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The Ambiguity of Subversion

Resistance through Radio Broadcasting

Gisli Vogler

systemic violence, without reproducing the politically troubling myths of heroic agency. This article seeks to contribute to thinking the grey zones of resistance by examining the ambiguity of subversion as a practice of resistance. Subversion, commonly

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Arte urbano, espacio público y subversión política

la revolución egipcia a través del graffiti

Pedro Buendía

*Full article is in Spanish

English abstract: The emergence of graffiti's urban subculture as a means of political expression has become a singular issue of the so-called Arab Spring. Graffiti and urban art, which had little to no relevance in the Arab world until now, emerged with unusual force in many countries, notably in the Palestinian territories, Lebanon, and Egypt. This blossoming takes shape in tangent with the strengthening of a civil society and its rise as a decisive actor in the new political arena. In Egypt's case, graffiti achieved a leading role that reflected the milestones of civil disturbance, marking the walls with virtual snapshots of the popular sentiment. The proliferation of graffiti also had considerable resonance in international media because of the strategy of spreading rebellious and subversive slogans by means of the symbolic occupation of a public space, which, until now, was monopolized by authoritarian powers.

Spanish abstract: Un fenómeno singular de la denominada “Primavera Árabe“ ha sido la eclosión de la subcultura urbana del graffiti como medio de expresión política. De escasa o nula relevancia hasta ahora, el arte urbano de las pintadas ha surgido con una fuerza inusitada en varias zonas del mundo árabe, notoriamente en los Territorios Palestinos, el Líbano y Egipto. Dicho florecimiento cuaja en paralelo con la rearticulación de la sociedad civil y su irrupción irreversible como actor de los nuevos escenarios políticos. En el caso de Egipto, los graffitis han tenido un señalado protagonismo como reflejo de los sucesivos hitos de las revueltas, marcando los muros y paredes con verdaderas instantáneas del sentir popular. La proliferación del graffiti ha tenido asimismo una considerable resonancia en los medios internacionales, debido a la estrategia de ocupar simbólicamente el espacio público, -que hasta ahora estaba reservado al monopolio de los poderes autoritarios- para la difusión de consignas contestatarias y subversivas.

French abstract: Un phénomène singulier de la “printemps arabe“ a été l'émergence de la culture urbaine du graffiti comme un moyen d'expression politique. Avec peu ou pas d'importance jusqu'à ce jour, l'art urbain et le graffiti ont émergé avec une force inhabituelle dans diverses régions du monde arabe, notamment dans les Territoires Palestiniens, le Liban et l'Égypte. Ce e éclosion doit être mise en parallèle avec le renforcement de la société civile et son émergence comme acteur décisif dans le nouveau scénario politique. Dans le cas de l'Égypte, le graffiti a joué un rôle clé comme reflet des jalons successifs des révoltes, en marquant les murs avec des instantanés virtuelles du sentiment populaire. La prolifération des graffitis a rencontré aussi un écho remarquable dans les médias internationaux en raison de la stratégie d'occupation symbolique de l'espace public pour la diffusion des slogans rebelles et subversifs; un espace public qui était réservé jusqu'à aujourd'hui aux pouvoirs autoritaires.

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The Leftist “Imagined Community”

The Transnational Imagination of Left-Wing Subversive Organizations in Western Europe

Mikuláš Pešta

definitions, even if they had an operative/subversive branch ( Potere operaio , Lotta continua , Black Panthers). Instead, the article is using an alternative approach, based on the irregularity, subversion, and postcolonial emancipation rather than on

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(Mis)Leading the Reader

Decolonising Adventure Comics in Baruti and Cassiau-Haurie's Le Singe jaune

Alicia Lambert

similar interest in narrative and artistic playfulness involving genre subversion and intertextuality. Intertextuality has been central to literary production, and could even be called ‘the memory of literature’. 13 Franco-Belgian bande dessinée has

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Subversion Contained

Andrew Murphy

Stephen Greenblatt (General Editor), The Norton Shakespeare (New York & London: Norton, 1997) Paperback: ISBN 0-393-97086-8 £17.95 (no details of U.S. paper edition available); Cloth: ISBN 0-393-97087-6 £25.00/$65.00

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The state and the arts. Articulating power and subversion edited by Kapferer, Judith


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Arnold Wesker’s Rewriting of Shylock in The Merchant (1976) with a Purpose

Thomas Luk

occupies a prominent position in many parts of the world today”’. 4 Considerably earlier than this genre, however, is Arnold Wesker’s The Merchant with its subversion, extension and reinforcement of Shakespeare’s play antedating what Christy Desmet and

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Transforming Practices of Masculinity

A Model based on Qualitative Research on Boys’ Education

Jürgen Budde and Thomas Viola Rieske

dominance of binary gender. However, anti-sexism as a programmatic criticism also relies on the differentiation between male and female, which proves to be a resource for both the creation of dominance and its subversion, depending on how exactly binary

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“Loving and Cruel, All at the Same Time”

Girlhood Identity in The Craft

Emily Chandler

its target audience so poorly, why has it continued to be influential and successful? I argue that The Craft ’s subversion of teen film tropes allows it to explore girls’ desire for understanding and companionship rather than what is known as

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Passing for Children in Cate Shortland’s Lore

Andrew J. Webber

, Jack . 2011 . Fairy Tales and the Art of Subversion . London and New York : Routledge . Filmography Algar , James , and Samuel Armstrong . 1942 . Bambi . USA . Cottrell , William , and David Hand . 1937 . Snow White and the