95 Sentences With "subjectivities" | Random Sentence Generator

They each represent the subjectivities of the artist, and so too with Gloria's.

My work thinks through the relationship between Blackness, trans/gressive subjectivities, and ecology.

Light and video installations simulate the subjectivities of of honeybees, dolphins, wolves, and tigers.

It is in their conflict that we see the dynamic opposites of contemporary Latina subjectivities.

Garner confronts viewers with the unspeakable abuses perpetrated on the bodies — and subjectivities — of Black women.

Since the 90s, technology has become more invasive, and we have seen the birth of true hybrid subjectivities.

"Artists not only reveal the predicament, but also point out the myriad subjectivities that get lost in the mainstream narratives," writes Gregos.

They acknowledge the vitality of recuperating Indigenous, migrant, and LGBTQIA subjectivities and practices to better understand how to heal our damaged planet.

The works at Center for Book Arts embrace a wide spectrum of emotions and subjectivities outside of White-centric definitions of what an "American" is.

"From customer's needs, to requirement gathering, to implementation, it is crucial to have clear, concise communication and the slightest subjectivities can mushroom into major misses," Sullivan said.

If television is the primary cultural force shaping public perception, then it's important to carefully write Latinx subjectivities instead of just identities that "humanize," and therefore uphold, oppressive assumptions.

She tells me that although establishing metrics can be useful to set baselines and measure changes, metrics are human constructs and, as such, are inherently biased with human subjectivities.

Further, all kinds of new information technologies are constantly emerging to augment and complicate new subjectivities that are forced to negotiate the relationship between material embodiment and new realities.

The political claims the work makes — namely, to broaden contemporary understandings of "sex" and incorporate a range of gender nonconforming, non-binary, and anti-normative subjectivities — are a little overblown.

A Shakespeare play is not a political statement, it's a mosh pit of subjectivities, and here the audience was expected to sit back and rationally parse a theatrical Rorschach blot.

Zarina's intricate works are necessary meditations during times when those who have lost everything remain on the coalface of political and social debates, which only paint them as threats and further efface their subjectivities.

It was during this period of poor health that I came across the work of Simone Leigh, a renowned artist with a history of examining social movements and black subjectivities, with a focus on women.

Directly intervening in the moments before such events coalesce into widely accepted narratives, they anticipate and shape understanding of a variety of human (and non-human) subjectivities by documenting and articulating instances of what is not yet widely known or recognized.

The way that stories can shift to individual subjectivities also forms the basis of Prantik Basu's Palace of Colors, wherein a vivid yellow limestone quarry on the border of Bengal and Jharkhand comes to life through the narration of Santhali folktales.

Just as interesting as attending to the proliferation of works and events tagged "queer," Goldberg also takes note of "the palpable silences around events that could have used the word 'queer' as a descriptor, but didn't," usually when race or multiple subjectivities enter the mix alongside gender and sexuality.

That was the goal — to build an allegorical United Nations of artists, a creative think tank, called Communitas, an art practice that creates new art from new connections with artists from around the world, across disciplines, across gazes, people from all walks of life, many professions, colors, cultures, nationalities, subjectivities, Ubuntu, linked fate.

Unsung Heroes: Reading Transgender Subjectivities in Hong Kong Action Cinema by Helen Hok-Sze Leung. Web version 2004–05 . Retrieved 1 April 2006.

Chancy (2011). "Floating Islands: Spectatorship and the Body Politic in the Traveling Subjectivities of John Edgar Wideman and Edwidge Danticat". Small Axe. 15: 32, 33.

Linda Bell moves Sartre's notion of authenticity from feminist existentialism to feminist ethics. T. Deneane Sharpley-Whiting uses Fanon's analyses of racist and colonized subjectivities to discuss feminism.

The Body and the Screen: Female Subjectivities in Contemporary Women's Cinema;: Bloomsbury, 2017. # McFadden, Cybelle H. Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn ;: Rowman & Littlefield, 2014.

R. Abou- El-Fadl, "Modest Fashion" ed. R. Lewis, "Consumption and Spirituality" ed. D. Rinallo, L. Scott & P. Maclaran and "Politics of Modern Muslim Subjectivities" ed. D. Jung, M. J. Peterson & S. L. Sparre.

Most notably, cannabis has had a long association among musicians and the music industry.Fachner, Jörg (July 2001). The Space between the Notes—Research on Cannabis and Music Perception. 11th IASPM Conference, Day Two (Subjectivities and Identities). pp. 308-319.

Padma Anagol, Visiting Prof. University of Washington, Seattle.2007 Padma Anagol is a historian known for her work on women's agency and subjectivities in colonial India. Her work broadly focuses on gender and women's history in colonial British India.

267 Gibson-Graham thus read a variety of alternative markets for fair trade and organic foods or those using local exchange trading system as not only contributing to proliferation, but also forging new modes of ethical exchange and economic subjectivities.

According to Thomas Hansen, Hindutva represents a "conservative revolution" in postcolonial India, and its proponents have been combining "paternalistic and xenophobic discourses" with "democratic and universalist discourses on rights and entitlements" based on "desires, anxieties and fractured subjectivities" in India.

"Floating Islands: Spectatorship and the Body Politic in the Traveling Subjectivities of John Edgar Wideman and Edwidge Danticat". Small Axe: A Caribbean Journal of Criticism. 15: 24, 25. doi:10.1215/07990537-1443268. Due to her active traveling privilege, she considered herself an "outsider" of Jacmel even though she did originate from Haiti.

Jihad TV continued to operate as a production unit for years after the war and after Avini. According to Hamid Naficy, what made the documentary series stand out was "its promotion of multiple sacred subjectivities on behalf of the warriors who were filmed, the cameramen who filmed them, and the spectators who watched them".

Gilroy argues that occupying the space between these two dialectal subjectivities is "viewed as a provocative and even oppositional act of political insubordination". This means that for black people across diaspora, thinking of the duality in their identity as one is almost paradoxical and conceptualizing and actualizing this is a move of symbolic resistance in modernity.

Nielsen's early research (from 2009–2013) focuses primarily on how subjects, on the one hand, are socially constructed, and on the other, actively resist sociopolitical, economic, cultural, and other forces in order to shape their subjectivities. For example, her work on Frederick Douglass and Frantz Fanon analyzes how racialized and colonized subjectivities are constructed and highlights how agents employ various strategies in order to resist, reconfigure, and subvert dehumanizing structures, discourses, and practices. Her work on Foucault and Douglass shows how Douglass was cognizant of the disciplinary power at work in Covey's panoptic gaze. In light of her background and experience as a jazz musician, Nielsen frequently brings music, and jazz in particular, into conversation with philosophy, discussing not only the philosophical and theoretical aspects of music, but also the ethical and sociopolitical dimensions.

The University of Queensland, Brisbane. 2007 The Mother: Images, Issues and Practices 4th biennial Australian International Conference. The University of Queensland, Brisbane. 2005 Representing and Theorising Maternal Subjectivities 3rdAustralian International Conference. The University of Queensland, Brisbane. 2002 Performing Motherhood: Ideology, Agency and Experience 2nd Australian International Conference. La Trobe University, Melbourne. 2001 Mothering:Power/ Oppression Inaugural biennial Australian International Conference.The University of Queensland, Brisbane.

When introducing the Underscore, facilitators draw Stark Smith's hieroglyphic symbols representing each element. Because they open interpretation to dancers, these translations from experience of dance to the telling of it, illustrate her attempt to convey and include the subjectivities and fluidity in dance as creative practice. They trigger an aesthetic response in others by inviting participants to embody them.Karreman, L. (2015).

Bring into question that which is not being questioned in the normal state of affairs. (2) Move beyond any self-righteous and self-absolving assessments of the operations of power. Look to deal with power at the level of its effects and the ways in which it positively manipulates subjects to wilfully abandon their own political freedoms. (3) Foreground the affirmative qualities of subjectivities.

P. Zhu, Gender and Subjectivities in Early Twentieth-Century Chinese Literature (2015, ), p. 115Howard Chiang, Sexuality in China: Histories of Power and Pleasure (2018, ), pp. 240-241 Du He, who wrote an account of it, insisted Yao did become a man, and Yao has been compared to both Lili Elbe (who underwent sex reassignment in the same decade) and Hua Mulan (a mythical wartime crossdresser).

Academic Search Complete. Web. April 22, 2016. In the article, Rich identified a wave of films that "collided" at film festivals such as Sundance and TIFF. Rich asserted that these independent films, made by and for queer-identified people, used radical aesthetics to combat homophobia, grapple with the trauma of the AIDS epidemic, and address complicated queer subjectivities while importing much needed discussions of race.

McClary was born in St. Louis, Missouri, and received her BA in 1968 from Southern Illinois University. She attended graduate school at Harvard University where she received her MA in 1971 and her PhD in 1976. Her doctoral dissertation was on the transition from modal to tonal organization in Monteverdi's works. The first half of her dissertation was later reworked and expanded in her 2004 book, Modal Subjectivities: Self-fashioning in the Italian Madrigal.

In 2010 he founded the Fondazione Echaurren Salaris with his wife, Claudia Salaris, an avant-garde historian. Since 2012 he is a blogger for The Huffington Post. On March 26, 2018, Jacopo Galimberti, University of Manchester, held the lecture The Worker, the Militant and the Monster at the Casa Italiana Zerilli-Marimò, New York University. The lecture was focused on the visualization of the novel political subjectivities that emerged in 1960s and 1970s Italy.

Kodwo Eshun locates the first alienation within the context of the Middle Passage. He writes that Afrofuturist texts work to reimagine slavery and alienation by using "extraterrestriality as a hyperbolic trope to explore the historical terms, the everyday implications of forcibly imposed dislocation, and the constitution of Black Atlantic subjectivities". This location of dystopian futures and present realities places science fiction and novels built around dystopian societies directly in the tradition of black realities.

Braderman's non- profit production company is located in Northampton, Massachusetts. The company produces all of Braderman's video/film works, multimedia works, web sites and web series for online, TV, home video and gallery distribution. The No More Nice Girls mandate expresses an investment in allowing artists to secure freedom of speech through access to the medium of video and internet. They aim to produce and distribute analytical, intelligent film that prioritizes multiple subjectivities and envisions a democratic future.

Rose's current research interests lie broadly within the field of visual culture. She is interested in the ways social subjectivities and relations are pictured or made invisible in a range of media, and how those processes are embedded in power relations. She also has long-standing interest in feminist film theory and in Michel Foucault's and feminist accounts of photography in particular. This work has formed a crucial link between feminist geography and geography of media and communication.

Olaniyan quotes Paul Rabinow from "Representations Are Social Facts: Modernity and Post modernity in Anthropology" on the power of representation. Olaniyan states that Rabinow is saying "To be in control of (the means of) representation is therefore, to be in a position of power: that is, to be in control of the production, promotion, and circulation of subjectivities". Olaniyan finds it interesting that in popular opinion, both films failed do that. He discusses how Coming to America 'others' the African people.

He serves on the editorial committees of the Journal of Palestine Studies and the Jerusalem Quarterly. In 2017, he received the Sawyer Seminar award from the Andrew W. Mellon Foundation for his proposal, “Displacement and the Making of the Modern World: Histories, Ecologies, and Subjectivities,” and organized the yearlong series of workshops, seminars, courses, and cultural activities for the Seminar. From 2008-2010, Doumani led a team that produced a strategic plan for the establishment of a Palestinian museum in Birzeit.

That is to say, how is 'intersubjectivity achieved? While, historically, qualitative methods have attempted to tease out subjective interpretations, quantitative survey methods also attempt to capture individual subjectivities. Moreover, some qualitative methods take a radical approach to objective description in situ. Insofar as subjectivity & objectivity are concerned with (b) the specific problem of social scientific knowledge, such concern results from the fact that a sociologist is part of the very object they seek to explain, as expressed by Bourdieu:Bourdieu, Pierre. 1992.

Padma Anagol, in discussion with Tanika Sarkar at the Conference - "Women, Nation-Building and Feminism in India", University of Cambridge Anagol is a Reader in history at the Cardiff School of History, Religion and Archaeology, Cardiff University, Wales, United Kingdom (UK). She teaches British Imperial and Modern Indian History at the Cardiff University. Fluent in three Indian languages, Anagol mainly uses Marathi (Devanagari script) and Kannada (Dravidian script) for her research work. Much of her research work is anchored in understanding women's subjectivities.

She obtained a PhD in psychology with a dissertation that focused on the construction of subjectivities in relation to violence in intimate heterosexual relationships at the University of Cape Town in 2005. She has since been employed at the Department of Psychology at the University of Cape Town as a lecturer, senior lecturer, associate professor and from 2018 as a full professor (chair). She was a Mandela Fellow at the W. E. B. Du Bois Institute at Harvard University from 2009 to 2010.Floretta Boonzaier.

Importantly, even if some commons are temporary or fail according to a conventional understanding of the term, their contribution to the members of the community and the social practices and psychological shifts that have arisen are still influential, having contributed to creating new subjectivities and sensibilities. Therefore, in this understanding, commoning can be temporary and this does not entail a problem or a failure. Commoning is a learning process, and the so-called failure of some commons might result in the creation of new ones.

Within historical musicology, scholars have been reluctant to adopt postmodern and critical approaches that are common elsewhere in the humanities. According to Susan McClary (2000, p. 1285) the discipline of "music lags behind the other arts; it picks up ideas from other media just when they have become outmoded." Only in the 1990s did historical musicologists, preceded by feminist musicologists in the late 1980s, begin to address issues such as gender, sexualities, bodies, emotions, and subjectivities which dominated the humanities for twenty years before (ibid, p. 10).

Consensus realityBernardo Kastrup, Dreamed Up Reality: Diving into the Mind to Uncover the Astonishing Hidden Tale of Nature, John Hunt Publishing, 2011, p. 105. is that which is generally agreed to be reality, based on a consensus view. The appeal to consensus arises from the fact that humans do not fully understand or agree upon the nature of knowledge or ontology, often making it uncertain what is real, given the vast inconsistencies between individual subjectivities. We can, however, seek to obtain some form of consensus, with others, of what is real.

Marxism Today: special edition on New Times (Oct 1988) A special edition proclaimed that "Mass production, the mass consumer, the big city, big-brother state, the sprawling housing estate, and the nation-state are in decline: flexibility, diversity, differentiation, mobility, communication, decentralisation and internationalisation are in the ascendant. In the process our own identities, our sense of self, our own subjectivities are being transformed. We are in transition to a new era." The movement had now reached its peak, with a huge influence on Neil Kinnock and later Tony Blair's reorientation of the Labour Party.

At the same time Neo-Expressionism was being helmed by white men in the late Reagan years, women were just beginning to create a stake in the game for critical works. “The Photo Girls” consisted of artists like Sherrie Levine, Cindy Sherman, and Barbara Kruger. Kass felt that content of these works connected those of the post-war abstract painters of the mid-70s including Elizabeth Murray, Pat Steir, and Susan Rothenberg. All of these artists critically explored art in terms of new subjectivities from their points-of- view as women.

Baker also discusses the "teleological structure" Thurgood presents of her life, autobiography allowing her to "impose an artificial coherence onto material events", with its structure pivoted on her divine revelation, and all prior narration leading up to it. In a 2004 paper, Baker examines the "concepts of agency" in Thurgood's work, seeing it through the lens of Calvinism and the concomitant "death of the self", with Thurgood's ideas testifying "that historically constrained subjectivities, even those structured around the 'death' of the self, are not synonymous with a lack of agency".

Nigerian cultures look down on the open discussions of sexual matters and desires. A great deal of the pressure to remain silent stems from socio-cultural values, customs and expectations about what constitutes socially accepted behaviours. Cultural socialisation recognises men as having a naturally stronger sexual drive, and speaks of women in terms of shame, lack of interest in sexual matters and as one to be conquered by a domineering man. Nigerians are socially nurtured and fed by oppressive patriarchal subjectivities that try to instil a sense of what is normal: sexually-speaking.

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.

In accordance, the public may be regarded as the result of the social activities made by individuals sharing symbolic representations and common emotions in publicness. Seen with lower-case, the concept is a set of subjectivities who look publicly for a feeling of belonging. So, in this perspective, the public is still a fundamental notion to social life although in a different manner in comparison to 18th century Public Sphere's Public. He means above all the social textures and configurations where successive layers of social experience are built up.

Butler resolved the conflict through her religion. According to Walkowitz, Butler "pushed liberal feminism in new directions, developing theories and methods of political agitation that directly affected future campaigns for the emancipation of women". She developed new approaches to campaigning and moved the debate beyond discussions in middle-class houses to the public forum, bringing into the political debate women who had never been involved before. Butler's campaigning, says Walkowitz, "not only reshaped gender, class, and sexual subjectivities in late Victorian Britain but also informed national political history and state-building".

Anachronism in academic writing is considered at best embarrassing, as in early-20th-century scholarship's use of Translatio imperii, first formulated in the 12th century, to interpret 10th-century literature. The use of anachronism in a rhetorical or hyperbolic sense is more complex. To refer to the Holy Roman Empire as the First Reich, for example, is technically inaccurate but may be a useful comparative exercise; the application of theory to works which predate Marxist, Feminist or Freudian subjectivities is considered an essential part of theoretical practice. In most cases, however, the practitioner will acknowledge or justify the use or context.

Inspired by postphenomenology and by Martin Heidegger's philosophy of technology, the book attempts to answer questions such as: will experiencing worlds that are not 'actual' change our ways of structuring thought? Can virtual worlds open up new possibilities to philosophize? His 2020 book with Daniel Vella, Virtual Existentialism: Meaning and Subjectivity in Virtual Worlds, engages with the question of what it means to exist in virtual worlds. Drawing from the tradition of existentialism, it introduces the notion of 'virtual subjectivity' and discusses the experiential and existential mechanisms by which can move into, and out of, virtual subjectivities.

Children's geographies is the branch of human geography which deals with the study of places and spaces of children's lives, characterised experientially, politically and ethically. Ever since the cultural turn in geography, there has been recognition that society is not homogenous but heterogeneous. It is characterized by diversity, differences and subjectivities. While feminist geographers had been able to strengthen the need for examination of gender, class and race as issues affecting women, 'children' as an umbrella term encompassing children, teenagers, youths and young people, which are still relatively missing a 'frame of reference' in the complexities of 'geographies'.

Both transnational feminism and transnational psychology are concerned with how globalization and capitalism affect people across nations, races, genders, classes, and sexualities. The transnational academic paradigm draws from postcolonial feminist theories, which emphasize how colonialist legacies have shaped and continue to shape the social, economic, and political oppression of people across the globe. It rejects the idea that people from different regions have the same subjectivities and recognizes that global capitalism has created similar relations of exploitation and inequality. A 2015 Summit organized by Machizawa, Collins, and Rice further developed transnational psychology by inspiring presentations and publications that applied transnational feminist principles to psychological topics.

In the mid 1930s, after the father of Yao Jinping (姚錦屏) went missing during the war with Japan, the 19-year-old reported having lost all feminine traits and become a man, was said to have an Adam's apple and flattened breasts, and left to find him.P. Zhu, Gender and Subjectivities in Early Twentieth-Century Chinese Literature (2015, ), page 115. Du He, who wrote an account of the event, insisted Yao had become a man, while doctors asserted Yao was female. The story was widely reported in the press, and Yao has been compared to both Lili Elbe, who underwent sex reassignment in the same decade.

Subjectivity is in part a particular experience or organization of reality, which includes how one views and interacts with humanity, objects, consciousness, and nature, so the difference between different cultures brings about an alternate experience of existence that forms life in a different manner. A common effect on an individual of this disjunction between subjectivities is culture shock, where the subjectivity of the other culture is considered alien and possibly incomprehensible or even hostile. Political subjectivity is an emerging concept in social sciences and humanities. Political subjectivity is a reference to the deep embeddedness of subjectivity in the socially intertwined systems of power and meaning.

In 2008, together with Nikolay Alekseev, Ivan Gorshkov and Arseny Zhilyaev, he co-founded the Voronezh Center of Contemporary Art (VCCA). Dolgov’s first solo show took place at the “Energiya” Sport Center, a venue of VCCA. It was titled Utopia Is What You Need But You Is Not What Utopia Has Need For and demonstrated Dolgov’s interest in the “contemporary utopian project of trans-humanism, the optics of utopian desire and the subjectivities it derives from”. In 2009, Dolgov’s debuted as a curator with the exhibition Can’t Take It Anymore, also at the VCCA, dedicated to the semantic and visual strategies of contemporary artists working with painting and graphic mediums.

As multicultural subjectivities become increasingly prevalent in what were culturally white British spaces, this phenomenon becomes all the more complicated. This exchange between identity and creation of a multicultural social reality is evident in the video clip of Hall debating the white woman about refugees from Kosovo and whether the UK should serve as a new space for them. Akomfrah assembled the transnational pieces of those stories by showing minimally contextualized photo and video historical archives of global historical events, everyday goings on, and from Hall's own life. While the images themselves seem tangential at times they become contextualized when placed with the musical score and Hall's critical narrative.

Before Smith, American feminist theorist Sandra Harding created the concept of standpoint theory in order to emphasize the knowledge of women, arguing that hierarchies naturally created ignorance about social reality and critical questions among those whom the hierarchies favored. However, those at the bottom of these ladders had a perspective that made it easier to explain social problems. It was during her time as a graduate student in the 1960s that Smith developed her notion of standpoint, shaping Harding's theory. During this time, Smith recognized that she herself was experiencing "two subjectivities, home and university", and that these two worlds could not be blended.

Globalization and transnational flows have had tangible effects on sexual relations, identities, and subjectivities. In the wake of an increasingly globalized world order under waning Western dominance, within ideologies of modernity, civilization, and programs for social improvement, discourses on population control, 'safe sex', and 'sexual rights'.Petchesky, R. (2000) 'Sexual rights: inventing a concept, mapping an international practice,' in R. Parker, R.M. Barbosa and P. Aggleton (eds), Framing the sexual subject: The politics of Gender, Sexuality and Power, Berkeley: University of California Press, pp. 81–103 Sex education programmes grounded in evidence-based approaches are a cornerstone in reducing adolescent sexual risk behaviours and promoting sexual health.

She is concerned that the dominant model of governmental data-driven transparency produces neoliberal subjectivities that reduce the possibility of politics as an arena of dissent between real alternatives. She suggests that the radical Left might want to work with and reinvent secrecy as an alternative to neoliberal transparency. Researchers at University of Oxford and Warwick Business School found that transparency can also have significant unintended consequences in the field of medical care. Gerry McGivern and Michael D Fischer found 'media spectacles' and transparent regulation combined to create 'spectacular transparency' which some perverse effects on doctors' practice and increased defensive behaviour in doctors and their staff.

The anthology was first published in 1981 by Persephone Press, and the second edition was published in 1983 by Kitchen Table: Women of Color Press. The book was out in its third edition, published by Third Woman Press, until 2008, when its contract with Third Woman Press expired and it went out of print. This Bridge centered the experiences of women of color, offering a serious challenge to white feminists who made claims to solidarity based on sisterhood. Writings in the anthology, along with works by other prominent feminists of color, call for a greater prominence within feminism for race- related subjectivities, and ultimately laid the foundation for third wave feminism.

But the coming together of communities and cultures can sometimes prove deadly, for example when Johnson's mixed-race heroine Esther in "As It Was in the Beginning", kills her unfaithful White lover. With the words "I am a Redskin, but I am something else, too – I am a woman", Esther is demanding recognition of multiple subjectivities. Johnson was trying to convey that the real world consists of much more than oppressive ideologies and artificial divisions of race and nation enforced by authoritative figures such as the racist Protestant minister in this story, revealingly nicknamed "St Paul" after the biblical misogynist. The posthumous Shagganappi (1913) and The Moccasin Maker (1913) are collections of selected stories first published in periodicals.

Third-wave feminists often describe "micropolitics", and challenge second-wave paradigms about whether actions are unilaterally good for females.Henry, Astrid, Not My Mother's Sister: Generational Conflict and Third-Wave Feminism (Indiana University Press, 2003), Gillis, Stacy, Gillian Howie & Rebecca Munford (eds), Third Wave Feminism: A Critical Exploration (Palgrave Macmillan, 2007), Faludi, Susan, Backlash: The Undeclared War Against Women (Vintage, 1993), These aspects of third-wave feminism arose in the mid-1980s. Feminist leaders rooted in the second wave like Gloria Anzaldúa, bell hooks, Chela Sandoval, Cherríe Moraga, Audre Lorde, Luisa Accati, Maxine Hong Kingston, and many other feminists of color, called for a new subjectivity in feminist voice. They wanted prominent feminist thought to consider race-related subjectivities.

In her book, Privatizing Poland, Dunn examines the attempts at transition from Eastern European planned economies to neoliberal economic models. In doing so, she investigates the importance of governance, discipline, and the production of subjectivities to economic models. Dunn uses the takeover of a Polish baby food canning factory by the American company Gerber as a case study for this investigation. What she finds is that, while there are similarities in the management and organizational techniques applied to industry in the West and the former Warsaw Pact countries, differences in economic structure and planning mechanisms produced rhythms of work and of life generally that were very different in Poland from those in the capitalist West.

Third-wave feminists often focused on "micro-politics" and challenged the second wave's paradigm as to what was, or was not, good for women, and tended to use a post- structuralist interpretation of gender and sexuality. Feminist leaders rooted in the second wave, such as Gloria Anzaldúa, bell hooks, Chela Sandoval, Cherríe Moraga, Audre Lorde, Maxine Hong Kingston, and many other non-white feminists, sought to negotiate a space within feminist thought for consideration of race-related subjectivities. Third-wave feminism also contained internal debates between difference feminists, who believe that there are important psychological differences between the sexes, and those who believe that there are no inherent psychological differences between the sexes and contend that gender roles are due to social conditioning.

"Horácio de Almeida believed Maria Firmina dos Reis to be the first Brazilian woman writer. [...] Luiza Lobo has since opposed the allegation by presenting Ana Eurídice Eufrosina de Barandas of Porto Alegre as the first female Brazilian novelist." But the "long-term symbolic value of Maria Firmina dos Reis's only novel Úrsula (1859) rests in its distinction as a work that lays the foundations for an Afro-Brazilian female literary consciousness." For Rita Terezinha Schmidt, "Maria Firmina dos Reis inscribes a black voice in the construction of national subjectivities engendering what Homi Bhabha defines as a counter narrative of the nation that 'continually evoke and erase its totalizing boundaries – both actual and conceptual – disturb those ideological maneuvers through which "imagined communities" are given essentialist identities'".

Rose's 1974 dissertation was titled, Managing uncertainty: The honeymoon period of new patients on an adolescent ward. She has authored books such as Limited Livelihoods: Gender and Class in Nineteenth-Century England (University of California Press, 1992), Gender and Class in Modern Europe (Cornell University Press, 1996), Gender, Citizenship, and Subjectivities (Blackwell Publishers, 2002) and At Home with the Empire: Metropolitan Culture and the Imperial World, (Cambridge University Press, 2006), co-edited with Catherine Hall. In 2010, Rose wrote a book on What is Gender History?, which Katie Close of the University of Glasgow describes as featuring "discussions of bodies and sexuality, gender and race/class, masculinities and the contributions of gender historians to central historical topics and themes, including wars and revolution".

A frequent juror, currently she serves on the College Art Association's Artist's Lifetime Achievement Award. Cronin has lectured extensively at many U.S. and international museums, including: the Victoria and Albert Museum in London, Kelvingrove Art Gallery and Museum, Glasgow, the Museum of Modern Art, New York, the Brooklyn Museum, Christie's, New York, Smithsonian National Portrait Gallery, Washington, DC, Museum of Fine Arts, Boston and the Venice Biennale, Venice. In 1994 she organized the panel "Lesbian Subjectivities" at The Drawing Center, New York, NY and guest edited the corresponding issue of Art Papers. She has taught in the Graduate Art Programs at both Columbia University and Yale University and since 2003 she has been a Professor of Art at Brooklyn College of The City University of New York.

Digital leisure studies is an academic interdisciplinary sub-discipline of leisure studies that focuses on the study of digital leisure cultures, including digital leisure practices, experiences, spaces, communities, institutions, and subjectivities. It is an area of scholarship aimed at making sense of the place of digital leisure “in understandings of embodiment, power relations, social inequalities, social structures and social institutions”. To do so, leisure scholars use theoretical and methodological approaches from within leisure studies as well as from other academic disciplines such as political science, history, communication studies, cultural studies, philosophy, sociology, geography, anthropology, and others. Scholars in this field also focus on how to engage digital practices to make their research accessible, and focus on exposing, examining, and challenging social inequalities and injustices related to digital leisure.

Negri describes the multitude in his The Savage Anomaly as an unmediated, revolutionary, immanent, and positive collective social subject which can found a "nonmystified" form of democracy (p. 194). In his more recent writings with Michael Hardt, however, he does not so much offer a direct definition, but presents the concept through a series of mediations. In Empire it is mediated by the concept of Empire (the new global constitution that Negri and Hardt describe as a copy of Polybius's description of Roman government): > New figures of struggle and new subjectivities are produced in the > conjecture of events, in the universal nomadism [...] They are not posed > merely against the imperial system—they are not simply negative forces. They > also express, nourish, and develop positively their own constituent > projects.

In terms of the binary gender system, genderqueerness may be considered unintelligible and abjected.Hale, J.C. (1998) "...[O]ur embodiments and our subjectivities are abjected from social ontology: we cannot fit ourselves into extant categories without denying, eliding, erasing, or otherwise abjecting personally significant aspects of ourselves ... When we choose to live with and in our dislocatedness, fractured from social ontology, we choose to forgo intelligibility: lost in language and in social life, we become virtually unintelligible, even to ourselves..." from Consuming the Living, Dis(Re)Membering the Dead in the Butch/FtM Borderlands in the Gay and Lesbian Quarterly 4:311, 336 (1998). Retrieved on April 7, 2007. Social discrimination in the context of discrimination against non-binary and gender non-conforming people includes hate-motivated violence and excusing of such.

In 2016 he has organized the first Brazilian compilation on Digital Sociology and in 2017 published "Desejos Digitais: uma análise sociológica da busca por parceiros on-line", a book that summarizes his researchers about how homosexual men use digital media to search for sexual partners. According to the book, ICTs (Information and Communication Technologies) have (re)shaped homosexual subjectivities since the adoption of commercial Internet in the mid 1990s creating a new homosexual ethos based on neoliberal values like competition and entrepreneurship. The old cruising was replaced by the online (sexual) market in which new homosexual subjects compete for partners while keeping a presumed heterosexuality in family and/or work environments. His most recent research is on the conservative alliance against gender studies which it calls "gender ideology".

Transnational feminists believe that the term "international" puts more emphasis on nation-states as distinct entities, and that "global" speaks to liberal feminist theories on "global sisterhood" that ignore Third World women and women of color's perspectives on gender inequality and other problems globalization inherently brings. The transnational feminist academic paradigm draws from postcolonial feminist theories, which emphasize how colonialist legacies have shaped and continue to shape the social, economic, and political oppression of people across the globe. It rejects the idea that people from different regions have the same subjectivities and experiences with gender inequality, it further recognizes that global capitalism has created similar relations of exploitation and inequality, this core concept creates dialogue which feminists around the world can find solidarity and seek collaboration. Transnational feminism further complicates global capitalism and neoliberalism.

This approach allows women to work in jobs with flexible and family-friendly working hours because of their childcare responsibilities.Pratt and Hanson 1995 The feminization in the workplace destabilized occupational segregation in society. :"Throughout the 1990s the cultural turn in geography, entwined with the post-structuralist concept of difference, led to the discarding of the notion of a coherent, bounded, autonomous and independent identity... that was capable of self- determination and progress, in favor of a socially constructed category defined by the constitutive outside. The earlier distinction between gender as socially created, resting upon the biological distinction of sex, was abandoned, creating room for research that highlighted how gendered subjectivities, far from being based on a stable content, were produced, performed, destabilized and redrawn in complex ways, drawing meaning from routine interactions with others in specific historical and geographical contexts" (Peake 2009).

Johnson's first book, Appropriating Blackness: Performance and the Politics of Authenticity, examines how blackness is appropriated and performed—toward widely divergent ends—both within and outside African American culture and won the Lilla A. Heston Award and the Errol Hill Award. His second book, Sweet Tea: Black Gay Men of the South—An Oral History (2008) is an ethnographic oral history of the lives of black gay men in the US South, a traditionally uninterrogated region. This book got the Stonewall Book Award from the Lesbian, Gay, Bisexual and Transgender Round Table of the American Library Association. Published in 2005 with Mae G. Henderson, Black Queer Studies: A Critical Anthology interrogates the experiences of black queer people whose subjectivities, beliefs, struggles, triumphs and desires had not previously been interrogated by either Queer Theory or Black Studies.

For example, people who identify as liberals have historically been against the death penalty, but crime dramas like Law and Order reframe criminal cases in a way that associates the death penalty with another closely held liberal value, such as the safety and protection of women. In doing so, crime dramas are able to appeal to and sustain people's ideological beliefs, while simultaneously influencing and altering their stances on the death penalty. The media's ability to reframe capital punishment and, by extension, affect people's support of capital punishment, while still appealing to their pre-existing ideological beliefs that may traditionally contradict death penalty support is a testament to the complexities embedded in the media's shaping of people's beliefs about capital punishment. How the media shapes people's understandings about capital punishment can be further complicated by the fact that certain mediums shape people's beliefs and subjectivities differently.

Scholars and sociologists such as Michael Hardt, Antonio Negri, Arlie Russell Hochschild and Shiloh Whitney discuss a new form of labor that transcends the traditional spheres of labor and which does not create product, or is byproductive. Affective labor focuses on the blurred lines between personal life and economic life. Whitney states, "The daily struggle of unemployed persons and the domestic toil of housewives no less than the waged worker are thus part of the production and reproduction of social life, and of the biopolitical growth of capital that valorizes information and subjectivities." The concept of emotional labor, particularly the emotional labor that is present and required in pink collar jobs, was introduced by Arlie Russell Hochschild in her book The Managed Heart: Commercialization of Human Feeling (1983) in which she considers the affective labor of the profession as flight attendants smile, exchange pleasantries and banter with customers.

Box office analysts have noted that this film genre has become increasingly successful in theatrical release with films such as Fahrenheit 9/11, Super Size Me, Food, Inc., Earth, March of the Penguins, Religulous, and An Inconvenient Truth among the most prominent examples. Compared to dramatic narrative films, documentaries typically have far lower budgets which makes them attractive to film companies because even a limited theatrical release can be highly profitable. The nature of documentary films has expanded in the past 20 years from the cinema verité style introduced in the 1960s in which the use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as Marlon Riggs's Tongues Untied (1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials.

It has been argued that gender is not genetically inherited but a process of structuring subjectivities, whereas sex is biologically determinate and static (Claassen 1992, Gilchrist 1991, Nelson 1997). To some professionals in the field, however, sex is not “the ground upon which culture elaborates gender” (Morris 1995, 568-569) and “sexing biases have been identified among the methods used in sexing skeletons… When sex is assigned to a skeleton of unknown sex, it is a cultural act” (Claassen 1992, 4), pointing out the more prominent cultural biases in the field of archaeology. These philosophies make Western biological anthropological methods of determining sex of fossils, not appropriate for cross-cultural studies given that not the same physical characteristics are used by all cultures to determine an individual’s sex. This approach of sexual fluidity, meaning that sex is not a cross-cultural concept and it is mostly culturally assigned, has been undermined by the wide application of DNA analysis to skeletal remains in Western Archaeology.

Her second book, Interstitial Soundings: Philosophical Reflections on Improvisation, Practice, and Self-Making (2015), which is largely a collection of essays, continues the theme of resistance but is concerned with how social, political, and cultural discourses and practices shape musical subjectivities, musical content, and musical practices. Because Nielsen's work is interdisciplinary and explores a wide range of cultural, ethical, sociopolitical, and hermeneutical issues, her work has been appropriated by scholars in multiple disciplines including not only philosophy but also sociology, psychology, theology, postcolonial studies, ethnomusicology, critical race theory, literary theory, and political theory. For example, in her review of Nielsen's book, Foucault, Douglass, Fanon, and Scotus in Dialogue, Dr. Renee Harrison, describes Nielsen's work as "a significant interdisciplinary contribution to the fields of philosophy, religion, history, and African American studies." Her current research (from 2014–present) concentrates on Hans-Georg Gadamer’s hermeneutical philosophy with a special interest in his hermeneutical aesthetics and reflections on the ontology of art as a communicative and communal event.

Alan Read (born 21 September 1956) is a writer and professor of theatre at King's College London. Read is known as a theatre theorist and cultural activist, with scholarly interests in ethics and the everyday, performed communities, event architecture, and subjectivities of capitalism. Read's work stands as a critique of modernist theatrical orthodoxy critically contesting Peter Brook's idealism of the ‘empty space' awaiting its theatre, a tabula rasa for professionals to enter and exit at will. Read counter intuitively perceives theatre to have been superseded in that populated place by the quotidian performances of everyday life, those that remain for good and ill. Read took up this provocative critique on the National Theatre stage in London in 1994 in public dialogue with Brook's space-designer Jean-Guy Lecat, and joins others in his scepticism of the colonial fantasy of theatre's ‘empty space', including most assertively Rustom Bharucha in Theatre & The World (1993).

In the words of Rose Rosengard Subotnik: "For me...the notion of an intimate relationship between music and society functions not as a distant goal but as a starting point of great immediacy...the goal of which is to articulate something essential about why any particular music is the way it is in particular, that is, to achieve insight into the character of its identity." Susan McClary suggests that new musicology defines music as "a medium that participates in social formation by influencing the ways we perceive our feelings, our bodies, our desires, our very subjectivities—even if it does so surreptitiously, without most of us knowing how" (Brett, 1994). For Lawrence Kramer, music has meanings "definite enough to support critical interpretations comparable in depth, exactness, and density of connection to interpretations of literary texts and cultural practices" (Kramer, 1990). New musicology combines cultural studies with the analysis and criticism of music, and it accords more weight to the sociology of musicians and institutions and to non-canonical genres of music, including jazz and popular music, than traditional musicology did.

In an essay entitled "Shifting Ground: Subjectivities in Cherryh's Slavic Fantasy Trilogy", academic Janice M. Bogstad says the Russian Series describe three levels of magic: #Folkloric magic performed by local creatures, including bannicks, leshys and vodyanois, which is often misinterpreted as peasant superstition; #Wish magic performed by wizards, an imprecise art because of the way wishes interact with other wizards' wishes; #Power magic, the "most destruction of magics" that draws its power from "dark forces" in a "parallel realm", practised by some wizards, but considered sorcery by others. Franco-Bulgarian philosopher Tzvetan Todorov called this second level of magic "pan-determinism" where "the limit between the physical and the mental, between matter and spirit, between word and thing, ceases to be imperious". Bogstad says that besides the books being a story about a girl- turned-rusalka, it is about "humaniz[ing] the experience of magic". Each characters' experience with magic is subjective as they never get to see the complete picture, and can only speculate as to what they think the "presence of magic" is causing.

Max Saunders defines autobiografiction as a genre of autobiographical fiction that was developed between the 1870s and the 1930s, and was frequently explored by Modernist writers.. According to Saunders, the commonly used term autobiographical fiction is insufficient to describe the special connection between modernism and autobiography. Reynolds' claim that because autobiografiction is about "combining forms; fusing, blurring, or moving between the forms of autobiography, story, diary, preface, and so on", it is a meeting point between the facts that all fiction is autobiographical and that all autobiography is fictional and therefore both "autobiographical content ... displaced onto a fictionalized narrative form", modernist works that use autobiographical form and combination of them can be qualified as autobiografictional. According to Reynolds, another important feature of autobiografiction is that the self of the author is "the self as created through role-playing, since its writers are consciously and deliberately shifting into the shapes of other subjectivities, and thus revealing the performance involved in the achievement of any subjectivity". Saunders rejects Reynolds' idea that all autobiografictional works should help the readers and give them hope, especially because this criterion was rooted in the zeitgeist of the turn-of-the-century England.

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