dialogue with the debates on memory distortion, memory contestation, and memory fluidity. Memory Distortion The official story that has been encoded, celebrated publicly in any number of mass media spectacles of commemoration, and handed down to us today
Donatella della Porta
Keynes and Marx, Merchants, and Poets
concept (“‘Fluidity’ is the quality of liquids and gases”), this is explicitly turned into a metaphor when we read on the next page, “These are reasons to consider ‘fluidity’ or ‘liquidity’ as fitting metaphors when we wish to grasp the nature of the
Citizenship and Belonging among Former Burundian Refugees in Tanzania
Patricia Daley, Ng’wanza Kamata, and Leiyo Singo
. This study shows that, in some contexts, ontological insecurity can be an important factor in re-imagining ethnic subjectivities and their self-actualization. Furthermore, it demonstrates the fluidity of identities among one group of people in everyday
the gendered body and that of contemporary feminist theorists. From Laura Mulvey's concept of the fetishistic male gaze to Luce Irigaray's symbolic ideas about female fluidity, to Adrienne Rich's discussion of feminine silence, changing perceptions of
Gijs Mom, Georgine Clarsen, Liz Millward, Dorit Müller, Mimi Sheller, and Heike Weber
The fluidity of modernity has surely reached the outskirts of the earth when even the new Pope Franciscus admonishes his cardinals that “our life is a journey and when we stop there is something wrong. […] If one does not walk, one gets stuck.” The current economic crisis has enhanced the fear of congestion and the interruption of flows: the circulation of capital in the first instance, but also of people and stuff, and of ideas and knowledge. It is time to rethink mobility.
Learning to Be a Man Again in Charles Reade's A Simpleton
Georgina O'Brien Hill
This article examines the role of the sensation novel in the construction of male identities in the Victorian period through an examination of Charles Reade's A Simpleton, a Story of the Day (1873). This novel exploits Victorian anxieties surrounding male identity and seeks to affirm unstable concepts of masculinity through dominant codes of imperialism. O'Brien Hill argues that Reade's novel is unusual in the sensation canon due to the combination of the adventure sub-plot and sensational narrative devices, serving to expose the fluidity of male identity and Victorian fascination with the spectacle of masculinity in crisis.
The Art of the Political Relationship in Lebanon
This article aims to analyse the patron–client relationship through a detailed ethnography of the everyday life of Walid Junblat's followers in Lebanon. It reveals how intimate people are with political figures, talking to them (in the form of their pictures), talking about them, thinking through them, playing off this intimacy to enter the political competition. Patrons also play their part in this relationship. The weekly political gatherings held at Junblat's Palace are the apex of this aesthetic of power. Detailed observations indicate how the lord orchestrates and varies the tempo of his interactions with the ritual audience, adding complexity and fluidity to the relation.
Teyyam in Malabar
This article focuses on Muttappan and the practice of teyyam in Kerala, South India. The growing power and increasing presence of this ritual practice and its transition from traditional sacred spaces into modern public spheres, including cyberspace, are analyzed in order to understand its inner dynamics and potentialities. Engaged with the quotidian aspects of human existence, the male divinity Muttappan-teyyam is a being of the moment who overcomes any bounding or hierarchizing force in his path. I argue that Muttappan's modernity has a decentering and destabilizing fluidity that appeals to all social classes. The ritual practice has put the arts and the state at odds, with the latter co-opting it to serve the state's purposes through tourism and spectacles that encourage national solidarity.
Queerness, Pedophilia and Perversions in "L.I.E." and "Mysterious Skin"
Sarag E. S. Sinwell
Drawing on the work of Gayle Rubin, Jonathan Dollimore, and B. Ruby Rich, this paper will explore the ways in which Michael Cuesta’s L.I.E. (2000) and Gregg Araki’s Mysterious Skin (2004) portray adolescent male bodies and subjectivities within the context of the queer. Throughout these films, cinematic identification is primarily tied up with the stories of adolescent boys. However, the perverse acts in which they participate (both voluntarily and involuntarily), the inclusion of multiple points of view, and the focus on our own cultural constructions of childhood, adolescent and adult sexualities trace a network of nodes of identification. Thus, I argue that L.I.E. and Mysterious Skin queer identification by imagining a multiplicity, fluidity, and diversity of modes of identification that engage with both the normal and perverse natures of identity, sexuality, and subjectivity.
The Visitors' Book and Hotel Culture in Victorian Britain and Ireland
The visitors' book occupied a central place in the hotel and inn culture of Victorian Britain and Ireland, reflecting intertwined legal regimes and leisure practices that created distinctive space for inscription in, and reading of, the volume—acts that were portrayed as unique to the travel cultures of the United Kingdom. Contemporary commentators, while playfully critiquing vulgar “inn verse,“ nonetheless lamented its displacement by prescriptive regimes of guest registration, which marked intensifying corporate and continental influences over what they regarded as singular practices associated with British and Irish traveling culture. Indeed the social and cultural history of the visitors' book offers a window onto travel performances, the liminality of hotel and inn space, distinctive features of the Law of Innkeepers in the Anglo-American legal tradition, and contests over status and taste as guests placed their imprimatur on places of high physical circulation and social fluidity.