Search results

This research aims at explaining the phenomenon of the “black children” (heihaizi), a very little-known generation who lived with concealment under the one-child policy in China. The one-child policy was officially introduced to nationwide at the end of 1979 by permitting per couple to have one child only, later modified to a second child allowed if the first was a girl in rural China in 1984. It was officially replaced by a nation-wide two-child policy and most existing research focused on the parents’ sufferings and policy changes. The term “black children” has been mainly used to describe their absence from their family hukou registration and education. However, this research aims at expanding the meaning of being “black” to explain the children who were concealed more than at the level of family formal registration, but also physical freedom and emotional bond. What we do not yet know are the details of their lived experiences from a day-to-day base: where did they live? How were they raised up? Who were involved? Who benefited from it and who did not? In this way, this research challenges the existing scholarship on the one-child policy and repositions the “black children” as primary victims, and reveals the family as a key figure in co-producing their diminished status with the support of state power. It is very important to understand these children’s loss of citizenship and human freedom from the inside of the family because they were concealed in so many ways away from public view and interventions. This research focuses on illustrating how their lack of access to continued, stabilized, and reciprocally recognized family interactions framed their very idea of self-worth and identity.

Transnational migration has produced a state of flux in the naturalized conception of home as a fixed, bounded, discreet and trouble-free place of origin, (re)casting home as a more complex, or perhaps simpler, project entangled within the workings of the global capitalist economy. In this context, here the author qualitatively explores migrants’ engagement with the notion of home in the sense of how they conceptualize and experience home, based on the lived experiences of Sri Lankan women who have migrated to Kuwait as live-in migrant domestic workers (MDWs) independently of their families. The stories of the MDWs simultaneously made the meaning of home as conventionally defined, more straightforward and more complicated: home was taken on a journey with them to a faraway foreign land. The MDWs negotiated and constructed belonging and not belonging dialectically in multiple homes, thus being simultaneously “here,” “there” and “nowhere.” In migration, home thus manifests the evolution of female power and duty, portraying it at once as a locus of women’s liberation and as new and perhaps more extreme forms of (re)subjectivation in the emplacement of home within global capitalism. Migration performs home as a space in the (un)making: an ongoing project through the course of life.

Individuals develop and perform and process their identities in relationships with others as well as with the environment in which they find themselves, Many of these relationships with others are characterized by fundamental inequalities. In finding their identities, the subordinate in the relationship develops an identity that typically take steps – by vocal and non-vocal gestures – to perform this particularized identity. The identification of self is not only related to the others, with eachindividual in reflective communication, but also reflections characterized by inequality. In continuing to do so, he or she will experience a certain powerlessness, indeed what Marx called alienation.

Since 2020, the COVID-19 pandemic has swept the world, although the current situation is more under control. Because the development of the pandemic took place in the context of a digital society, where digital information and communication technologies (ICT) were already widely used, households certainly had to make greater use of this powerful communication tool, partly for work, and partly for distance learning purposes. It is likely that the increased use of ICT in the home, due to the lockdown, created an environment in which families were more united but also isolated and in conflict and this trend may still be present today.

This chapter is based on a study of ICT in the daily lives of Portuguese and Italian women, who lived in nuclear families, during and after the COVID pandemic. Through the testimonies of these women, therefore, we will discuss the results of the study to describe and understand how families used ICT during and after the pandemic. In particular, we are interested in answering the following questions: Did domestic spaces become more and more like work spaces due to the increased use of ICT due to the pandemic lockdown? Did distance learning, due to the lockdown, lead to an increase in ICT use by children/adolescents that is still perpetuated today?

This study explores the relations between home and family in times of a pandemic, transporting the family away from the family home and, apparently, from the family itself. Specifically, it focuses art, culture, and society by shedding light on the enduring role of family rituals in creating and sustaining family identity while affirming the role of information and communication technology (ICT), in both the construction and reproduction of the family dynamics amid pandemic times. Reflection is taken upon a live-by-Zoom art exhibition opening. Family photo albums and several artifacts are used to show the family history, and, at the same time, the installed objects and surrounding narratives invite others to imagine the artist’s family as well as each audience member’s own family. The opening took place in March 2021, during the second lockdown in Portugal. Methodologically, the chapter draws on data collected through direct observation and autoethnography. Inspired by an arts-based approach, narrative is built on storytelling sociology, while using writing as a method of inquiry and reflexive composition to overcome the limits of the personal narrative. By the end, it is argued that as families “live” at Zoom, family rituals too. Zoom platform reproduces the family atmosphere, opportunities, and constraints. Looking at the art exhibit opening as a family ritual allows one to think about how individuals experienced family gatherings during the pandemic, but also how art might generate such familial intimacies in such exceptional times.

This study is a radical interactionist analysis of family conflict. Drawing on both a negotiated order perspective and Athen's theory of complex dominative encounters, this study analyzes the role that domination plays in conflicts among intimates. As the family engages in repeated conflicts over roles, the family also engages in negotiations over the family order, what role each party should play, interpretations of past events, and plans for the future. These conflicts take place against a backdrop of patriarchy that asymmetrically distributes power in the family to determine the family order. The data from this study come from a content analysis of mothers with substance use problems as depicted in the reality television show Intervention. The conflicts in these families reveal that these families develop a grinding family order in which families engaged in repeated conflict but also continued to operate as and identify as a family. These conflicts are shaped by and reinforce patriarchal expectations that mothers are central to family operation. The intervention at the end of each episode offered an opportunity for the family to engage in a concerted campaign to try to force the mother into treatment and reestablish the family order.