How might one responsibly review a field just coming into being—such as that provoked by the term Anthropocene? In this article, we argue for two strategies. First, working from the premise that the Anthropocene field is best understood within its emergence, we review conferences rather than publications. In conference performances, we glimpse the themes and tensions of a field-to-come. Second, we interpret Anthropocene as a science-fiction concept, that is, one that pulls us out of familiar space and time to view our predicaments differently. This allows us to explore emergent figurations, genres, and practices for the transdisciplinary study of real and imagined worlds framed by human disturbance. In the interplay and variation across modes for constructing this field, Anthropocene scholarship finds its shape.
Anthropocene as Science Fiction and Scholarship-in-the-Making
Heather Anne Swanson, Nils Bubandt, and Anna Tsing
In the French polemics over the Islamic headscarf, the relationship betweensecularism and sexual equality has sometimes been made out to be an artificialone. The articulation between politics, religion, secularism, and women'srights is examined here over the longue durée. Since the beginning of the secularizationprocess during the French Revolution, a minority has championedan egalitarian conception of secularization. Rivalries between or convergencesof political and religious authorities have driven an ambivalent and not veryequal secularization, creating secular pacts that rely on gender pacts to thedetriment of equality. This dynamic reversed itself beginning in the 1960swith the battle for legal contraception and abortion, which shook one of thevery bases of French Catholicism to its foundation. The headscarf affairsrevealed the egalitarian effects of secularism and favored the elaboration ofthought about secularism in conjunction with sexual equality, which, whateverthe various interpretations of that thought may be, could prove to be anon-negligible benefit.
This article examines the political style and rhetoric of the Manif pour tous (MPT), the main organization opposing same-sex marriage in France, from summer 2013 to the present. It exposes how the MPT’s style and rhetoric differ from those of their American counterparts, and what this tells us about the different strategies of political movements in France and the United States generally. It is based on an analysis of the language used by activists whom I interviewed in 2014 and 2015 and on a discourse analysis of the MPT’s website, Facebook page, Twitter feed, and press releases since 2013. This analysis of the distinctive features of the MPT brings to light underlying concerns about French identity in the face of globalization. In other words, for the MPT and its members, what is at stake is not just same-sex marriage but the very definition of Frenchness.
Mirko M. Hall
“We aim to please with constant unease!” 1 The post-punk genre of neofolk or apocalyptic folk—with its melancholy lyrics, acoustic melodies, and martial beats—has been an enduring feature of the dark alternative music scene of the past thirty years
Colette and the French Singularity
French women writers of the past: Il se manifeste en ce moment, parmi les femmes de lettres, une réaction contre le ‘genre Colette.’ Il y a cinq ans, sur dix femmes prosateurs, huit imitaient Colette; aujourd'hui, il n'y en a plus que quatre. La mode chez
’homme du dix-huitième siècle comme coulés dans le même moule, et cela d’après une conception abstraite, qui servait pour tout le genre humain. On connaissait l’homme, on ne connaissait pas les hommes; on n’avait pas pénétré dans l’âme; on n’avait pas vu la
The Projects of Christophe Boltanski and Ivan Jablonka
liberty of re-remembering [ ressouvenir ].” He sees Daniel Mendelsohn’s quest to recover the lives of family members who died in the Holocaust as “a new genre of witnessing, that of the ‘witness by procuration’, who involves his readers in the emotional
Sanne van der Hout and Martin Drenthen
” ( Heller 2006 ) that surface time and again in relation to research and innovation, and tend to structure lay people’s symbolic thought ( Dupuy 2010 ). We will show how these genres reveal the ambivalence and complexity of both narratives, using two well
A Response to Laila Soliman’s No Time for Art
privileged genre. Activist art resists privatization through remaining unfinished, “raw,” and not finite, atemporal in this sense, enabling this accretive momentum of revolutionary impetus: a matter of attending, in any way you can, to that which refuses to
Framing Processes, Collective Identity, and Emotion in the Men’s Rights Subreddit
, Spatial Proximity, and the Diffusion of the Occupy Wall Street Movement in the United States .” Mobilization . 21 ( 2 ): 139 – 154 . Wiggins , Bradley E. , and G. Bret Bowers . 2015 . “ Memes as Genre: A Structurational Analysis of the Memescape