Pub Date : 2021-12-01DOI: 10.1080/2373566X.2021.1977163
Julian Brigstocke, Gunter Gassner
The papers in this forum on Spaces and Politics of Aesthetics share a concern with analyzing relationships between politics and aesthetics in ways that question humanist, anthropocentric logics underpinning dominant aesthetic regimes of power. They do so by foregrounding more-than-human materialities and critical analyses of race and colonial power. In this introduction, we begin by routing debates around spaces and politics of aesthetics through post-humanist, new-materialist, and post-colonial trajectories. We also highlight theoretical reference points that animate many of the contributions to the forum, focusing on the aesthetics of disruption in Glissant, Rancière, and Benjamin. We then move on to guide the reader along two different routes through the collection, focusing first on material aesthetics, and then on aesthetic regimes of race.
{"title":"Materiality, Race, and Speculative Aesthetics","authors":"Julian Brigstocke, Gunter Gassner","doi":"10.1080/2373566X.2021.1977163","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1977163","url":null,"abstract":"The papers in this forum on Spaces and Politics of Aesthetics share a concern with analyzing relationships between politics and aesthetics in ways that question humanist, anthropocentric logics underpinning dominant aesthetic regimes of power. They do so by foregrounding more-than-human materialities and critical analyses of race and colonial power. In this introduction, we begin by routing debates around spaces and politics of aesthetics through post-humanist, new-materialist, and post-colonial trajectories. We also highlight theoretical reference points that animate many of the contributions to the forum, focusing on the aesthetics of disruption in Glissant, Rancière, and Benjamin. We then move on to guide the reader along two different routes through the collection, focusing first on material aesthetics, and then on aesthetic regimes of race.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77818927","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}
Pub Date : 2021-12-01DOI: 10.1111/j.0033-0124.1983.00523.x
{"title":"Editors’ Note of Appreciation","authors":"","doi":"10.1111/j.0033-0124.1983.00523.x","DOIUrl":"https://doi.org/10.1111/j.0033-0124.1983.00523.x","url":null,"abstract":"","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80968931","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}
Pub Date : 2021-11-06DOI: 10.1080/2373566X.2021.1973906
N. Millner
Since the mid-1990s, appeals to “Madre Tierra” [Mother Earth] have united activists and campesino [peasant] networks globally as part of political claims of food sovereignty and agrarian rights. Positioning this paper as a contribution to feminist theory, here I explore what Madre Tierra does in political-aesthetic terms, specifically within situated struggles in Central America. Seen from (white) eco-feminist perspectives, the rise of Madre Tierra could be seen to perform new kinds of exclusions: in this resonant figure diverse indigenous cosmologies seem to collapse; agrarian struggles are rendered “feminine,” and both women and land-workers are placed in the realm of nature—which is to say, far from meaning-making. However, when the everyday practices of agrarian activism are thought through Latinx and Chicanx theories of queer kinship and black womanism, a more radical, and specifically decolonial, vision emerges. Through ethnographic vignettes I illustrate the ways that masculinity/femininity, nature/culture, and the relationships between them are being reworked.
{"title":"More-than-Human Witnessing? The Politics and Aesthetics of Madre Tierra (Mother Earth) in Transnational Agrarian Movements","authors":"N. Millner","doi":"10.1080/2373566X.2021.1973906","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1973906","url":null,"abstract":"Since the mid-1990s, appeals to “Madre Tierra” [Mother Earth] have united activists and campesino [peasant] networks globally as part of political claims of food sovereignty and agrarian rights. Positioning this paper as a contribution to feminist theory, here I explore what Madre Tierra does in political-aesthetic terms, specifically within situated struggles in Central America. Seen from (white) eco-feminist perspectives, the rise of Madre Tierra could be seen to perform new kinds of exclusions: in this resonant figure diverse indigenous cosmologies seem to collapse; agrarian struggles are rendered “feminine,” and both women and land-workers are placed in the realm of nature—which is to say, far from meaning-making. However, when the everyday practices of agrarian activism are thought through Latinx and Chicanx theories of queer kinship and black womanism, a more radical, and specifically decolonial, vision emerges. Through ethnographic vignettes I illustrate the ways that masculinity/femininity, nature/culture, and the relationships between them are being reworked.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80071052","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}
Pub Date : 2021-11-01DOI: 10.1080/2373566X.2021.1977162
Amanda Rogers
This article examines how the legacies and experiences of the Khmer Rouge (1975–1979) are expressed by contemporary dancers in Cambodia. It stems from the recognition that such works do not always resort to particular performative formats for their power and effect—specifically those that rely upon testimonial forms that promote the desire for showing, documenting, witnessing and healing. This is not to deny those dynamics in these works, nor the importance of them for artistic expression, but it is to consider how creative praxis can potentially open up additional, and culturally specific, responses to a genocidal era. In particular, the article draws upon ideas of remaining and performing remains to argue that the multiple temporalities of history are leading some artists to express experiences of the regime through forms of performance that articulate hope for the future.
{"title":"Remaining with the Khmer Rouge: Contemporary Cambodian Performances Addressing Genocide in a Post-genocide Era","authors":"Amanda Rogers","doi":"10.1080/2373566X.2021.1977162","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1977162","url":null,"abstract":"This article examines how the legacies and experiences of the Khmer Rouge (1975–1979) are expressed by contemporary dancers in Cambodia. It stems from the recognition that such works do not always resort to particular performative formats for their power and effect—specifically those that rely upon testimonial forms that promote the desire for showing, documenting, witnessing and healing. This is not to deny those dynamics in these works, nor the importance of them for artistic expression, but it is to consider how creative praxis can potentially open up additional, and culturally specific, responses to a genocidal era. In particular, the article draws upon ideas of remaining and performing remains to argue that the multiple temporalities of history are leading some artists to express experiences of the regime through forms of performance that articulate hope for the future.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74909016","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}
Pub Date : 2021-11-01DOI: 10.1080/2373566X.2021.1981770
Claire Blencowe
This paper proposes the term “family debilitation” to point to the ways that institutionalized child abuse operates to perversely generate biopolitical authority, a strategy of negative biopolitics that is integral to the aesthetic regimes of settler colonialism and neoliberal authoritarianism. The paper attends to two scenes of child detention in the US: Scene 1 US/Mexico Border 2017 concerns migrant children caught up in the bordering regimes of Donald Trump’s America; Scene 2 Pennsylvania 1879 concerns indigenous children caught up in the disciplinary regimes of “civilizing” education. As we attend to the connections between these scenes an argument emerges that situates racialized child detention and abuse within the aesthetic technologies biopolitical sovereignty. The “problem” to which these practices serve as a kind of technical answer is not any kind of problem with migrant and indigenous families themselves but rather is a problem of government—specifically the legitimacy deficit that exists where biopolitical states openly participate in dispossession and the destruction of life.
{"title":"Family Debilitation: Migrant Child Detention and the Aesthetic Regime of Neoliberal Authoritarianism","authors":"Claire Blencowe","doi":"10.1080/2373566X.2021.1981770","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1981770","url":null,"abstract":"This paper proposes the term “family debilitation” to point to the ways that institutionalized child abuse operates to perversely generate biopolitical authority, a strategy of negative biopolitics that is integral to the aesthetic regimes of settler colonialism and neoliberal authoritarianism. The paper attends to two scenes of child detention in the US: Scene 1 US/Mexico Border 2017 concerns migrant children caught up in the bordering regimes of Donald Trump’s America; Scene 2 Pennsylvania 1879 concerns indigenous children caught up in the disciplinary regimes of “civilizing” education. As we attend to the connections between these scenes an argument emerges that situates racialized child detention and abuse within the aesthetic technologies biopolitical sovereignty. The “problem” to which these practices serve as a kind of technical answer is not any kind of problem with migrant and indigenous families themselves but rather is a problem of government—specifically the legitimacy deficit that exists where biopolitical states openly participate in dispossession and the destruction of life.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75165470","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}
Pub Date : 2021-10-13DOI: 10.1080/2373566X.2021.1965900
Jean-Baptiste Lanne
This article provides reflexive feedback on a four hands poetry writing experiment as a field method for fostering expression in people unaccustomed to it. To complement my in-depth interviews with private security guards at the gates of fenced residences in Nairobi (Kenya), I conducted several poetry workshops with them between 2015 and 2017. Although this medium is no more authentic than conventional storytelling, poetry as a four hands practice allowed us to overcome inhibiting dualities (I/the Other; authentic/non authentic; here/there). Retrospectively, I argue that this collective work should be understood as the expression of a dialectic of closeness between the two coauthors, i.e. a codified oscillation game between two sets of attitudes: maintaining an explicit distance and attempting micro-intrusions. This dialectic may lead us to reconsider our relationship with the produced text, making it an independent third protagonist, but nevertheless necessary for the encounter.
{"title":"Poetry Writing and the Dialectic of Closeness. Creative Encounters with Nairobi Urban Sentinels","authors":"Jean-Baptiste Lanne","doi":"10.1080/2373566X.2021.1965900","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1965900","url":null,"abstract":"This article provides reflexive feedback on a four hands poetry writing experiment as a field method for fostering expression in people unaccustomed to it. To complement my in-depth interviews with private security guards at the gates of fenced residences in Nairobi (Kenya), I conducted several poetry workshops with them between 2015 and 2017. Although this medium is no more authentic than conventional storytelling, poetry as a four hands practice allowed us to overcome inhibiting dualities (I/the Other; authentic/non authentic; here/there). Retrospectively, I argue that this collective work should be understood as the expression of a dialectic of closeness between the two coauthors, i.e. a codified oscillation game between two sets of attitudes: maintaining an explicit distance and attempting micro-intrusions. This dialectic may lead us to reconsider our relationship with the produced text, making it an independent third protagonist, but nevertheless necessary for the encounter.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86859887","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}
Pub Date : 2021-10-13DOI: 10.1080/2373566X.2021.1965899
Elizabeth Belanger
This article explores seven segregation cases involving African-American women and public transportation that played out in the city courts of St. Louis between 1865 and 1871. Situating the cases within a theoretical framework of mobility, the article explores the spatial characteristics of African-American working-class women’s lives and the extent to which streetcars became staging grounds for larger civil rights battles. While previous accounts of streetcar activism have often positioned cases as isolated incidents undertaken by elite African-American women, the cases in St. Louis attest to the rise of civil rights activism among working-class African-American women. The discussion further shows how they contributed to the nature and form of oppositional politics in St. Louis.
{"title":"Working-Class Mobility and Streetcar Politics in Reconstruction-Era St. Louis","authors":"Elizabeth Belanger","doi":"10.1080/2373566X.2021.1965899","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1965899","url":null,"abstract":"This article explores seven segregation cases involving African-American women and public transportation that played out in the city courts of St. Louis between 1865 and 1871. Situating the cases within a theoretical framework of mobility, the article explores the spatial characteristics of African-American working-class women’s lives and the extent to which streetcars became staging grounds for larger civil rights battles. While previous accounts of streetcar activism have often positioned cases as isolated incidents undertaken by elite African-American women, the cases in St. Louis attest to the rise of civil rights activism among working-class African-American women. The discussion further shows how they contributed to the nature and form of oppositional politics in St. Louis.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74666999","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}
Pub Date : 2021-10-13DOI: 10.1080/2373566X.2021.1965898
S. Caquard, Emory Shaw, José Alavez
Stories are now broadly recognized as important sources of geographic information in different domains of the spatial humanities. The methodologies mobilized to identify these spatial data, however, remain the subject of intense debate. In this paper, we contribute to this debate by focusing on what we can learn from the close reading of stories to improve the quality of distant reading approaches. We do this through an in-depth comparative analysis of how toponyms are used across 10 oral life stories of exiles. Results show that a “distant listening” of the number of country names mentioned in these stories provides an accurate representation of their global geographies. However, the finer-scaled geographies of these stories become highly distorted when counting more local toponyms such as neighborhoods, cities or regions. This study also reveals that results could be improved by accounting for the distribution and repetition of toponyms throughout these stories. Such insights and their nuances are described in this paper with an aim to help narrow the gap between close and distant reading methodologies.
{"title":"How Distant is Close Enough? Exploring the Toponymic Distortions of Life Story Geographies","authors":"S. Caquard, Emory Shaw, José Alavez","doi":"10.1080/2373566X.2021.1965898","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1965898","url":null,"abstract":"Stories are now broadly recognized as important sources of geographic information in different domains of the spatial humanities. The methodologies mobilized to identify these spatial data, however, remain the subject of intense debate. In this paper, we contribute to this debate by focusing on what we can learn from the close reading of stories to improve the quality of distant reading approaches. We do this through an in-depth comparative analysis of how toponyms are used across 10 oral life stories of exiles. Results show that a “distant listening” of the number of country names mentioned in these stories provides an accurate representation of their global geographies. However, the finer-scaled geographies of these stories become highly distorted when counting more local toponyms such as neighborhoods, cities or regions. This study also reveals that results could be improved by accounting for the distribution and repetition of toponyms throughout these stories. Such insights and their nuances are described in this paper with an aim to help narrow the gap between close and distant reading methodologies.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84791569","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}
Pub Date : 2021-09-07DOI: 10.1080/2373566x.2021.1942130
Pablo Arboleda, P. Jankiewicz
Over the last five decades, Italy has invested in the construction of public works as the core strategy to dynamize its less favoured regions; however, due to multiple and inherent dysfunctionalities, many of these remain half-built and abandoned today. The group of artists Alterazioni Video refer to this phenomenon as “Incompiuto” (“Incompletion” in English), coining a name for a new architectural style where the characteristic unfinished materiality speaks back to Italian idiosyncrasy. In the pursuit of existential dignity, Alterazioni Video suggest that these sites muster and reassemble metaphysical places of contemplation, thought and the imaginary. Drifting at one of its most spectacular samples (The Dam of Blufi, Sicily), the present collaboration between an architect and a writer testifies to said assertion, and celebrates the phenomenological qualities of modern ruination argued in emerging geographical literatures.
{"title":"The Dam of the Damned","authors":"Pablo Arboleda, P. Jankiewicz","doi":"10.1080/2373566x.2021.1942130","DOIUrl":"https://doi.org/10.1080/2373566x.2021.1942130","url":null,"abstract":"Over the last five decades, Italy has invested in the construction of public works as the core strategy to dynamize its less favoured regions; however, due to multiple and inherent dysfunctionalities, many of these remain half-built and abandoned today. The group of artists Alterazioni Video refer to this phenomenon as “Incompiuto” (“Incompletion” in English), coining a name for a new architectural style where the characteristic unfinished materiality speaks back to Italian idiosyncrasy. In the pursuit of existential dignity, Alterazioni Video suggest that these sites muster and reassemble metaphysical places of contemplation, thought and the imaginary. Drifting at one of its most spectacular samples (The Dam of Blufi, Sicily), the present collaboration between an architect and a writer testifies to said assertion, and celebrates the phenomenological qualities of modern ruination argued in emerging geographical literatures.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82356134","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}
Pub Date : 2021-09-03DOI: 10.1080/2373566X.2021.1960878
Tatiana Abatemarco
This paper explores the trope of pastoral harmony in environmental literature, art, and media. Some themes in the pastoral harmony trope are arcadia, idyll, elegy, utopia, balance of nature, rootedness, locality, rurality, and natural health. Of particular focus in this piece is the celebration of agriculture and agricultural landscapes. By analyzing two case studies of contemporary artists who celebrate agriculture in their work, I explore the themes and tensions in modern pastoral art, which both “sells” the pastoral lifestyle and embraces progressive social and environmental ideals. The case studies include photographer and filmmaker Ben Stechschulte and music by Rising Appalachia. In a world of climate crisis and social injustice, these artists demonstrate a pastoral vision that prescribes a more nuanced understanding of rurality as the antidote to fractured relationships between human groups and the more-than-human world.
{"title":"Getting Back to the Garden: Pastoral Harmony as an Antidote to Fractured Social and Nature Relations","authors":"Tatiana Abatemarco","doi":"10.1080/2373566X.2021.1960878","DOIUrl":"https://doi.org/10.1080/2373566X.2021.1960878","url":null,"abstract":"This paper explores the trope of pastoral harmony in environmental literature, art, and media. Some themes in the pastoral harmony trope are arcadia, idyll, elegy, utopia, balance of nature, rootedness, locality, rurality, and natural health. Of particular focus in this piece is the celebration of agriculture and agricultural landscapes. By analyzing two case studies of contemporary artists who celebrate agriculture in their work, I explore the themes and tensions in modern pastoral art, which both “sells” the pastoral lifestyle and embraces progressive social and environmental ideals. The case studies include photographer and filmmaker Ben Stechschulte and music by Rising Appalachia. In a world of climate crisis and social injustice, these artists demonstrate a pastoral vision that prescribes a more nuanced understanding of rurality as the antidote to fractured relationships between human groups and the more-than-human world.","PeriodicalId":53217,"journal":{"name":"Geohumanities","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82690310","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：