The focus of this article is two texts, ‘Advancing Luna – and Ida B. Wells’ (1982) by Alice Walker and Disgrace(1999) by J.M. Coetzee, both of which present ethical problems for the reader. The texts share a common event, an incident of black-on-white, male-on-female rape. In each case the white woman keeps silent about the rape and the narrative is troubled by that silence. I read the dilemma of these texts as at once ethical, political and aesthetic and I explore (...) that multi-faceted problem through three perspectives – the issue of silence, the narrative structures of the texts and the impossibility of resolution. The texts repeatedly question my reading position, not least in that they both suggest that the silence of the white woman might, in certain circumstances, be a condition for political progress. (shrink)

In its enunciation of “We the people,” the Constitution of the United States of America becomes a constitution of the flesh as it simultaneously invokes a constitution, a nation and a people. Correspondingly, its amendments as a list of rights pertaining to sex and race discrimination, and freedoms of bodily movement and action, assert the Constitution’s authority through the evocation of “natural” human bodies. In this article, I explore the way in which a sovereignty of the United States’ Constitution is (...) realised in the particularlised bodies of its citizens. The fundamental and foundational laws of the United States, and the narratives and myths used to interpret them, are in part rendered legitimate by the Constitution’s embodiment, which extends from its physical manifestation in written documents into the flesh of its citizens. In order to make this argument, I turn to the film The Matrix (1999), the success of which relies on an investment in bodies and the United States’ Constitution as matter through its interwoven narrative themes of human slavery and emancipation, reality and computer-generated simulation. At the same time, The Matrix extends its ideological play into the bodies of its audience, who experience the film’s thrillingly sensorial fantasies of constitutional rights while enjoying its affective special effects. Thus, the sovereign authority of United States constitutional law is experienced as “natural” through the phenomenological experience of cinema. (shrink)

Classifying human beings according to race and ethnicity may seem straightforward to some but it, in fact, belies a difficult process. No standard procedure exists for categorizing according to race and ethnicity, calling into question the variables’ use in research. This article explores the use of race and ethnicity variables in the nursing research literature. Content analysis was conducted of a sample of 337 original research studies published in Nursing Research from the years 1952, 1955, and then every 5 years (...) through to 2000. Of the 337 research articles reviewed, 167 mentioned race, ethnicity, or their 81 code words or phrases. Out of the 167 articles, 153 used race or ethnicity to describe the study sample, and 45 of the 167 articles included race or ethnicity as an element of data analysis. Throughout the sample, there was substantial inconsistency related to race and ethnicity categorization, meanings of the terms, and use of these variables. Specificity related to conceptual assumptions, definitions, and context was missing and, as a result, data interpretation and understanding are suspect. The integrity of nursing knowledge requires that nurse researchers recognize and address the difficulties inherent in using race and ethnicity in health research. (shrink)

This thesis explores the restoration and cultivation of mutually constitutive relationships between technique and identity. I begin by establishing the framework of practice that will be used throughout the thesis, in which I define practice by the methodological conditions of open-endedness, repeatability, intuition, situatedness and autonomy. I critique the practices of classical vocal pedagogy, the field of my own training and one about which critical scholarship is distinctly lacking. I argue that these practices effect a violentseparation between technique and identity (...) by means of the fetishisation of technique, ideologies of transcendence, structural whiteness and the reification that structures spaces of training and practice. I establish a theoretical framework, grounded in the work of Ben Spatz, for understanding the relationships between the repetition and sedimentation of technical knowledge and the always ongoing formation of identity, and explore the defetishisation of technique and the objects and practices in which it is encoded both in the university’s practice-as-research context and in the work of two artists and collaborators, Ragnar Kjartansson and Monia Sander Haj-Mohammed. Grounded in an intertextual reading of philosophies of immanence, philosophical pragmatism and feminist epistemology, I articulate the notion of situational emergence in processes of technical development and explore the broader scope and significance of lifelong transformation through technique. With this basis, I give an account of the works in the portfolio, exploring methodologies of defetishisation and situated making, and highlighting the ways that forms emerge in and through durational processes that are always specifically situated in time and place. (shrink)