To commemorate the centennial ofthe 1913 Paris premiere of The Rite of Spring, the University of NorthCarolina at Chapel Hill organised The Rite of Spring at 100. As part ofthis, the Carolina Performing Arts (CPA) commissioned new pieces interpretingand responding to The Rite. Among these was Radhe Radhe: Ritesof Holi, created by the Indian-American composer-scholar and pianist VijayIyer, performed by the International Contemporary Ensemble, and accompanied by afilm about Holi—the annual Hindu harvest festival—assembled by filmmakerPrashant Bhargava. Radhe Radhe eventually took the form of a performancedocument mediated between live music and film, as well as culturally divergentnotions of ‘ritual’. This article will ask, consideringBhargava’s film and Iyer’s score, along with documentation of live chamberperformances of the piece: how does ‘western’ classical music represent itselfin the twenty-first century? In what ways is self-representation performed in anintercultural collaboration such as Radhe Radhe that destabilises thedominant whiteness of the classical music canon by reimagining its soundscapein reference to a canonical work such as The Rite? Radhe Radhe—andIyer’s score in particular—I propose, echoes as a sonic postcolonial ur-textthrough its engagement with Holi. As an instance of the Deleuzian simulacrum,it represents a radical departure from the cultural politics of ‘everyday colonialracism’ (Levitz 2017: 163) surrounding the 1913 Rite, by employing a collaborativevocabulary that resists the hegemonic performance traditions of westernclassical music.
{"title":"Last Rites: Self-Representation and Counter-Canon Practices in Classical Music through Radhe Radhe","authors":"Sharanya Murali","doi":"10.16995/olh.4683","DOIUrl":"https://doi.org/10.16995/olh.4683","url":null,"abstract":"To commemorate the centennial ofthe 1913 Paris premiere of The Rite of Spring, the University of NorthCarolina at Chapel Hill organised The Rite of Spring at 100. As part ofthis, the Carolina Performing Arts (CPA) commissioned new pieces interpretingand responding to The Rite. Among these was Radhe Radhe: Ritesof Holi, created by the Indian-American composer-scholar and pianist VijayIyer, performed by the International Contemporary Ensemble, and accompanied by afilm about Holi—the annual Hindu harvest festival—assembled by filmmakerPrashant Bhargava. Radhe Radhe eventually took the form of a performancedocument mediated between live music and film, as well as culturally divergentnotions of ‘ritual’. This article will ask, consideringBhargava’s film and Iyer’s score, along with documentation of live chamberperformances of the piece: how does ‘western’ classical music represent itselfin the twenty-first century? In what ways is self-representation performed in anintercultural collaboration such as Radhe Radhe that destabilises thedominant whiteness of the classical music canon by reimagining its soundscapein reference to a canonical work such as The Rite? Radhe Radhe—andIyer’s score in particular—I propose, echoes as a sonic postcolonial ur-textthrough its engagement with Holi. As an instance of the Deleuzian simulacrum,it represents a radical departure from the cultural politics of ‘everyday colonialracism’ (Levitz 2017: 163) surrounding the 1913 Rite, by employing a collaborativevocabulary that resists the hegemonic performance traditions of westernclassical music.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44598627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, we address expressions of sadness, grief and social alienation from two different perspectives and on an interdisciplinary level. The various forms of perceiving these experiences and the method for classifying emotions (particularly emotional distress) in modern psychiatry represent the starting point for comparison. Special attention will be paid to the current method of classification in psychiatry―the DSM 5. This framework will be juxtaposed with a historical methodology, which will be applied to examine late antique narrative descriptions of sickness and alienating behaviour in a religious context. Combining modern psychological and historical approaches will shed light on how different cultural and historical discourses have shaped the perception and interpretation of sadness and grief down through the ages, and lead to these emotions being characterized in various ways ranging from depression to a clear sign of sanctity. Additionally, working on the intersection of religion and medicine, this article will, on the one hand, further psychologists’ understanding of how religious ideas shaped individual behaviour and vice versa in past societies, and, on the other hand, inform historians more about modern classification methods in psychiatry and how these might have influenced the way of looking at certain behaviour.
{"title":"Shifting Paradigms of Sadness, Brain Disease or Emotional Distress: Interdisciplinary Perspectives from Late Antiquity and the 21st Century. What psychologists can learn from ascetics in Late Antiquity and why historians should or should not buy DSM 5","authors":"K. Huijbregts, Veronika Wieser","doi":"10.16995/olh.4672","DOIUrl":"https://doi.org/10.16995/olh.4672","url":null,"abstract":"In this article, we address expressions of sadness, grief and social alienation from two different perspectives and on an interdisciplinary level. The various forms of perceiving these experiences and the method for classifying emotions (particularly emotional distress) in modern psychiatry represent the starting point for comparison. Special attention will be paid to the current method of classification in psychiatry―the DSM 5. This framework will be juxtaposed with a historical methodology, which will be applied to examine late antique narrative descriptions of sickness and alienating behaviour in a religious context. Combining modern psychological and historical approaches will shed light on how different cultural and historical discourses have shaped the perception and interpretation of sadness and grief down through the ages, and lead to these emotions being characterized in various ways ranging from depression to a clear sign of sanctity. Additionally, working on the intersection of religion and medicine, this article will, on the one hand, further psychologists’ understanding of how religious ideas shaped individual behaviour and vice versa in past societies, and, on the other hand, inform historians more about modern classification methods in psychiatry and how these might have influenced the way of looking at certain behaviour.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46234736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
@font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-1610611985 1073750139 0 0 159 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-ansi-language:EN-GB;mso-fareast-language:EN-US;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-fareast-language:EN-US;}div.WordSection1{page:WordSection1;}This article focusses on the portrayal of corporal and textual embodiment in Marie Darrieussecq’s 2017 novel Notre vie dans les forêts, a science-fiction dystopia in which all bodily diseases have been cured through advancements in cloning technology. In doing so, this article explores how the novel’s paradigm of bodily enhancement questions both the physical limits of the human body and the ways in which corporeal changes redefine contemporary notions of subjectivity, life and death. Drawing posthumanist theory and critical theories of the body, the analysis begins with a reading of human doubling and the portrayal of cloning, before considering the text’s depiction of bodily decay and dissection as a decentring of Darrieussecq’s human subjects. This concludes with an exploration of textual discontinuity and its significance for the interpretation of this work. In doing so, this paper demonstrates how Notrevie dans les forêts encourages its readers to contemplate the innate pathologies of the human condition, allowing them to find new life in the forces of decay and disorder that connect all living subjects.
@font-face{font-family:"Cambria Math"; mso- general -font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;MsoNormal,李。MsoNormal,div.MsoNormal {mso-style-unhide:不;mso-style-qformat:是的,mso-style-parent: ";保证金:0厘米;mso-pagination: widow-orphan;字体大小:12.0 pt;字体类型:“Calibri”,无衬线;mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin; mso-bidi-font-family:“时代新罗马”;mso-bidi-theme-font: minor-bidi; mso-ansi-language: en; mso-fareast-language: en - us;} .MsoChpDefault {mso-style-type:仅供出口;mso-default-props:是的,字体类型:“Calibri”,无衬线;mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin; mso-bidi-font-family:“时代新本文主要探讨Marie Darrieussecq在2017年出版的小说《Notre vie dans les forêts》中对身体和文本体现的刻画，这是一个科幻反乌托邦，在这个反乌托邦中，所有身体疾病都通过克隆技术的进步得到了治愈。在此过程中，本文探讨了小说中身体增强的范式如何质疑人体的物理极限，以及身体变化如何重新定义当代的主体性、生命和死亡概念。绘制后人类主义理论和身体的批判理论，分析开始于人类加倍的阅读和克隆的描绘，然后考虑到文本对身体腐烂和解剖的描述，作为一个分散的达里乌塞克的人类主题。最后，本文探讨了文本的不连续性及其对解读这部作品的意义。通过这样做，本文展示了Notrevie dans les forêts如何鼓励读者思考人类状况的先天病态，让他们在连接所有生物的腐烂和混乱的力量中找到新的生命。
{"title":"Doubling, Decay and Discontinuity: Pathology and the (post)human body in Marie Darrieussecq’s Notre vie dans les forêts","authors":"Françoise Campbell","doi":"10.16995/olh.4744","DOIUrl":"https://doi.org/10.16995/olh.4744","url":null,"abstract":"@font-face{font-family:\"Cambria Math\";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:0;mso-generic-font-family:roman;mso-font-pitch:variable;mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-1610611985 1073750139 0 0 159 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:\"\";margin:0cm;mso-pagination:widow-orphan;font-size:12.0pt;font-family:\"Calibri\",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:\"Times New Roman\";mso-bidi-theme-font:minor-bidi;mso-ansi-language:EN-GB;mso-fareast-language:EN-US;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-family:\"Calibri\",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:\"Times New Roman\";mso-bidi-theme-font:minor-bidi;mso-fareast-language:EN-US;}div.WordSection1{page:WordSection1;}This article focusses on the portrayal of corporal and textual embodiment in Marie Darrieussecq’s 2017 novel Notre vie dans les forêts, a science-fiction dystopia in which all bodily diseases have been cured through advancements in cloning technology. In doing so, this article explores how the novel’s paradigm of bodily enhancement questions both the physical limits of the human body and the ways in which corporeal changes redefine contemporary notions of subjectivity, life and death. Drawing posthumanist theory and critical theories of the body, the analysis begins with a reading of human doubling and the portrayal of cloning, before considering the text’s depiction of bodily decay and dissection as a decentring of Darrieussecq’s human subjects. This concludes with an exploration of textual discontinuity and its significance for the interpretation of this work. In doing so, this paper demonstrates how Notrevie dans les forêts encourages its readers to contemplate the innate pathologies of the human condition, allowing them to find new life in the forces of decay and disorder that connect all living subjects.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46900678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In an ongoing research project, I study representations and negotiations of classical music in social media, focusing specifically on content and sharing of internet memes. As a rich and diverse genre of digital folklore, memes are today an integrated part also in popular discourses on classical music. Memes provide users with resources in interaction relating to aesthetics, historical canon, musical theoretical knowledge, career and professional life among other things. During the Coronavirus pandemic, classical music memes commenting on different aspects of the outbreak give insight into how online classical music communities meme and make sense (and nonsense) of the pandemic within a classical music framework. In my article I will discuss classical music memes relating to the Coronavirus in terms of newslore – that is, as folklore that comments on current events – and as a way to playfully expose knowledge of and stance towards different aspects of classical music, the global pandemic and the rules and recommendations of authorities. To conclude, the article suggests that a key function in these memes is their capacity to – in an often humoristic fashion – blend together passed down knowledge, competence and experience from the classical music world with extraordinary current conditions affecting people globally.
{"title":"Classical music goes viral: memeings and meanings of classical music in the wake of Coronavirus","authors":"Sverker Hyltén-Cavallius","doi":"10.16995/olh.4678","DOIUrl":"https://doi.org/10.16995/olh.4678","url":null,"abstract":"In an ongoing research project, I study representations and negotiations of classical music in social media, focusing specifically on content and sharing of internet memes. As a rich and diverse genre of digital folklore, memes are today an integrated part also in popular discourses on classical music. Memes provide users with resources in interaction relating to aesthetics, historical canon, musical theoretical knowledge, career and professional life among other things. During the Coronavirus pandemic, classical music memes commenting on different aspects of the outbreak give insight into how online classical music communities meme and make sense (and nonsense) of the pandemic within a classical music framework. In my article I will discuss classical music memes relating to the Coronavirus in terms of newslore – that is, as folklore that comments on current events – and as a way to playfully expose knowledge of and stance towards different aspects of classical music, the global pandemic and the rules and recommendations of authorities. To conclude, the article suggests that a key function in these memes is their capacity to – in an often humoristic fashion – blend together passed down knowledge, competence and experience from the classical music world with extraordinary current conditions affecting people globally.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46896376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Las actas del proceso inquisitorial que se produjo en Toledo entre los años 1587 y 1589 contra la persona de Céspedes da pie a este artículo. En primer lugar, el artículo realiza una revisión de cómo este archivo ha sido leído por parte de la historiografía y realiza una crítica a estas lecturas por la colonialidad de estas miradas. En segundo lugar, el artículo propone una lectura que pone en primer plano o que se centra en aspectos no analizados del archivo que tienen que ver con la historia racial de la España de la Edad Moderna y su relación problemática con la negritud y la esclavitud, tanto en el pasado como en el presente. The minutes of the inquisitorial process that took place in Toledo between the years 1587 and 1589 against the person of Céspedes give rise to this article. Firstly, the article reviews how this archive has been read by historiography and makes a criticism of these readings due to the coloniality of these views. Secondly, the article proposes a reading that foregrounds or focusing on unanalyzed aspects of the archive that have to do with the racial history of Spain in the Modern Age and its problematic relationship with blackness and slavery, both in the past and in the present.
1587年至1589年间在托莱多发生的针对cespedes的调查程序的记录为本文提供了依据。首先，本文回顾了史学是如何阅读这些档案的，并对这些视角的殖民性进行了批评。其次,该文章阅读在前台或重点非文件的分析方面与种族历史西班牙现代社会的关系问题与metaphor奴隶制,无论是在过去还是在当下。minutes of The inquisitorial进程中托莱多between The 1587年和1589年反对人在草坪给《rise to this》。Firstly, the条一直read by historiography how this archive and曾批评这些由于这些意见的coloniality读物。第二，该文章提出一种观点，即展望或集中讨论与现代西班牙种族历史有关的档案的未分析方面，以及过去和现在与黑人和奴隶制的问题关系。
{"title":"Céspedes y la colonialidad del archivo: historias de negritud y fuga en la modernidad española peninsular","authors":"Esther Ortega Arjonilla","doi":"10.16995/olh.4686","DOIUrl":"https://doi.org/10.16995/olh.4686","url":null,"abstract":"Las actas del proceso inquisitorial que se produjo en Toledo entre los años 1587 y 1589 contra la persona de Céspedes da pie a este artículo. En primer lugar, el artículo realiza una revisión de cómo este archivo ha sido leído por parte de la historiografía y realiza una crítica a estas lecturas por la colonialidad de estas miradas. En segundo lugar, el artículo propone una lectura que pone en primer plano o que se centra en aspectos no analizados del archivo que tienen que ver con la historia racial de la España de la Edad Moderna y su relación problemática con la negritud y la esclavitud, tanto en el pasado como en el presente.\u0000\u0000\u0000The minutes of the inquisitorial process that took place in Toledo between the years 1587 and 1589 against the person of Céspedes give rise to this article. Firstly, the article reviews how this archive has been read by historiography and makes a criticism of these readings due to the coloniality of these views. Secondly, the article proposes a reading that foregrounds or focusing on unanalyzed aspects of the archive that have to do with the racial history of Spain in the Modern Age and its problematic relationship with blackness and slavery, both in the past and in the present.\u0000","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45437403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Today’s big challenges―the COVID-19 pandemic, climate change, migration, and refugee crises―are global in scale, transcending geographical, national, and cultural boundaries, but responded to at the local level. It has therefore become necessary to reflect on the following questions: what kind of new forms of organizations are needed to tackle real-world problems? How can we enhance the humanities as a responsive field with the ability to translate knowledge into actions? How can we design a better humanities laboratory that is more attuned to contemporary challenges? The social labs as innovative institutions have opened up new epistemological directions for understanding a lab as a platform for addressing complex issues. A laboratory can be understood as a way of thinking and acting that entails new social practices and new research modes. Drawing on social lab theories, critical infrastructure studies, and digital humanities infrastructure theories, this essay aims to present a new theoretical approach to conceptualizing a laboratory in the humanities. I discuss two epistemological perspectives represented by Bruno Latour and Graeme Gooday in order to disclose the power of the laboratory. Next, I present the principles and network structure of social labs. Then, I introduce the concept of the infrastructure of engagement as a new analytical framework for understanding a laboratory as a site of intervention for the humanities as they are involved in addressing pressing global problems. Based on the Humanities Action Lab, I seek to reimagine a laboratory guided by the principles of collaborative infrastructure, participatory approach, and public engagement.
{"title":"A Laboratory as the Infrastructure of Engagement: Epistemological Reflections","authors":"Urszula Pawlicka-Deger","doi":"10.16995/olh.569","DOIUrl":"https://doi.org/10.16995/olh.569","url":null,"abstract":"Today’s big challenges―the COVID-19 pandemic, climate change, migration, and refugee crises―are global in scale, transcending geographical, national, and cultural boundaries, but responded to at the local level. It has therefore become necessary to reflect on the following questions: what kind of new forms of organizations are needed to tackle real-world problems? How can we enhance the humanities as a responsive field with the ability to translate knowledge into actions? How can we design a better humanities laboratory that is more attuned to contemporary challenges? The social labs as innovative institutions have opened up new epistemological directions for understanding a lab as a platform for addressing complex issues. A laboratory can be understood as a way of thinking and acting that entails new social practices and new research modes. Drawing on social lab theories, critical infrastructure studies, and digital humanities infrastructure theories, this essay aims to present a new theoretical approach to conceptualizing a laboratory in the humanities. I discuss two epistemological perspectives represented by Bruno Latour and Graeme Gooday in order to disclose the power of the laboratory. Next, I present the principles and network structure of social labs. Then, I introduce the concept of the infrastructure of engagement as a new analytical framework for understanding a laboratory as a site of intervention for the humanities as they are involved in addressing pressing global problems. Based on the Humanities Action Lab, I seek to reimagine a laboratory guided by the principles of collaborative infrastructure, participatory approach, and public engagement.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44691425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates women’s representation as Northern Ireland (NI) MPs in the House of Commons since 1953. The central argument of the study is that the political and cultural positions dominant at the formation of NI in the early 20th century reverberate through the generations and continue to inform women’s political under-representation today. The article provides an historical context for women’s political and public participation from the 1950s, highlighting the gendered political culture in which this engagement took place. It examines the additional freezing effect of the ethno-national conflict on women’s civic and political involvement from the 1970s–1990s. In terms of women’s Westminster contributions, the article focuses on the period following the 1998 Good Friday/Belfast agreement and details the extent of women’s candidacies in general elections. It highlights their participation in parliamentary voting, and some of the issues to which they have contributed. The study shows the influence of a conservative, gendered political culture on the issues that have engaged women MPs from Northern Ireland. The article concludes that Northern Ireland’s privileging of male power continues to frame the political agendas and work of women MPs.
{"title":"Women MPs from Northern Ireland: Challenges and Contributions, 1953–2020","authors":"Yvonne Galligan","doi":"10.16995/olh.591","DOIUrl":"https://doi.org/10.16995/olh.591","url":null,"abstract":"This article investigates women’s representation as Northern Ireland (NI) MPs in the House of Commons since 1953. The central argument of the study is that the political and cultural positions dominant at the formation of NI in the early 20th century reverberate through the generations and continue to inform women’s political under-representation today. The article provides an historical context for women’s political and public participation from the 1950s, highlighting the gendered political culture in which this engagement took place. It examines the additional freezing effect of the ethno-national conflict on women’s civic and political involvement from the 1970s–1990s. In terms of women’s Westminster contributions, the article focuses on the period following the 1998 Good Friday/Belfast agreement and details the extent of women’s candidacies in general elections. It highlights their participation in parliamentary voting, and some of the issues to which they have contributed. The study shows the influence of a conservative, gendered political culture on the issues that have engaged women MPs from Northern Ireland. The article concludes that Northern Ireland’s privileging of male power continues to frame the political agendas and work of women MPs.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46599024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the 2014 case of French comedian Dieudonne and his purported incitement to hatred through his comedy act at the time, which hit national headlines and danced along the line of acceptable speech and making fun of the Holocaust. At the same time, Dieudonne’s comedy appealed to a faction of French society that felt relegated and ignored by the French elite, a sentiment that was furthered by a clash between one religious group that has legal protections in place to protect it from Holocaust denial, versus another group that does not have similar protections in place for Islamophobic acts. This case study demonstrates how Dieudonne tapped into these sensitive areas of cultural life by engaging the communicative genres of humour and satire to draw attention to and toy with making fun of the Holocaust, though his comedy act, Le Mur (The Wall), a silly song about the Holocaust, and an arm gesture called the ‘quenelle’. Using a textual thematic analysis of online newspaper articles collected at the time from Le Figaro and Le Monde, as well as transcripts from ten in-person, semi-structured interviews conducted in Paris with activists, journalists, politicians, a lawyer, and a comedian, what the findings point to is that while Dieudonne appealed to a disenfranchised audience as a ‘provocateur’, he also highlighted how key factions of French society are struggling with inclusivity and a lack of social cohesion in a political context where laicite, the separation of religious life and political life, is sacrosanct.
{"title":"Considering Ethnic Group Tensions: The Symptomatic Case of French Comedian Dieudonné","authors":"C. Elliott-Harvey","doi":"10.16995/OLH.528","DOIUrl":"https://doi.org/10.16995/OLH.528","url":null,"abstract":"This article examines the 2014 case of French comedian Dieudonne and his purported incitement to hatred through his comedy act at the time, which hit national headlines and danced along the line of acceptable speech and making fun of the Holocaust. At the same time, Dieudonne’s comedy appealed to a faction of French society that felt relegated and ignored by the French elite, a sentiment that was furthered by a clash between one religious group that has legal protections in place to protect it from Holocaust denial, versus another group that does not have similar protections in place for Islamophobic acts. This case study demonstrates how Dieudonne tapped into these sensitive areas of cultural life by engaging the communicative genres of humour and satire to draw attention to and toy with making fun of the Holocaust, though his comedy act, Le Mur (The Wall), a silly song about the Holocaust, and an arm gesture called the ‘quenelle’. Using a textual thematic analysis of online newspaper articles collected at the time from Le Figaro and Le Monde, as well as transcripts from ten in-person, semi-structured interviews conducted in Paris with activists, journalists, politicians, a lawyer, and a comedian, what the findings point to is that while Dieudonne appealed to a disenfranchised audience as a ‘provocateur’, he also highlighted how key factions of French society are struggling with inclusivity and a lack of social cohesion in a political context where laicite, the separation of religious life and political life, is sacrosanct.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41492983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article develops my existing published work on The Fall, which seeks to examine the consequences of Mark E. Smith’s classed, educational and regional formation on the band’s aesthetics and politics. I think through these latter categories both as they unfolded during The Fall’s post-punk peak and as they signify in the present, bridging this gap through the elaboration of the concept of ‘the working class weird’. Over the past decade, the work of Mark Fisher has traced a fascinating, if speculative, formal and classed history to The Fall’s ‘pulp modernism’. Here, I respond to and build upon Fisher’s work by situating The Fall more concretely within a postwar British history of working class experiments with avant-garde cultural form. I locate the band’s output within the shifting class relations of the late 20th century and explore its conflicted ideological implications, arguing that although Smith and The Fall may appear to presage and articulate a particular variant of working class conservatism that has coalesced around Brexit, their work also retains elements of utopianism and intransigent oppositionality.
这篇文章发展了我已经发表的关于The Fall的作品，它试图检验Mark E. Smith的阶级、教育和地域形成对乐队美学和政治的影响。我认为后一种类型在The Fall的后朋克巅峰时期以及它们在现在所代表的意义上都是如此，通过对“工人阶级怪异”概念的阐述来弥合这一差距。在过去的十年里，马克·费希尔(Mark Fisher)的作品追溯了the Fall的“低俗现代主义”(pulp modernism)，这是一段迷人的、虽然是推测性的、正式的、分类的历史。在这里，我通过将《堕落》更具体地置于战后英国工人阶级对先锋派文化形式的实验历史中来回应和建立费舍尔的作品。我将乐队的作品定位在20世纪后期不断变化的阶级关系中，并探讨了其冲突的意识形态含义，认为尽管史密斯和《堕落》似乎预示并阐明了围绕英国退欧而联合起来的工人阶级保守主义的一种特殊变体，但他们的作品也保留了乌托邦主义和不妥协的对立元素。
{"title":"Mark E. Smith, Brexit Britain and the Aesthetics and Politics of the Working Class Weird","authors":"D. Wilkinson","doi":"10.16995/olh.535","DOIUrl":"https://doi.org/10.16995/olh.535","url":null,"abstract":"This article develops my existing published work on The Fall, which seeks to examine the consequences of Mark E. Smith’s classed, educational and regional formation on the band’s aesthetics and politics. I think through these latter categories both as they unfolded during The Fall’s post-punk peak and as they signify in the present, bridging this gap through the elaboration of the concept of ‘the working class weird’. Over the past decade, the work of Mark Fisher has traced a fascinating, if speculative, formal and classed history to The Fall’s ‘pulp modernism’. Here, I respond to and build upon Fisher’s work by situating The Fall more concretely within a postwar British history of working class experiments with avant-garde cultural form. I locate the band’s output within the shifting class relations of the late 20th century and explore its conflicted ideological implications, arguing that although Smith and The Fall may appear to presage and articulate a particular variant of working class conservatism that has coalesced around Brexit, their work also retains elements of utopianism and intransigent oppositionality.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47443242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is part of a larger study investigating the perceived value of using comics as an information resource in the teaching and training of mental health and social care professionals in a higher education setting. We surveyed 108 library users at the Tavistock and Portman NHS Foundation Trust, which specialises in mental health and social care and is a centre for both treatment and training. The study showed that most participants believed that comics have a potential role to play in mental health care training, and that challenges remain in getting comics perceived in ways that are not limited by existing prejudices or socio-cultural assumptions. Amongst other findings, the study found no significant association between the age or gender of participants and their attitudes to comics in an academic context. Participants considered that the most useful application of comics within the mental health and social care domain was their potential use in medical or therapeutic settings with young people. Even when our sample was not dominated by participants who reported reading comics regularly, the study showed that recent experience of reading comics seems to positively influence how comfortable participants feel about using comics for teaching or learning. Publisher’s Note: This article was originally published with an incorrect peer review statement, which said that this article was an internally reviewed editorial. This has now been amended to reflect the fact that this is a piece of research that underwent double blind peer review by two external reviewers.
{"title":"Barriers Remain: Perceptions and Uses of Comics by Mental Health and Social Care Library Users","authors":"A. Farthing, Ernesto Priego","doi":"10.16995/olh.98","DOIUrl":"https://doi.org/10.16995/olh.98","url":null,"abstract":"This article is part of a larger study investigating the perceived value of using comics as an information resource in the teaching and training of mental health and social care professionals in a higher education setting. We surveyed 108 library users at the Tavistock and Portman NHS Foundation Trust, which specialises in mental health and social care and is a centre for both treatment and training. The study showed that most participants believed that comics have a potential role to play in mental health care training, and that challenges remain in getting comics perceived in ways that are not limited by existing prejudices or socio-cultural assumptions. Amongst other findings, the study found no significant association between the age or gender of participants and their attitudes to comics in an academic context. Participants considered that the most useful application of comics within the mental health and social care domain was their potential use in medical or therapeutic settings with young people. Even when our sample was not dominated by participants who reported reading comics regularly, the study showed that recent experience of reading comics seems to positively influence how comfortable participants feel about using comics for teaching or learning. Publisher’s Note: This article was originally published with an incorrect peer review statement, which said that this article was an internally reviewed editorial. This has now been amended to reflect the fact that this is a piece of research that underwent double blind peer review by two external reviewers.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48489903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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