Julia Kristeva, 'woman's primary homosexuality' and homophobia

This article offers a critical reading of what Julia Kristeva calls ‘woman’s primary homosexuality’ and discusses homophobia in Kristeva’s work. If we are to draw conclusions on the merits and limitations of Kristeva’s theories of sexuality, homophobia needs to be assessed within the aesthetic and ethical contexts that typify Kristeva’s overall oeuvre. The article shows that we can apply Kristeva’s semiotic/symbolic model of signification to sexuality and argues for the construction of ‘primary homosexuality’ as the manifestation of resistance to authorized sexual identity. The article also shows why the political demands to recognize lesbianism as a valid form of sexuality and especially as an intelligible lifestyle go against Kristeva’s understanding of what resistance entails

Coldness and Cruelty as Performance in Deleuze's Proust

This book is an encounter between Deleuze the philosopher, Proust the novelist, and Beckett the writer creating interdisciplinary and inter-aesthetic bridges between them, covering textual, visual, sonic and performative phenomena, ..

The beautiful and the political

Competing and polarised positions related to the possible political nature of material in contemporary music are exemplified by the work of postmodern composers and of post-war modernist composers. Whilst the former argue for the political nature of their compositions by the inclusion of contemporary issues and imagery, the latter argue for the political nature of their manipulation of otherwise politically neutral musical material. This opposition can be understood as a dialectic between content and form, and is expressed by Adorno as the opposition between representational and ‘committed’ work. This paper examines one example of each type of work—Luigi Nono’s Il Canto Sospeso (1955-56) and Johannes Kreidler’s Audioguide—and their relationship to a conception of the ‘beautiful’ in music. These expressions of the ‘political’ offer a framework through which the musically beautiful can be interrogated in the opposition of committed and autonomous artworks, and understood as an experience of alienation. Eco's exploration of Entfremdung and Kristeva's concept of abjection can both be employed to argue that the ‘political’ dimension of autonomous works offers the potential for a radical experience of beauty as a transcendence derived from present conditions, whilst committed works negate beauty as a condition of re-presenting the present

Learners reconceptualising education: Widening participation through creative engagement?

This paper argues that engaging imaginatively with ways in which statutory and further education is provided and expanding the repertoire of possible transitions into higher education, is necessary for providers both in higher education and in the contexts and phases which precede study at this level. Fostering dispositions for creativity in dynamic engagement with educational technology together with the consideration of pedagogy, learning objects, inclusion, policy and the management of change, requires innovative provision to span the spaces between school, home, work and higher education learning. Reporting on The Aspire Pilot, a NESTA-funded initiative at The Open University, the paper offers the beginning of a theoretical frame for considering learning, learners and learning systems in the information age prioritizing learner agency. It will report emergent empirical findings from this inter-disciplinary project, with a significant e-dimension, which seeks to foster the creativity of 13-19 year olds in considering future learning systems, developing provocations for others to explore creative but grounded possibilities. It explores implications arising from this project for approaches that may facilitate widening participation in higher education

The relational ethics of conflict and identity

The contemporary psychoanalytically inflected vocabulary of relational ethics centres on acknowledgement, witnessing and responsibility. It has become an important code for efforts to connect with otherness across fractures of hurt, oppression and suffering. One can see the deployment of this vocabulary to challenge patterns of exclusion and dehumanisation in zones of intense political conflict in many situations in which destructive hatred reigns. This paper traces some of the use of and disputes over this ‘acknowledgement-based’ relational ethics in the recent work of Jessica Benjamin and Judith Butler. The field of application is their response to Israel’s treatment of the Palestinians, given their position as Jews. The challenge of the acknowledgement agenda leads back to an issue of general concern – the degree to which relational ethics can prise open apparently closed and defensive psychosocial identities

Playing on the boundaries: a childhood across cultural and geographical lines

This is not a conventional paper. It is a personal narrative. It is subjective not only to its author but to the child-self of the author. It is not a detached academic look at a personal history. In fact it could be described more as ‘archaeological’ than historical; an examination of what appears to be a random collection of fragments of a personal history, found in memory and artefacts of a childhood. The telling of the story is an attempt to understand the development and trajectory of an individual identity across geographical, cultural, and religious boundaries. It is not the whole story, but it gives the writer and the reader a few selected pieces of the full picture

Choreography, controversy and child sex abuse: Theoretical reflections on a cultural criminological analysis of dance in a pop music video

This article was inspired by the controversy over claims of ‘pedophilia!!!!’ undertones and the ‘triggering’ of memories of childhood sexual abuse in some viewers by the dance performance featured in the music video for Sia’s ‘Elastic Heart’ (2015). The case is presented for acknowledging the hidden and/or overlooked presence of dance in social scientific theory and cultural studies and how these can enhance and advance cultural criminological research. Examples of how these insights have been used within other disciplinary frameworks to analyse and address child sex crime and sexual trauma are provided, and the argument is made that popular cultural texts such as dance in pop music videos should be regarded as significant in analysing and tracing public perceptions and epistemologies of crimes such as child sex abuse