A 2017 Choice Outstanding Academic Title Intersectionality intervenes in the field of intersectionality studies: the integrative examination of the effects of racial, gendered, and class power on people's lives. While "intersectionality" circulates as a buzzword, Anna Carastathis joins other critical voices to urge a more careful reading. Challenging the narratives of arrival that surround it, Carastathis argues that intersectionality is a horizon, illuminating ways of thinking that have yet to be realized; consequently, calls to "go beyond" intersectionality are premature. A provisional interpretation of intersectionality can disorient habits of essentialism, categorial purity, and prototypicality and overcome dynamics of segregation and subordination in political movements. Through a close reading of critical race theorist Kimberlé Williams Crenshaw's germinal texts, published more than twenty-five years ago, Carastathis urges analytic clarity, contextual rigor, and a politicized, historicized understanding of this widely traveling concept. Intersectionality's roots in social justice movements and critical intellectual projects--specifically Black feminism--must be retraced and synthesized with a decolonial analysis so its radical potential to actualize coalitions can be enacted.
Intersectionality critically examines the mainstreaming and institutionalization of this concept, offering a renewed understanding through close readings of some of its generative texts"--
Since 2015, the ‘refugee crisis’ is possibly the most photographed humanitarian crises in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to “welcoming refugees” in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the ‘refugee crisis,’ showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and ‘race,’ essential to the functioning of bordered nation-states. Taking photography not only as the object of research, but innovating the method of photographìa— the material trace of writing/grafì with light/phos— this book urges us to view images and their reproduction critically. Part theoretical text, part visual essay, Reproducing Refugees vividly shows how institutional violence underpins both the spectacularity and the banality of ‘crisis.’ This book goes about synthesising visual studies with queer, feminist, postcolonial, post-structuralist, and post-Marxist theories. Carastathis and Tsilimpounidi offer theoretical frameworks and methodological tools to critically analyse representations, both those circulated through hegemonic institutions, and those generated from ‘below’. They carve a space between logos and praxis, ways of knowing and ways of doing, by offering a new visual language that problematises reified categories such as that of the ‘refugee’ and makes possible disruptive, alternative, resistant perceptions. The book contributes to the fields of migration and border studies, critically engaging visual narratives drawn from migration movements to question dominant categories and frameworks, from a decolonial, no-borders, queer feminist perspective.
Since 2015, the ‘refugee crisis’ is possibly the most photographed humanitarian crises in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to “welcoming refugees” in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the ‘refugee crisis,’ showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and ‘race,’ essential to the functioning of bordered nation-states. Taking photography not only as the object of research, but innovating the method of photographìa— the material trace of writing/grafì with light/phos— this book urges us to view images and their reproduction critically. Part theoretical text, part visual essay, Reproducing Refugees vividly shows how institutional violence underpins both the spectacularity and the banality of ‘crisis.’ This book goes about synthesising visual studies with queer, feminist, postcolonial, post-structuralist, and post-Marxist theories. Carastathis and Tsilimpounidi offer theoretical frameworks and methodological tools to critically analyse representations, both those circulated through hegemonic institutions, and those generated from ‘below’. They carve a space between logos and praxis, ways of knowing and ways of doing, by offering a new visual language that problematises reified categories such as that of the ‘refugee’ and makes possible disruptive, alternative, resistant perceptions. The book contributes to the fields of migration and border studies, critically engaging visual narratives drawn from migration movements to question dominant categories and frameworks, from a decolonial, no-borders, queer feminist perspective.
This book focuses on the example of surrogate motherhood to explore the interplay between new reproductive technologies and new ethnographic writing technologies. It seeks to interrogate the potential of fictional multimodality in ethnography and to illuminate the generative possibilities of digital artefacts in anthropological research. It also makes a case for the tailor-made character of ethnographic writing in the digital era, arguing that research quests and representational modalities can be paired together to develop unique narrative forms, corresponding to each particular topic’s traits and analytical affordances. Focusing on the intersections of assisted reproduction technologies and digitally mediated writing, this study casts light upon the value of the affective, the fictional and the ‘real’ in the anthropological research and writing of relatedness. Analyzing the situated knowledge of ethnographers and research interlocutors, it experiments with multimodal storytelling and revisits the century-long debate on the affinity between an object of study and the possibilities for its representation. As the first attempt to bring together digital anthropology, fiction writing and the ethnography of surrogacy, this book fuses the genealogy of feminist critique on the orthodox, phallocentric, and heteronormative aspects of academic discourse with the input of digital humanities vis-à-vis troubling the conventional formal properties of scholarly writing.
In this book, Anna Marie Bautista delves into the increased visibility of gender inequality, largely brought about by #MeToo, that has been incorporated into representations on television series, reflecting a 'conspicuous feminism' that is explicit, activist, and commodifying in its consideration of gendered power structures and inequality.
This comprehensive study of digital visualization brings together insights from the fields of anthropology and music analysis and explores their import for critical pedagogy and digital education. Anchored on an array of ethnographically informed examples of visualization, it discusses the cultural, educational and cognitive repercussions of our engagement with visually-centered research and teaching. The book offers a hands-on approach to experimental pedagogies attuned to the needs of researchers, educators and artists in the digital humanities who seek to open passageways between theory and praxis.
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