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.
With race as a central theme, this book presents racial stratification as the underlying system which accounts for the difference in outcomes of Whites and Blacks in the labour market. Critical race theory (CRT) is employed to discuss the operation, research, maintenance and impact of racial stratification. The power of this book is the innovative use of a stratification framework to expose the pervasiveness of racial inequality in the labour market. It teaches readers how to use CRT to investigate the racial hierarchy and it provides a replicable framework to identify the racial order based on insight from the Irish case. There is a four-stage framework in the book which helps readers understand how migrants navigate the labour market from the point of migration to labour participation. The book also highlights minority agency and how migrants respond to their marginality. The examples of how social acceptance can be applied in managing difference in the workplace are an added bonus for those interested in diversity and inclusion. This book is the first of its kind in Ireland and across Europe to present inequality, racism and discrimination in the labour market from a racial stratification perspective. While this book is based on Irish data, the CRT theoretical approach, as well as its insight into migrant perspectives, poses a strong appeal to scholars of sociology, social justice, politics, intercultural communication and economics with interest in race and ethnicity, critical whiteness and migration. It is a timely contribution to CRT which offers scholars a method to conduct empirical study of racial stratification across different countries bypassing the over-reliance on secondary data. It will also appeal to countries and scholars examining causal racism and how it shapes racial inequality.
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
the Irish in Australia
Patricia M. O’Connor
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
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
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
The temptations and complications of belonging become even more
evident in association with migration
Intercultural exchanges and the redefinition of identity in Hugo Hamilton’s Disguise and Hand in the Fire
Carmen Zamorano Llena
‘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
-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
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
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