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"Every time she bends over she pulls up her thong"

Teen Girls Negotiating Discourses of Competitive, Heterosexualized Aggression

Jessica Ringrose

In this paper I explore the themes of heterosexualized competition and aggression in Avril Lavigne's music video Girlfriend (2007) as representative of the violent heterosexualized politics within which girls are incited to compete in contemporary schooling and popular culture. I argue that psycho-educational discourses attempting to explain girls' aggression and bullying fail to account for the heterosexualized, classed or racialized power dynamics of social competition that organize heteronormative femininity. Then I elaborate a psychosocial approach using psychoanalytic concepts to trace how teen girls negotiate contemporary discourses of sexual aggression and competition. Drawing on findings from a study with racially and economically marginalized girls aged thirteen to fourteen attending an innercity school in South Wales, I suggest that the girls enact regulatory, classed discourses like slut to manage performances of heterosexualized aggression. However, alongside their demonstration of the impetus toward sexual regulation of one another, I show how the girls in my study are also attempting to challenge heteronormative formations of performing sexy-aggressive. Moments of critical resistance in their narratives, when they refuse to pathologize aggressive girls as mean and/or bullies, and in their fantasies, when they reject heterosexual relationships like marriage are explored.

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Shakespeare in Sarajevo

Theatrical and Cinematic Encounters with the Balkans War

Sara Soncini

Shakespeares examined here are chronologically closer to the conflict, but geographically more distant from the actual theatre of operations; they articulate an outsider’s viewpoint and show a clear awareness of the problematic implications of this discursive

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The Girl in the GIF

Reading the Self into Girlfriendship

Akane Kanai

ABSTRACT

In this article, I explore the practice of reading as a form of social participation in girlhood in digital spaces. Positioning girlhood as the circulation of particular discourses and affects, I consider a set of six self-representative blogs authored by young women on the microblogging platform Tumblr, and the affective and discursive positions they invite through their address to readers. Adapted from a central blog named WhatShouldWeCallMe, these blogs use GIFs (looping, animated images) and captions to articulate feelings and reactions relating to everyday situations that readers, addressed as girlfriends, are expected to recognize and relate to as common experience. I suggest that readers’ aesthetic and social participation in the circulation of these texts is key to the formation of digital publics in which readers come to recognize themselves as girls through calls to common feeling.

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Calling It Mammon

Instrumentalised Secularity and Religious Futures in Northern Ireland

Liam D. Murphy

Competitive funding by the European Union for community projects in Northern Ireland operates according to a political logic in which some groups and projects (deemed progressive, modern and generally secular) are prioritised, while others (discursively positioned as anachronistic, traditional and religious) are precluded. In this process, EU processes of statecraft seek to instrumentalise grassroots organisations as means to the many ends of a disenchanted, modern EU federation. In turn, overtly religious groups (among them churches, parachurches, and confraternities of various kinds) adapt to these conditions by instrumentalising EU processes and goals to the general end of securing a future place for religiosity in the 'new' Northern Ireland. This paper discusses the intersection of religious objectives and ideologies with that of European modernism in the context of two organisations: the Orange Order and the Divine Fellowship Congregation (DFC). Speci fically, I argue that both associations have developed distinctive forms of practice (the 'Orangefest' and 'Utopia' projects, respectively) that re-conceive what is possible for modern EU-funded initiatives. This adaptation has implications for both sets of institutions, in that each is transformed through articulation with the other.

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The racial fix

White currency in the gentrification of black and Latino Chicago

Jesse Mumm

similar replies from white newcomers in all three neighborhoods, who often followed such observations with immediate discursive positioning as nonracist individuals. The racial fix relies on an overarching narrative of increasing value associated with

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Maureen Mulligan

would argue that despite Pratt’s adscription of this colonial category to male monarchs, it is really a discursive position that can be adopted by female as well as male authors if it suits their needs. Similarly, the cosmopolitan subject position is

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Made in Nigeria

Duress and Upwardly Mobile Youth in the Biography of a Young Entrepreneur in Enugu

Inge Ligtvoet

Change in Africa . Leiden : Brill . Buitelaar , Marjo . 2014 . “ ‘Discovering a Different Me’: Discursive Positioning in Life Story Telling over Time .” Women’s Studies International Forum 43 ( 3 ): 30 – 37 . Davies , James . 2010

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My Words, My Literacy

Tracking of and Teaching through the On-Field Language Practices of Australian Indigenous Boys

David Caldwell, Nayia Cominos and Katie Gloede

. Francis , Becky . 2006 . “ Heroes or Zeroes? The Discursive Positioning of ‘Underachieving Boys’ in English Neo-Liberal Education Policy .” Journal of Education Policy 21 ( 2 ): 187 – 200 . Gilbert , Pam , and Rob Gilbert . 2001 . “ Masculinity

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Fighting Invasive Infrastructures

Indigenous Relations against Pipelines

Anne Spice

. While the categorization of oil and gas technologies as “critical infrastructure” is a relatively recent move, the discursive positioning of infrastructure as a gateway to a modern future has been used in state-building projects around the world for some

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Shakespeare and War

Honour at the Stake

Patrick Gray

screen. Yet they each use Shakespeare’s plays as a ‘powerful conceptual aid to universalize the conflict’, as well as to address ‘their discursive positioning as outsiders and its problematic implications’. Mitchell’s staging of 3 Henry VI deliberately