important historical fact was recorded because the group entered the zone of public conflict. At the same time, they consolidated the achieved positions such as the right to individuality, freedom of artistic gesture, and intervention in the field of photographic mimesis.

Khatibi and Performativity, ‘From where to speak?’

Focusing on the work, that is located at the productive and innovative interfaces between of the Epistemai of Islam and Christianity, of Orient and Occident, this article will describe Khabiti’s ‘performative’ thinking and praxis in relation to the actual theory and praxis of ‘belonging’, ‘hospitality’, and ‘identity’ that are always dependent on language, on one’s own chosen language, and which are inserted into the body and steered or driven by emotion. The concept of “cultural performance” and the idea of a “performative identity” or of a “performative diaspora” are at the centre of Khatibi’s thinking and writing and generate the reinvention of the Self and a radical individual and democratic system. Khatibi represents one of the best examples of this phenomenon, but located in a “cosmopolitanism” and “cosmo-humanism.” Living in Rabat he became at the same time a cosmopolitan and a great cosmo-humanist at the very moment at which he began to deal as well with Western and Oriental cultural systems. He began to navigate in and to travel through many diverse systems of thinking, of literature, of culture and sciences – his erudition, his privileged sensibility and intelligence made him a cosmopolitan and cosmo-humanist. It developed his way of placing himself in the world, and of reading and writing about the world. His life was a “worlding-life,” his literature a “worlding-literature” within the interface of deconstruction, as well as of the Occidental and Oriental logoi. This article will describe his cultural location and find his voice through a triple act of “translatio” on the base of the axis of a “double critique” and of the “pensée autre”. He becomes an “écrivain-voyageur infatigable”, a “voyageur cosmopolite”, “voyageur ou migrant professionnel” of diverse worlds. The article will also describe Khatibi’s ‘accent’, his polyphony of voices, his thought, working, and writing in the fissure.

Italian-Americans and Psychoanalysis

In this paper we address the under-representation of Italian-Americans in psychoanalysis in the United States, both as psychoanalysts and analysands. We suggest that this under-representation has arisen from a confluence of cultural biases in traditional criteria for analyzability and pejorative stereotypes about Italian-Americans that have discouraged their participation to the detriment of the field. The paper suggests that contemporary developments across various schools of psychoanalysis open up new opportunities for rethinking the cultural location of psychoanalysis.