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Gotowe bibliografie tematyczne / Performative Victimhood

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Gotowa bibliografia na temat „Performative Victimhood”

Autor: Grafiati

Data publikacji: 2 czerwca 2025

Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Performative Victimhood"

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Deodhar, Bhakti. "Inside Contested Cultural Memory." German Politics and Society 39, no. 3 (2021): 46–69. http://dx.doi.org/10.3167/gps.2021.390303.

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This article explores the role played by the Alternative für Deutschland (AfD), a German right-wing political party, in the politics of memory in and of Dresden. Based on ethnographic fieldwork among AfD members and observation of the party’s organization, the article demonstrates that the performative acts of local AfD members bear crucial significance in explaining the party’s attempts to challenge the mainstream memory discourse that is linked to the centrality of the Holocaust. I argue that party members not only draw upon established discursive narratives of Germany’s victimhood, but als

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Deodhar, Bhakti. "Inside Contested Cultural Memory." German Politics and Society 39, no. 3 (2021): 46–69. http://dx.doi.org/10.3167/gps.2021.390303.

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This article explores the role played by the Alternative für Deutschland (AfD), a German right-wing political party, in the politics of memory in and of Dresden. Based on ethnographic fieldwork among AfD members and observation of the party’s organization, the article demonstrates that the performative acts of local AfD members bear crucial significance in explaining the party’s attempts to challenge the mainstream memory discourse that is linked to the centrality of the Holocaust. I argue that party members not only draw upon established discursive narratives of Germany’s victimhood, but als

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COX, EMMA. "Victimhood, Hope and the Refugee Narrative: Affective Dialectics in Magnet Theatre'sEvery Year, Every Day, I Am Walking." Theatre Research International 37, no. 2 (2012): 118–33. http://dx.doi.org/10.1017/s030788331200003x.

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Contemporary theatricalized refugee narratives are often understood to communicate the profound trauma associated with forced displacement, even as this trauma is made ‘meaningful’ or ‘recognizable’ to audiences by the identification, however nebulous, of hope. This article examines some of the ways in which an affective dialectic of victimhood and hope functions inEvery Year, Every Day, I Am Walking(2006–), a small-scale international touring work directed by Mark Fleishman and produced by Cape Town-based Magnet Theatre. Paying attention to questions of narrative and performative form, I inve

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Palillo, Marco. "‘If I Die here, I’m a Hero!’ On Masculinity and Vulnerability Among Male Asylum Seekers." Journal of Extreme Anthropology 2, no. 1 (2018): 28–45. http://dx.doi.org/10.5617/jea.6030.

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For asylum seekers, masculinity is often a site of conflict, negotiated through competing discourses and public narratives about what it means to be an asylum seeker. Here, the male ‘genuine refugee’ is often depicted as a feminised, passive victim who ‘deserves’ humanitarian protection on the base of his vulnerability. Focusing on the crossing of the desert to Libya, this article analyses asylum seekers’ positioning of themselves as ‘men’ through their own narratives as well as the ways in which they engage with vulnerability, victimhood and agency in their storytelling. In particular, the fo

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Chahinian, Talar. "Zabel Yesayan: The Myth of the Armenian Transnational Moment." Journal of the Society for Armenian Studies 28, no. 2 (2022): 203–11. http://dx.doi.org/10.1163/26670038-12342767.

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Abstract The collection of pieces that follow intersect with what I refer to in this essay as the dual performative acts of iconification and translation that frame our approach to Zabel Yesayan over the last few decades. Maral Aktokmakyan’s critical essay, “So Did We Really Find Yesayan?: Notes on ‘Yesayan Studies’ and Beyond” coins the author’s recent iconification as “Yesayan fever” and warns us that the emergent sub-field of Yesayan Studies may be overly reliant on translations and thus endangering the integrity of the author’s original literary voice in Armenian. Meriam Belli and Elyse Se

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Ma, Cindy. "What is the “lite” in “alt-lite?” The discourse of white vulnerability and dominance among YouTube’s reactionaries." Social Media + Society 7, no. 3 (2021): 205630512110363. http://dx.doi.org/10.1177/20563051211036385.

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This article examines the discourse of “alt-lite” YouTube personalities in a North American context, with a focus on how whiteness is understood and represented. It argues that, despite their self-presentation as color-blind conservatives, these figures are firmly embedded within white supremacist ideology. A qualitative approach to content analysis is adopted to excavate the logics underlying these videos and to highlight the rhetorical tools at work. By framing themselves as the vulnerable targets of progressive movements, “alt-lite” personalities have helped to revive and legitimize a disco

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Díaz, Vanessa. "Performative Wokeness/White Victimhood: The Hypocrisy of Celebrity Villainization of Paparazzi." Women's Studies in Communication, December 21, 2020, 1–6. http://dx.doi.org/10.1080/07491409.2020.1833635.

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Panasiuk, Mariia. "Part VIII: The Clown King and the Broken Circle. On the Spectacle of Victimhood, Schizoid Vampirism, and the Necrotic Theology of Manipulation." Media&Aesthetique Journal, May 18, 2025. https://doi.org/10.5281/zenodo.15460063.

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<strong>Part VIII: The Clown King and the Broken Circle</strong> <strong><em>On the Spectacle of Victimhood, Schizoid Vampirism, and the Necrotic Theology of Manipulation</em></strong> <strong>I. The Clown as Messiah: Performing Schizotypy for the Crowd</strong> There is no true madness here — only <strong>curated psychosis</strong>. The schizoid in this story is not mad; he is <strong>a clown</strong> wearing the mask of disintegration, a sadboy Pierrot whose tics are timed, whose tears are rehearsed. His language is soaked in pathology — “I’m a freak,&r

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Derkson, Jordan. "Not Racist, but..." USURJ: University of Saskatchewan Undergraduate Research Journal 8, no. 1 (2022). http://dx.doi.org/10.32396/usurj.v8i1.576.

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The following is a mixed methods case study of ID Canada, an outspoken anti-diversity, white nationalist, grassroots Canadian “Identitarian” group. It aims to answer the question “What strategies do groups with views outside of mainstream acceptability use to appeal to the public?” To this end, I performed a thematic analysis on their published web content and attempted to integrate these insights with the group’s history and relevant sociological theory. I extracted four main themes, representing the presence of “White Supremacist Beliefs”, the cultural “Struggle for History”, an insistence o

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Cuppini, Alessandra. "The ‘ideal victim’: A cage for victims’ narratives at the International Criminal Court." Leiden Journal of International Law, December 4, 2023, 1–22. http://dx.doi.org/10.1017/s0922156523000651.

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Abstract Despite Article 68(3) of the Rome Statute of the International Criminal Court (ICC) granting victims an autonomous standing in proceedings, victims’ participatory rights have often been tailored to fit within the retributive structure of the trials. This contribution aims to provide a different perspective on victims’ role and their narratives in proceedings at the ICC, building upon the expressivist model of international criminal justice and focusing on a specific strand that engages with the adjudication process’s performative and communicative features. In providing a better under

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Części książek na temat "Performative Victimhood"

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Ushiyama, Rin. "Performing Victimhood: Pursuing Justice After Tragedy." In Aum Shinrikyo and religious terrorism in Japanese collective memory. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267370.003.0007.

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This chapter presents three different types of victim activism that emerged after the Aum Affair. It proposes that victimhood is not an automatic social attribute but an identity that is enacted and realised through social performances and performative utterances. Through a discussion of three public figures, it demonstrates that the performance of victimhood is dependent on the performer's relational position vis-à-vis 1) other victims, and 2) the perpetrators. First, Nagaoka Hiroyuki embodies the ‘difference-antagonistic’ model. As the father of an ex-Aum member and a survivor of an assassin

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