In its simple elegance, it totally problematizes blackness as a category.
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The contribution of Surrealism is that it problematizes the reading of the world.
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Rather than creating singular portraits, Titus Kaphar problematizes existing art historical — especially propagandistic — images.
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As I wrote about ahead of its release, Frozen Synapse 22016 problematizes the concept of the extralegal military force that is at the heart of so many tactics games.
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"We wanted to include Maya Mackrandilal's video in this exhibition because of her deep commitment to creating work that problematizes a patriarchal society," the curators say, in a joint statement.
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Instead of probing these sources—which tend, per Soviet persuasion, to give a flag-waving version of history that effaced the subjectivity of its citizens—Morrison follows rather than problematizes the contours of its ideological shadows, reading very little between the lines so as to imagine the lives of the individuals behind them.
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Translation: This male hegemony problematizes, dislocates, and obviates the performative coöperation between uxorial and sororal individualization in the circumforaneous commonality.
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But not for too long. Something happens which makes his life topsy-turvy! The event also brings out the tenacity and quality of relations he had. The film depicts the various shades of love and problematizes the conventional concepts around it.
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These include the Ramraiyas, the Minas, the Masands (corrupted tithe collectors), the Dhirmalias, the Sir-gums (Sikhs who accept Amrit baptism but subsequently break it cut their hair). In some historical rahitnamas, the presence of sahajdhari Sikhs, who have not undertaken the formal initiation, "problematizes" and sharpens the distinction with the initiated Amritdhari Sikhs and the .
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Rich, 138. Through a clever use of language, irony, and satire in the narrator's voice in her stories, Mena pushes back against the ideal of white women's superiority. The book also analyzes the story, ¨John of God, the Water Carrier¨ and how the through the character of Dolores, Mena problematizes the subjugation of females in Mexico's patriarchal society.
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Idu kills herself through starvation after Adiewere dies, even though she was pregnant and had a son. In a world where children come first, Idu sends the message that the love of two people is greater than the love for a child. Idu does challenge her role in the Igbo community but the fact that she is pregnant "problematizes the issue of childlessness".
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Victimless Leather – a prototype of a stitch-less jacket, grown from cell cultures into a layer of tissue supported by a coat shaped polymer layer.TC&A; – Victimless Leather Retrieved 20.04.2011 This is a sub-project of the Tissue Culture & Art Project where the artists are growing a leather jacket without killing any animals. Growing the victimless leather problematizes the concept of garment by making it semi-living.
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In the book, Hauser problematizes the notion of a single idealized public sphere populated by rational, disinterested individuals discussing common issues. Instead, Hauser imagines the public sphere as a web- like structure providing for interaction between numerous vernacular publics. This interaction, in turn, provides for both a common sense of the world and shared judgments. The overriding norm of consensus is abandoned in favor of common social referents.
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Susan Oyama (born May 22, 1943) is a psychologist and philosopher of science, currently professor emerita at the John Jay College and CUNY Graduate Center in New York City. Oyama's work interrogates the nature versus nurture debates, and problematizes the conceptual foundations (e.g., assumptions, binaries, and classifications) on which these debates depend. Her notion of a "developmental system" allows us to reevaluate and reintegrate standard dichotomies such as development and evolution, body and mind, and stasis and change.
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The professor has published works in numerous fields, making her work relevant to a diverse array of scholars. For instance, LaRocque's work offers a nuanced conception of Indigenous literatures as resistance, and brings misrepresentation of Indigenous Peoples in Canada to light. Such contributions have had reverberations in Native Studies, sociology, education, and poetry alike. LaRocque is also known for her deconstruction of the "civilized/savage" dichotomy, which she problematizes in relation to her own Métis identity.
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A key work from this period is Mystic Transport (1992), consisting of satin quilts in metal baskets, was first exhibited at the 3rd International Istanbul Biennial in 1992. The work encapsulates the hypermobile society of the decade. Presentation of an Early Representation (1996), Trellis of My Mind (1998), Fragmenting Fragments (1999) and Anti-Hamam Confessions (2010) problematizes postcolonial discourse. Memory of a Square (2005), a double-screen video installation, brings together historical records and personal experiences.
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Judith Butler theorizes the feminine gaze as "a pervasive heterosexism in feminist theory". In her essay "The Question of Social Transformation", Butler states, "Through performativity, dominant and nondominant gender norms are equalized. But some of those performative accomplishments claim the place of nature or claim the place of symbolic necessity...". These theories criticize the male gaze and its objectification of 'women' as it predominantly excludes more than just the Black oppositional gaze but further problematizes the subjectivity of gendering male verses female.
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This book examines the revival of wall- building under shifting conditions of global capitalism. Brown not only problematizes the assumed functions of walls, such as the prevention of crime, migration, smuggling, and so on. She also argues that walling has taken on new a significance due to its symbolic function in an increasingly globalized and precarious world of financial capital. As individual identity as well as nation-state sovereignty are threatened, walls become objects invested with individual and collective desire.
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JLS publishes studies of learning in a broad range of contexts, including schools, higher education, community settings, museums, workplaces, play spaces, and family life, as well as online and virtual worlds. Domains of learning include subject areas such as literacy, history, science or mathematics, as well as other domains, such as teaching expertise, medical diagnosis, or craft knowledge. Research that problematizes disciplinary boundaries is also welcome. Work that foregrounds the design of innovative technologies for learning is a priority for JLS.
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Throughout the movie, although Oscar is having an affair with his wife, he finds himself being more empathetic to working-class struggles in a way that his friend Arturo isn't. Arturo still believes that all working-class men are just "macho brutes" The film's dynamic on working class and bourgeois machismo is very telling of Cuban society and how class reflects on the attitudes towards machismo. It also problematizes, bourgeois men who believe they are intellectually above everyone else, including issues on machismo and women's equality.
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The work One and Three Chairs can be seen to highlight the relation between language, picture and referent. It problematizes relations between object, visual and verbal references (denotations) plus semantic fields of the term chosen for the verbal reference. The term of the dictionary includes connotations and possible denotations which are relevant in the context of the presentation of One and Three Chairs. The meanings of the three elements are congruent in certain semantic fields and incongruent in other semantic fields: A semantic congruity ("One") and a threefold incongruity ("One and Three").
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Green says that the footnotes "function as a kind of competing narrative that comments upon and—for lack of a better word—problematizes the central narrative." An Abundance of Katherines is a work of fiction that includes many mathematical terms and academic language. With the footnotes and the appendix that is at the end of the novel, Green gives his readers "a way of attempting to achieve precision and clarity" of the story in general, but more specifically, Colin's mind. The book consists of 19 chapters to highlight the number 19.
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Later, Morton edited Radical Food: The Culture and Politics of Eating and Drinking, 1790-1820 (2000), a three-volume compendium of eighteenth century texts examining the literary, sociocultural, and political history of food, including works on intoxication, cannibalism, and slavery. He also edited Cultures of Taste/Theories of Appetite: Eating Romanticism (2004), a collection of essays that problematizes the use of taste and appetite as Romantic metaphors for bounded territories and subjectivities, while empirically interrogating the organization of Romantic cultural and economic structures around competing logics of consumption.
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Mixed in with her stories and critiques are photographic images of women of color from Trinh's work in film. She includes stories of many other women of color such as Audre Lorde, Nellie Wong, and Gloria Anzaldua to increase the ethnic and semiotic geography of her work, and to also show a non-binary approach that problematizes the difficulty of representing a diverse "other." Woman, Native, Other, in its inclusive narrative and varied style attempt to show how binary oppositions work to support patriarchal/hegemonic ideology and how to approach it differently to avoid it.
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Victimless Leather – a prototype of a stitch-less jacket, grown from cell cultures into a layer of tissue supported by a coat shaped polymer layer. This is a sub-project of the Tissue Culture & Art Project where the artists are growing a leather jacket without killing any animals. Growing the victimless leather problematizes the concept of garment by making it semi- living. This artistic grown garment is intended to confront people with the moral implications of wearing parts of dead animals for protective and aesthetic reasons and confronts notions of relationships with manipulated living systems.
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Holmes is widely published, including works that link intersex to queer theory and ideas of compulsory heterosexuality. In Re-membering a Queer Body' (1994), Holmes describes how surgery on intersex infants is undertaken to make bodies conform to heterosexual norms: Holmes also problematizes this link, and in particular concepts of intersex as a third sex. In Locating Third Sexes (2004), Holmes argues that: Holmes also links the medical treatment of intersex bodies to the medical treatment of disabled bodies. In Rethinking the Meaning and Management of Intersexuality (2002), she argues that the surgical normalization of intersex infants is neither enhancement nor treatment.
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Declared one of three “beasts of burden”, in addition to the opium and salt monopolies, Paul Doumer argued that such stable taxation systems was essential to maintaining the fiscal health of the regime, and more importantly, to fund Indochina’s economic development.:2 Echoing the colonial state's convincing justification, earlier scholarship, has therefore simply assumed the monopoly's inherent profitability. Recent scholarship, examining the flows of revenue, however problematizes this oft- held assumption.:133-157 Colonial historian of Vietnam Gerard Sasges, argues that only the earlier revenue farms developed in cooperation with Chinese entrepreneurs were guided by a broader objective of raising revenue.
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" This is not to say Westar has escaped criticism from other scholars. "The most bitter and outspoken critic of the Seminar, Luke Timothy Johnson, published The Real Jesus: The Misguided Quest for the Historical Jesus and the Truth of the Traditional Gospels in 1996." To clarify, Johnson does not come from a fundamentalist perspective; he critiques that perspective as neither modern nor self-critical enough. Nevertheless, he problematizes the deeply unsettling experience of viewing the Bible through an historical-critical lens: "First-year students, who often come to seminary with deeply conservative convictions concerning the inspiration and inerrancy of Scripture, are exposed at once to the 'shock therapy' of the historical critical method.
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Critical library instruction is rooted in the idea that knowledge is culturally situated, and thus, instruction must be as well. Characterized by a praxis- based approach that is deeply connected to the context and information needs of the learner, critical library instruction always begins with an assessment of the learner’s context and their information needs. Critical library instruction problematizes traditional methods of teaching information literacy skills as privileging particular ways of knowing in academic contexts, and instead advocates a method of teaching that emphasizes the learner’s frame of reference and information needs. Influenced by critical pedagogy, an educational philosophy that address problems and questions of particular relevance to the lives of students, critical library instruction aims to provide the same approach to students’ information needs and practices.
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Only five copies of the 60-minute DVD were produced, three of which are in private collections, one being that of the collector with whom she had had the sexual encounter; he had pre-purchased the performance piece in which he was a participant. The contractual agreement, arranged by Friedrich Petzel Gallery, was proposed by Fraser as an assertion against the commoditization of art. Although critiqued both within and outside of the art world for prostituting herself, Fraser problematizes whether selling art to collectors in of itself is a form of prostitution. Her videotape performance Little Frank and His Carp (2001), shot with five hidden cameras in the atrium of the Guggenheim Museum Bilbao, targets architectural dominance of modern gallery spaces.
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Snow's work problematizes the meanings associated with relevant events, activities, places, and actors, suggesting that those meanings are typically contestable and negotiable and thus open to debate and differential interpretation. From this vantage point, mobilizing grievances are seen neither as naturally occurring sentiments nor as arising automatically from specifiable material conditions, but as the result of interactively-based interpretation or signifying work. Snow’s research on social inequality focuses on the social psychology of extreme poverty and homelessness. In his best-known work in this area, Down on Their Luck (University of California Press 1993, Portuguese translation 1998), Snow and co-author (and former student) Leon Anderson examine the everyday challenges faced by homeless men and women, using data from hundreds of hours of interviews, participant observation, and social service agencies.
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Although recognized by authors such as Alice Walker, who gave Loving Her praise in her review of the novel in 1974 as well as Nellie McKay and Rita B. Dandridge who have acknowledged the writer, Shockley's fictional works has been often ignored by the masses if not criticized. Shockley herself attributes this lack of recognition due to the subject matter that she writes about. She claims that works addressing lesbian themes were rare at the time, as most publishers were not interested and writers were too fearful to admit to their own sexuality to push for publishing. Journals have come out that go as far to say that Shockley complicates same-gender loving as well as problematizes it through her characterizations of African American people who also happen to be homosexual.
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Foell, p. 285. In 2007, it was the subject of a doctoral dissertation by Oliver Benjamin Ham in which he argued that it presents the "gendered body" of the protagonist as "the main mediator and battle field of the divisions and tensions in Berlin between East and West Germans".Oliver Benjamin Ham, "Berlin's Cultural East and West Division: Masochism and the Female Body", PhD dissertation, University of North Carolina at Chapel Hill, 2007, . In 2010, Tabea Dörfelt- Mathey saw it as an incisive portrait of the 1990s, built up out of details and lists in a manner reminiscent of Bret Easton Ellis' American Psycho, with a protagonist who problematizes the female role: she acts like a man until in playing the part of Eugénie to "Valmont", she becomes weak.
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The king and queen are seen reflected in a mirror on the back wall, but the source of the reflection is a mystery: are the royal pair standing in the viewer's space, or does the mirror reflect the painting on which Velázquez is working? Dale Brown says Velázquez may have conceived the faded image of the king and queen on the back wall as a foreshadowing of the fall of the Spanish Empire that was to gain momentum following Philip's death. In the 1966 book Les Mots et Les Choses (The Order of Things), philosopher Michel Foucault devotes the opening chapter to a detailed analysis of Las Meninas. He describes the ways in which the painting problematizes issues of representation through its use of mirrors, screens, and the subsequent oscillations that occur between the image's interior, surface, and exterior.
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Linda Hutcheon coined the term "historiographic metafiction" to refer to works that fictionalize actual historical events or figures; notable examples include The General in His Labyrinth by Gabriel García Márquez (about Simón Bolívar), Flaubert's Parrot by Julian Barnes (about Gustave Flaubert), Ragtime by E. L. Doctorow (which features such historical figures as Harry Houdini, Henry Ford, Archduke Franz Ferdinand of Austria, Booker T. Washington, Sigmund Freud, Carl Jung), and Rabih Alameddine's Koolaids: The Art of War which makes references to the Lebanese Civil War and various real life political figures. Thomas Pynchon's Mason and Dixon also employs this concept; for example, a scene featuring George Washington smoking marijuana is included. John Fowles deals similarly with the Victorian period in The French Lieutenant's Woman. Kurt Vonnegut's Slaughterhouse-Five has been said to feature a metafictional, "Janus-headed" outlook in the way the novel seeks to represent both actual historical events from World War II while, at the same time, problematizes the very notion of doing exactly that.
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Her works around the Naualli (Nagual), the feminine figure of the shaman, are characterized by vaginal indents and forms of the vulva that serve as symbols of magic and the curative powers of the female warrior, the witch, or the priestess. The materials she uses in this group of works, vegetable fibers, leaves and dry branches, have been interpreted as a link to the natural and sacred world. For González Mello, in Recinto de Shamanes (Shaman's enclosure) (which in the words of the artist "is like a great vagina representing fertility"), the work problematizes the relationship between "the outside and the inside", dislocating and incommoding the spectator, as in her Ambientación Alquímica - that for certain contains symbols referring to the masculine and the feminine. In the latter work, a structure with a particular "inside" bursts into the architectonic space of the museum and plants a familiar nature, interior and distinct, from the menacing nature that opposes masculine reason.
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While the original experiments were intended to illustrate a property of human perception, Tenney's piece problematizes it: One simultaneously perceives the lines as forming one continuously rising line, yet one is constantly aware of shifts in perception from line to line or lines. According to reviewer Jeremy Grimshaw, "there emerges at the upper frequency threshold a crystalline conglomeration of extremely high pitches, which glimmer as an indistinguishable mass even as glissandi continually enter the top range and fade" According to his friend Philip Corner For Ann (rising), "must be optimistic! (Imagine the depressing effectiveness of it—he could never be so cruel—downward)..." Tenney has suggested the piece be "regenerated" with the distance between successive voices, the minor sixth (1.6 in just intonation, 1.587 in equal temperament), being tuned to golden ratio phi (1.618). This is desirable because then all first-order difference tones between adjacent voices would be present in lower voices .
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Since 2009, Morton has engaged in a sustained project of ecological critique, primarily enunciated in two works, Ecology Without Nature (2009) and The Ecological Thought (2010), through which he problematizes environmental theory from the standpoint of ecological entanglement. In Ecology Without Nature, Morton proposes that an ecological criticism must be divested of the bifurcation of nature and civilization, or the idea that nature exists as something that sustains civilization, but exists outside of society's walls. As Morton states: Viewing "nature," in the putative sense, as an arbitrary textual signifier, Morton theorizes artistic representations of the environment as sites for opening ideas of nature to new possibilities. Seeking an aesthetic mode that can account for the differential, paradoxical, and nonidentificational character of the environment, he proposes a materialist method of textual analysis called 'ambient poetics', in which artistic texts of all kinds are considered in terms of how they manage the space in which they appear, thereby attuning the sensibilities of their audience to forms of natural representation that contravene the ideological coding of nature as a transcendent principle.
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