Search results

This chapter is based on criminological research about theatre in detention. The research results allow a new conceptual approach to the notion of subversion. The purpose of this work is to (a) briefly present the object, context, and methodology of the research; (b) describe the concept of subversion; and (c) explain how subversion can serve an activist project in criminology. The topic will be situated in an epistemological reflection, illuminating the nature of the prison theatre project and its criminological applications.

Historically, as a result of complex intersections of marginalisation, women and girls in India are known to have had less access to economic and social capital than men and boys. Progress on poverty alleviation and the advancement of women’s and girls’ development continues to be slow and has even been described as ‘regressive’ (UN Women, 2015). This chapter provides a microanalysis of experiences and perceptions of gender and poverty in Mumbai, India. It puts forward new insights into everyday forms of agency, resistance and subversion while confronting western centric ideas around development and colonialist notions of victimhood.

Based upon research conducted in 2012–2013, the qualitative study adopting a multi-methods approach draws on participatory action research, participant observation and ethnography. This chapter draws on a small number of interviews from the original sample of 40 participants.

This chapter is based on findings from a small research sample.

The study finds evidence that confirms experiences of gendered poverty permeate across class divides, suggesting that access to economic capital does not necessarily result in equitable gender relations. The findings also uncover the diverse ways in which women and adolescent girls strategise and negotiate to acquire agency, through acts of resistance and/or subversion.

There are two key aspects of this research that can be considered original: the use of a multi-methods approach and by bringing together of a combination of different voices. The theoretical and sociological contribution of this research lies in showcasing the value of expanding the definition of poverty and gender beyond a purely economic analysis.

This chapter focuses on the problematic relationship between heavy metal and gender politics. While metal may be deemed as being an ‘alternative’ subculture, metal still ‘uses’ women in the same way as ‘normal’ society. Despite the nature of metal as counterculture, women’s images and morality are often inverted but not subverted and it is this nuance that we wish to explore: for example, the use of Mary, Mother of God, in ‘Amen’ by black metal band Behemoth, where though her image is a challenge to convention, she is still ‘used’ as emblems for male political ideology. In the textuality of heavy metal music, women appear as mothers (both good and bad), fetishised whores, mother earth and sexualised virgins. Where modern open sexuality is ‘praised’, anything less so is mocked. Though this ‘praise’ may come across as positive, it is nevertheless still ascribing morality/immorality/virtue to women’s bodies in a way that is not done with men. In this discussion, we will use examples of texts from metal bands who reference women, imagery associated with band merchandise as well as comments from the performers themselves (such as Dee Snider’s approval of the lyrics of ‘We’re Not Gonna Take It’ being associated with the Women’s March on Washington) to investigate the place of the female body in this cultural representation. By using textual critical analysis, we show that women in metal are still having morality written on their bodies, bringing to light the debatable nature of metal being deemed as ‘alternative’ when it comes to gender.

Using the concepts of resistance, identity construction, and communicative democracy, I explore the possibility that older women's life histories create and occupy a potentially transformative space within global research on gender. First, such narratives challenge existing hierarchies of age and gender that systematically disadvantage older women. Second, older women use them to assert their own more complex identities (in opposition to those limiting identities assigned to them by others). Third, through their life stories, older women can contribute to democratic dialogue in society at large. I use life history interviews conducted with older women in Cuernavaca, Mexico from 1995 to 1997 as a specific case that supports my overall argument. I contend that the first two processes are already taking place through the act of storytelling and life history narration itself. The more radical methodological claim of this paper is that the act of constructing and communicating life stories is a legitimate and valuable exercise of (political) power.

Action in the 1980s to a large extent belonged to the hard, hyper-masculine physiques of Arnold Schwarzenegger and Sylvester Stallone, who seemed to embody the aggressive, go-getting, testosterone-fuelled spirit of the age. Except, as this chapter argues, it would be a mistake to take these representations of masculinity at face value.

Susan Jeffords has noted the evolution of Schwarzenegger's Terminator character from hard-bodied killer to nurturing father figure, linking this to the change in perceptions of masculinity between the Reagan and Bush eras. Indeed, as Schwarzenegger moved into the 90s his films increasingly played with notions of ‘the feminine’ – from the nurturing Schwarzenegger of Kindergarten Cop (1990) to the ‘maternal’ Schwarzenegger of Junior (1994).

This chapter focuses on Schwarzenegger's Commando (1985), the first film in which he plays a contemporary, ‘normal’ (though still unusually muscular) man: a widowed ex-special forces commando and now full-time father, named John Matrix. The act of naming this supposed he-man ‘Womb’ is only the beginning of the film's surprising and subversive disquisitions on gender. In between (and sometimes during) the expertly staged fist fights, gun battles and explosions, homoeroticism, the male gaze and gender stereotyping all bubble away under the surface. Schwarzenegger's body is presented for scrutiny in a way previously reserved for female Hollywood stars, and the film's antagonist, an embittered former colleague who is obsessed with Matrix in a way that verges on the erotic, transcends butch and enters the realms of macho camp. The film questions and subverts presumptions about the masculine and the feminine, while still delivering an ostensibly macho, quintessentially 1980s action film.

Drawing on assemblage theory (Deleuze & Guattari, 1987; DeLanda, 2006), this conceptual chapter seeks to provide an analytical lens for examining the power and capacity of Big Data analytics to exercise territorializing and deterritorializing effects on compound polities and supranational organizations. More specifically, the modern massive agglomeration of data streams and the accelerated computational power available to sort and channel them in effecting actions, decisions, and reconfigurations in contemporary assemblages, necessitate new exploratory tools to examine the impact of such trends on educational phenomena from a comparative perspective. In the first part, the chapter builds an analytical instrumentarium useful in theoretically elucidating the effects of Big Data on complex assemblages and serves as a methodological extension in investigating the ramifications of these effects on educational systems, spaces, and policyscapes. The second part sets out to illustrate how assemblage theory can explain the tension between the formal use of large official statistical data sets as a type of “regulated” Big Data, and the informal use of social media, as a type of “unregulated” Big Data, to construct or deconstruct, respectively, interlacing/interlocking components of assemblages, such as supranational organizations or compound polities. The European Union (EU) and the Caribbean Community (CARICOM) are taken as examples of complex assemblages in which the long-standing utilization of EU’s Eurostat and CARICOM’s Regional Statistical Database have served as territorializing forces in consolidating policy logics and in legitimizing decision-making at the supranational level, while the emergence of “loose” social networking technologies appears to have deterritorializing effects when employed deliberately to delegitimize or subvert socio-political processes across supranational polities.

In this chapter, I uncover the jail diaries of a revolutionary woman of the 20th century Pakistan, Akhtar Baloch. Although feminism in Pakistan has oscillated between liberal and postcolonial camps, through reading Akhtar's diaries, compiled as Prison Narratives (2017), I center Akhtar's own struggles for Sindh, along with the resistance of the women she met in the prison convicted for the murders of their husbands, to better theorize Marxist Feminism in Pakistan that overturns the structures that commodify women through love and revolution. My article will show the commodification of women's bodies; the “sale” of women through marriage as the goal of this commodification; the lovelessness and alienation women experience in commodified marriages; the unexpected fall in love with someone whom it is subversive for the commodified wife to love; the subversion of this unexpected event that leads to the attempted resolution of this tension through murder; the separation of the lovers through the incarceration of the woman by the capitalist-patriarchal state; and finally, the unexpected outcome (albeit the most common one) that the male lover abandons his female lover once she's jailed, but the defiantly brave female lover finds platonic love in jail through close female friendships with other women who are similarly brave in both love and in revolution. Through this exposition, I show that Akhtar's diaries provide a way for us to build on Marxist Feminist theory through a theory of love and revolution from a Sindhi feminist perspective.