To see the other types of publications on this topic, follow the link: Productions of subjectivity.
Books on the topic 'Productions of subjectivity'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 34 books for your research on the topic 'Productions of subjectivity.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse books on a wide variety of disciplines and organise your bibliography correctly.
1
O’Sullivan, Simon. On the Production of Subjectivity. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137032676.
Full text
2
Davies, Bronwyn. Doing collective biography: Investigating the production of subjectivity. Open University Press, 2006.
Find full text
3
O'Sullivan, Simon. On the production of subjectivity: Five diagrams of the finite-infinite relation. palgrave macmillan, 2014.
Find full text
4
On the production of subjectivity: Five diagrams of the finite-infinite relation. Palgrave Macmillan, 2012.
Find full text
5
Scripted affects, branded selves: Television, subjectivity, and capitalism in 1990s Japan. Duke University Press, 2010.
Find full text
6
La subjectivité journalistique: Onze leçons sur le rôle de l'individualité dans la production de l'information. Éditions de l'École des hautes études en sciences sociales, 2010.
Find full text
7
Signs and Machines: Capitalism and the Production of Subjectivity. Semiotext(e), 2014.
Find full text
8
Revolutionary Subjectivity in Post-Marxist Thought: Laclau Negri Badiou. Taylor & Francis Group, 2014.
Find full text
9
Attiwill, Suzie. Framing – ?interior. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0004.
Full textAbstract:
This chapter presents a series of exhibition and curatorial projects situated in the discipline of interior design that experimented with questions of interior and interiority, subject and object relations, spatial and temporal conditions. Deleuze’s critique of interior and interiority as isolated, pre-existing entities provokes a thinking and doing otherwise where space and subjectivity, interior and exterior are unquestioned givens. Thinking through practising with Deleuze, the technique of framing is re-posed as a technique of interiorization where interior and interiority are productions in exteriority; the frame as a fold of an outside that involves processes of selection and arrangement. Deleuze’s book Foucault and the ‘Outside-interior’ and Elizabeth Grosz’s Chaos, Territory, Art. Deleuze and the Framing of the Earth are key references. The chapter poses ‘?interior’ – with reference to Deleuze’s ?-being – as a problematic to be addressed through designing interior – each time anew.
10
O'Sullivan, S. On the Production of Subjectivity: Five Diagrams of the Finite-Infinite Relation. Palgrave Macmillan, 2012.
Find full text
11
Vishmidt, Marina. Speculation As a Mode of Production: Forms of Value Subjectivity in Art and Capital. Haymarket Books, 2019.
Find full text
12
Camus, Jean-Claude. Reading the unsaid: Dialogic narration and the production of subjectivity in Jean Rhys' Quartet. 1988.
Find full text
13
Williams, Gareth. Infrapolitical Passages. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289882.001.0001.
Full textAbstract:
This book clears a way through some of the dominant political determinations and violent symptoms of contemporary globalization. It considers globalization as a new, and increasingly unmoored, ordering for which modern political theory, including its theories of political subjectivation, has proven largely obsolete. Globalization is the hollowing out and expiration of the political-theological imagination of the modern juridical system of states. In this regard Infrapolitical Passages provides (1) a theory of globalization as a crisis of symbolic organization and (2) a theory of global economic warfare as the positing itself of both directionlessness and facticity. In contrast, the work of clearing proposes “infrapolitics” as a distance from the biopolitical, which it understands as the contemporary forms of domination, that is, as the production of specific forms of subjectivity that pertain to the age of the ontology of the commodity. It is the relation of the subject to domination—and the subsequent obscuring of any question for being—that signals the need to circumvent the instrumentalization of life as a relation of subordination to the metaphysics of subjectivity, representation, and politics.
14
Rothfield, Philipa. Experience and its Others. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0005.
Full textAbstract:
This chapter draws on Deleuzian thought in order to think through the role of experience within dance and the activity of dancing more generally. It contrasts phenomenological approaches to dancing, which appeal to notions of subjective agency, with a Deleuzian re-reading of subjectivity. In the process, it refers to Deleuze’s reading of Nietzsche, using Nietzsche’s concept of force to account for the many ways in which forces combine to produce movement. The notion of force is able to explain the way action unfolds without being the product of human agency. It offers a way of rethinking phenomenological notions of agency. According to this account, relations of force underlie action, as well as the many modes of interiority (subjectivity). But these two kinds of formation (of force) are different in kind. They belong to differing types (of force). The pursuit of action, including the utilisation of experience in action, constitutes a certain type of ethos, which Deleuze calls the active type, whereas the formation of experience belongs to ‘the reactive apparatus’, that which reacts but does not act. The active type drives a wedge between the dancing and the dancer. Deleuze’s treatment of Nietzsche can be adapted to account for the variety of dance practices, their production of training and technique, custom and virtuosity. In particular, it is able to account for the specific ways in which postmodern dance displaces the subjectivity of the dancer.
15
Lewis, George E. Why Do We Want Our Computers to Improvise? Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.29.
Full textAbstract:
Will you be replaced by a machine? Can music express things beyond words? This chapter discusses developing interactive computational systems that have degrees of autonomy, subjectivity, and uniqueness rather than repeatability. Interactions with these systems in musical performance produce a kind of virtual sociality that both draws from and challenges traditional notions of human interactivity and sociality, making common cause with a more general production of a hybrid. This leads into the question of whether computers can evince agency. The chapter concludes that what is learned from computer improvisation is more about people and the environment than about machines.
16
Coen, Sharon, and Peter Bull, eds. The Psychology of Journalism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190935856.001.0001.
Full textAbstract:
This book provides insights on psychological processes involved in the production, delivery, and consumption of news. At a time when the role and function of news journalism are under intense public scrutiny, this book takes a media psychological approach to explore the role of subjectivity in the construction and meaning-making of news. In particular, the book highlights a process involving the coordinated subjectivities of journalists and audience alike in constructing an account of how research in key areas of psychology (e.g., attention, knowledge, emotions, norms, values, social dynamics, culture, and verbal and nonverbal communication) can contribute to gaining a better understanding of journalism and current affairs.
17
Smith, Jennifer J. Atomic Genre. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0007.
Full textAbstract:
The final chapter theorizes the atomic structure of short story cycles by analyzing the production, structure, and reception of Jennifer Egan’s A Visit from the Goon Squad (2010). Egan describes the stories in A Visit from the Good Squad as atomized—in the way that discrete songs, part of a bigger album, define contemporary music production and consumption. Many purists lament that such atomization can limit producing a wholly realized album, vision, or book. But, her book shows that it is also liberating. In a cycle about time, music, and subjectivity, nothing could be more important than the pauses that happen in the in-between, most powerfully rendered in her now-famous short story told in Power Point, “Great Rock and Roll Pauses.” Her term “atomic” implies that isolating the most basic part generates power, and it implies a logic in which a proposition, sentence, or formula cannot be analyzed into a coherent structure.
18
Chen, Jack. Sites I. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.28.
Full textAbstract:
This chapter examines the role of space in classical Chinese literature as instantiated in the particular sites of the court, the boudoir, the city, and the frontier. This constellation of places provides a geography of classical literary production, one that echoes with distinctly political overtones—at least, insofar as we move from the symbolic center of the imperial court to the private site of the boudoir, from the cosmopolitan heart of the capital city to the desolate barrens of the frontier. As actual topoi (“places”) of literature, these sites are not only the representational objects of literary composition but the very structures through which both literary and political subjectivity is given shape.
19
Whyte, Jessica. Karl Marx. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0028.
Full textAbstract:
In the concluding volume of his Homo Sacer project, The Use of Bodies, Giorgio Agamben briefly turns to Marx to distinguish his own account of what he terms ‘inoperativity’ from a Marxist account of production. Accepting Marx’s account of the decisive relationship between production, social relationships and culture, he nonetheless suggests that Marx neglected the forms of inoperativity that exist within every mode of production, opening it to a new use. ‘One-sidedly focused on the analysis of forms of production, Marx neglected the analysis of the forms of inoperativity’, he writes, ‘and this lack is certainly at the bottom of some of the aporias of his thought, in particularly as concerns the definition of human activity in the classless society’ (UB 94). Agamben’s reference to Marx is typically brief and enigmatic, and he neither expands on the claim that Marx, the thinker of the classless society, neglected inoperativity, nor identifies the aporias to which he refers. Nonetheless, in these brief and enigmatic remarks we find the crystallisation of a position developed in works stretching back to Agamben’s first book, The Man Without Content. Marx remains a subterranean influence on Agamben’s thought, and the diverse accounts of his work throughout Agamben’s oeuvre oscillate between critiques of his supposed productivism and praise for his thematisation of a non-substantive, self-negating subject.1 It is in the course of this oscillation that Agamben has clarified his own accounts of both political subjectivity and inoperativity.
20
Hentschel, Jason A. The King James Only Movement. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.20.
Full textAbstract:
An evangelical movement born of last century’s culture wars, King James Onlyism offers a glimpse into the way evangelicals view and use their Bibles. Having located the source of apostasy and cultural waywardness in the production of new biblical texts and translations, King James Onlyism insists that the only way to protect Christianity from collapsing into rampant subjectivism is to remain singularly faithful to the King James Bible translation. This chapter identifies this insistence with the movement’s professed quest for certainty and suggests that there are various far-reaching consequences to it that might do more to threaten evangelicalism than protect it.
21
The Micro-Politics of Capital: Marx and the Prehistory of the Present. State University of New York Press, 2003.
Find full text
22
Read, Jason. The Micro-Politics of Capital: Marx and the Prehistory of the Present. State University of New York Press, 2003.
Find full text
23
Enterline, Lynn. Schooling in the English Renaissance. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.76.
Full textAbstract:
Comparing humanist pedagogical theory with grammar school archives, this article assesses the impact of Latin training on literary production, subjectivity, and gender in the Tudor period. The combined effect of theatricals as well as school training in impersonation and the rhetorical discipline ofactioinstilled a crucial, embodied connection between the Latin past and the social performance of gender. Yet several literary texts by former schoolboys reveal that the identifications unleashed by school training were not always as normatively “masculine” as teachers expected or modern critics assume. The article traces the dynamic interplay among Latinate verbal skill, embodied social performance, and struggles over social distinction. It demonstrates that when the authors of the period draw on the cultural capital of a Latin education, they reveal deep ambivalence about the very language training their schoolmasters claimed would work directly for the benefit of “the commonwealth.”
24
Warren, Shilyh. Subject to Reality. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042539.001.0001.
Full textAbstract:
This book reconsiders the history and study of women’s documentary filmmaking in the United States from 1920 to 1940, and during the long 1970s--when significant transformations in cinematic technologies coincided with major transformations in sociopolitical discourses surrounding gender and race. Rather than comprehensive, the approach is transhistorical, setting women’s cultural expression during these two periods into conversation, and thereby provoking a reconsideration of a number of key debates about subjectivity, feminism, realism, and documentary that have had lasting epistemological and material consequences for film and feminist studies. The book excavates a lost ethnographic history of women’s documentary production and investigates the political and aesthetic legacy of this early history in later, more deliberately feminist and yet equally misremembered periods, especially the 1970s. In particular, Subject to Reality asks how ethnographic thinking and seeing shaped the historical arc and aesthetic, ethical, and political commitments of women’s realist documentaries throughout the twentieth century. The shared interests of women in anthropology, academic film studies, and political feminism have long shaped the production and reception of documentary in the United States. Subject to Reality explores the consequences of this cross-pollination as it has shaped women’s documentaries, and especially the realist films that have been glossed over as “boring” “organizing tools” or merely “talking head films.”
25
Hornby, Louise. Still There. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.003.0005.
Full textAbstract:
This chapter argues that Woolf develops a theory of photography in her writing that describes how the world emerges within a photographic economy of light, separate from an observing subject. Photography does not reproduce the world; it develops a world through the action of light and independent of an observer. This emergent world, refusing economies of production and control, is suspended in time. The theory of photography embedded in Woolf’s writing draws on the earliest kinds of photographs—cameraless images—that formalize a conception of photography as “light-writing.” Severing the bonds between subjectivity and vision, photography adheres to a notion of objectivity that extirpates the human subject in favor of a vision of the world absent an experiencing self, a world written in terms of exposure, development, and emergence. In Woolf’s writing, the light encloses the world, stilling it, protecting it, and becoming a foil for the absent mother.
26
Smith, Jennifer J. Tracing New Genealogies. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0005.
Full textAbstract:
Chapter four turns to a more intimate form of affiliation than either nation or community: family. The period from the 1970s onward has produced the greatest concentration of cycles since modernism, because writers embraced the cycle to express the contingency of being ethnic and American. Family, rather than community or time, is the dominant linking structure for many of these cycles, reflecting how immigration laws placed family and education above country of origin. This chapter focuses on the role of family in the production and reception of Amy Tan’s The Joy Luck Club (1989), Julie Alvarez’s How the García Girls Lost Their Accents (1991), and Jhumpa Lahiri’s Unaccustomed Earth (2008). These cycles argue that subjectivity—and by extension gender and ethnic attachments—derives not only from biological relationships but also from “formative kinship,” which originates in shared experiences that the characters choose to value.
27
Ibarra, Enrique Ajuria. Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0010.
Full textAbstract:
The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.
28
Patton, Paul. 33. Foucault. Oxford University Press, 2017. http://dx.doi.org/10.1093/hepl/9780198708926.003.0033.
Full textAbstract:
This chapter examines Michel Foucault's approach to the history of systems of thought, which relied upon a distinctive concept of discourse he defined in terms of rules governing the production of statements in a given empirical field at a given time. The study of these rules formed the basis of Foucault's archaeology of knowledge. The chapter first considers Foucault's conception of philosophy as the critique of the present before explaining how his criticism combined archaeological and genealogical methods of writing history and operated along three distinct methodological axes corresponding to knowledge, power, and ethics. It then describes Foucault's archaeological approach to the study of systems of thought or discourse, along with his historical approach to truth. It also discusses Foucault's theory of freedom, his views on the nature and tasks of government, and his ideas about subjectivity in relation to care for the self.
29
Keegan, Cáel M. Lana and Lilly Wachowski. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252042126.001.0001.
Full textAbstract:
This book analyzes the filmmaking careers of Lana and Lilly Wachowski as the world’s most influential transgender media producers. Situated at the intersection of trans* studies and black feminist film studies, it argues that the Wachowskis’ cinema has been co-constitutive with the historical appearance of transgender, tracing how their work invents a trans* aesthetics of sensation that has disrupted conventional schemas of race, gender, space, and time. Offering new readings of the Wachowskis’ films and television, it illustrates the previously unsensed presence of transgender in the subtext of queer cinema, in the design of digital video, and in the emergence of a twenty-first-century global cinematic imaginary. It is in the Wachowskis’ art, the author argues, that transgender cultural production most centrally confronts cinema’s construction of reality, and in which white, Western transgender subjectivity most directly impacts global visual culture. Thus, the Wachowskis’ cinema is an inescapable archive for sensing the politics of race and gender in the present moment.
30
Shome, Raka. White Femininity in the Nation, the Nation in White Femininity. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038730.003.0001.
Full textAbstract:
This book examines how the narrative of white femininity transformed Princess Diana into a simultaneous signifier of a national and global popular. Situating the discussion of white femininity and national modernity in the New Labor cultural scape of 1997 that promoted the rhetoric of a New Britain, the book analyzes the different facets of white femininity that the Diana phenomenon mobilized and stabilized in the production of a (new) national narrative of Britishness in the 1990s and beyond. It also considers a constellation of images of privileged white women in order to illustrate a larger formation of white femininity through which many neoliberal logics of national identity and citizenly belonging were being rewritten in the late twentieth and early twenty-first centuries; how national identity intersects with celebrity culture, cultural politics, and global struggles over (what constitutes) modern subjectivity; and how representations, articulations, and actions of privileged white women of the Global North impact, inform, and intersect with larger geopolitics.
31
Smith, Jennifer J. Resisting Identity. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0006.
Full textAbstract:
Chapter five argues that the best way to grasp William Faulkner’s oeuvre is through the paradigm of the short story cycle because of his use of limited localities, interstitial temporalities, and formative kinships; this approach pushes against a mountain of criticism that expects and measures the unity of his work. The form, with its privileging of multiple, competing narratives, is ideally suited to articulating the crises of history and subjectivity that Faulkner dramatizes. Faulkner’s achievements in the cycle reach an apex in Go Down, Moses (1942), which is his most sustained treatment of black-white relations. Go Down, Moses explores both continual and heightened moments of interracial intimacies. The stories most sharply narrate the crises that the white McCaslin line faces when grappling with their unacknowledged kinship with the black Beauchamp line. This chapter demonstrate that the cycle dramatizes the production of provisional racial identities, because they do not depend upon rigid distinctions, essential characteristics, or defined origins.
32
Ramírez, Dixa. Colonial Phantoms. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479850457.001.0001.
Full textAbstract:
Colonial Phantoms argues that Dominican cultural expression from the late nineteenth century to the present day reveals the ghosted singularities of Dominican history and demographic composition. For centuries, the territory hosted a majority mixed-race free population whose negotiations with colonial power were deeply ambivalent. Disquieted by the predominating black freedom, Western discourses ghosted—mis-categorized or erased—the Dominican Republic from the most important global conversations and decisions of the 19th century. What kind of national culture do you create when leaders of the world powers, on whose recognition you depend, rarely remember your nation’s name? Dominicans, both island and diasporic, have expressed their dissatisfaction with dominant descriptors and interpellations through literature, music, and speech acts. These expressions run the gamut from ultra-conservative, anti-Haitian nationalist literature to present-day Afro-Latinx activism. Dominant fields of knowledge constructed to account for various modes of being in the Americas have not been able to discern, and, in some cases, have helped to obscure, the kinds of free black subjectivity that emerged in the Dominican Republic. Analyzing literature, government documents, music, the visual arts, public monuments, film, and ephemeral and stage performance, this book intervenes at the level of knowledge production and analysis by disrupting some of the fields. In so doing, it establishes a framework for placing Dominican expressive culture and historical formations at the forefront of a number of scholarly investigations of colonial modernity in the Americas, the African diaspora, geographic displacement (e.g., migration and exile), and international divisions of labor.
33
Fracchia, Carmen. 'Black but Human'. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198767978.001.0001.
Full textAbstract:
The African presence in imperial Spain, of between 10-15 per cent of the population, was due to the institutionalization of the transatlantic slave trade that brought between seven- to eight hundred thousand Africans as slaves to Spain and Portugal. If we add those slaves born in these European territories and the three to four hundred thousand Moor, Berber and Turk slaves, there were approximately two million slaves living in the Iberian Peninsula during this period. The Afro-Hispanic proverb ‘Black but Human’ that provides part of the book’s title, serves as a lens through which to explore the ways in which certain visual representations of slavery both embody and reproduce hegemonic visions of subaltern groups, and at the same time provide material for critical and emancipatory practices by Afro-Hispanic slaves and ex-slaves themselves. It thus allows us to generate critical insights into the articulations of slave subjectivity by exploring the links between visual regimes and the early modern Spanish and New World discourses on slavery and human diversity. My book provides a complex new reading of neglected moments of artistic production in Hapsburg Spain establishing their importance as relays of power and resistance. We could claim that the ‘Black but Human’ topos encodes the multilayered processes through which a black emancipatory subject emerges and a ‘black nation’ forges a collective resistance, and the ways in which these moments are articulated visually by a range of artists. Thus, this proverb is the main thread of the six chapters of this book.
34
González-López, Irene, and Michael Smith, eds. Tanaka Kinuyo. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474409698.001.0001.
Full textAbstract:
This is the first book in English dedicated to the actress and director Tanaka Kinuyo. Praised as amongst the greatest actors in the history of Japanese cinema, Tanaka’s career spanned the industrial development of cinema - from silent to sound, monochrome to colour. Alongside featuring in films by Ozu, Mizoguchi, Naruse and Kurosawa, Tanaka was also the only Japanese woman filmmaker between 1953 and 1962, and her films tackled distinctly feminine topics such as prostitution and breast cancer. Because her career overlaps with a transformative period in Japan, especially for women, this close analysis of her fascinating life and work offers new perspectives into the Japanese history of women and classical era of national cinema. The first half of the book focuses on Tanaka as actress and analyses the elements and meanings associated with her star image, and her powerful embodiment of diverse, at times contradictory, ideological discourses. The second half is dedicated to Tanaka as director and explores her public image as filmmaker and her depiction of gender and sexuality against the national history in order to reflect on her role and style as author. With a special focus on the melodrama genre and on the sociopolitical and economic contexts of film production, the book offers a revision of theories of stardom, authorship, and women’s cinema. In examining Tanaka’s iconic reification of femininities in relation to politics, national identity, and memory, the chapters shed light on the cultural construction of female subjectivity and sexuality in Japanese popular culture.