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Writing queer transnational South Asian art histories

According to the author, queer as an identification and subjectivity is important to his writing of transnational South Asian art histories. This book talks about new transnational South Asian art histories, to make visible histories of artworks that remain marginalised within the discipline of art history. This is done through a deliberate 'productive failure', by not upholding the strictly genealogical approach. The book discusses authorship by examining the writing about the work of Anish Kapoor to explore the shifting manner in which critics and art historians have identified him and his work. It focuses on the author's own identification as queer and South Asian American to put pressure on the coherency of an LGBTQI art history. It connects formal similarities of abstract work produced in the 1960s in New York City by Cy Twombly and Natvar Bhavsar. The book deals with an art history that concerns facile categories such as South Asian/non-South Asian and black/white, and discusses the works of Stephen Dean, Mario Pfeifer, Adrian Margaret Smith Piper, and Kehinde Wiley. It focuses on practice-led research by discussing 'Sphere:dreamz,; which was produced by queer-identified South Asian women. Continuing the focus, the book looks at the multi-site exhibition 'Mixing It Up: Queering Curry Mile and Currying Canal Street', organised by the author in 2007. It addresses the question of how certain subjects are considered as 'belonging' and others as not; and the role of art in the reconstitution of notions of 'home' and transnational South Asian art histories.

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Afterword At the core of my approach to the writing of transnational South Asian art histories in this volume is a constant reassessment of belongingness. I argue that when belonging is kept open and porous, art histories (more broadly) can be dynamic and ever changing. The need or longing to belong is powerful but to what one belongs is best thought of as ‘multiple and One’ per Édouard Glissant.1 In this way, the supplementarity of a transnational South Asian art history need not be one that is interminable. Rather, it can be recast as a constant mode of

in Productive failure
The Irish in Australia

3995 Migrations.qxd:text 5/8/13 11:39 Page 147 8 (Re)negotiating belonging: the Irish in Australia Patricia M. O’Connor Introduction Belonging is a complex concept. More than a synonym of identity, this multidimensional construct brings together ‘a personal, intimate, feeling of being “at home” in a place (place-belongingness)’ and ‘forms of socio-spatial inclusions/exclusion (politics of belonging)’ (Antonsich, 2010: 644). Belonging therefore, has both individual and collective components, strong affective underpinnings and is intrinsically spatial

in Migrations
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End of displacement?

result in successful place-​belongingness. Not ‘any place is, ultimately, good if it’s one’s own’ (Jansen and Löfving 2009: 13). Several issues are at stake. The process is affected by the sense of (dis)continuity. If land of resettlement requires similar cultivation practices as the land left behind, individuals’ identity as peasants is not as affected. The rupture is not as severe as when people are resettled into an entirely new environment in which they cannot rely on their past knowledge and they need to reinvent themselves as farmers. Quality of soil is another

in Living displacement
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belonging may be experienced. These two reasons – alternately social and spatial – mean that, while belonging may well be felt and experienced, it is difficult to fully understand what it means. This is summed up in the difference between ‘place-belongingness’ and the ‘politics of belonging’: the emotional connections that we as individuals have to particular places, and the ways in which people are politically excluded from belonging to those places (Antonsich 2010). The temptations and complications of belonging become even more evident in association with migration

in Ireland and migration in the twenty-first century
Intercultural exchanges and the redefinition of identity in Hugo Hamilton’s Disguise and Hand in the Fire

Germany ‘sought to define and to anchor new partial identities … in differing reinterpretations of selected aspects of a common past. … The interpretation and presentation of the past became an integral and often hotly contested element of the present’ (2002: 3). This obsession with the past hindered the healing of the open wounds of Germany’s traumatic history and of its collective sense of identity. Similarly, Gregor’s obsession with this old sense of belongingness, based on ‘solid evidence’ of his origins in the bygone past (Hamilton, 2008: 60), bars him from

in Literary visions of multicultural Ireland
Chris Duke, Michael Osborne and Bruce Wilson

-national regional levels, which may or may not align with the national government’s administrative divisions. These divisions can be altered quite suddenly by political act without touching deeper underlying placeand community-based affiliations. Often the sense of identity and community or belongingness is based on distinct old historic administrations such as free cities and principalities, residing as much in folk as in living memory. In many Western countries, there is critical scepticism about the national government. In some places this extends to deep cynicism and

in A new imperative

political conformity. Conformism and ‘belongingness’ replaced Protestant individualism, the theme of Herman Wouk’s novel The Caine Mutiny (1951), a key work of the decade. In it the crew of a US minesweeper are led by Steve Maryk, the executive officer, to mutiny against the paranoid and incompetent Captain Queeg. In the subsequent court martial Maryk is acquitted and Queeg exonerated because the

in British cinema of the 1950s

of belongingness to a community, hope and optimism, creating a positive identity, meaning, and empowerment (Socialstyrelsen, 2013, p. 10). Recovery may emphasize a process of increasing the individual’s independence from psychiatric treatment and social efforts. However, it may also entail an expansion of the relatively narrow medico-​clinical gaze on the psychiatric patient to include a wide range of psychological, economic, and social aspects of her life. The former resembles individual recovery, which was promoted by Bennet and Lieberman in the US in the 1960s

in The politics of health promotion

implications for the collective in post-industrial societies, unlike the workers’ movement or class struggles of the early twentieth century, have become individualised; ‘identity is no longer dictated or imposed by belongingness through membership but comes into being constructed by the individual in her/his capacity as a social actor’ (Melucci, 1999: 111). The difficulty faced by modern collective actors is therefore how to define the ‘we’ within social movement organisations (Melucci, 1999: 189). However, Melucci argues that in post-industrialised countries, where

in The politics of old age