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PŁEĆ KULTUROWA W PRAKTYKACH MIGRACYJNYCH: Wherever One Wants to Go. Rosi Braidotti’s Concept of a ‘Nomadic Subject’ and Its Philosophical Possibilities

100%

Adamiak M.

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2016

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tom 17(3)

129-137

PL

The ideas embedded in Enlightenment concepts of subjectivity, understood as a coherentand rational identity, have established a universal perspective for a long time. Today,this outlook is being questioned by the experience of difference. The voices of minoritiesdemanding acceptance and representation, both in social practice and in theory, have becomemore audible. But while theory allows for radical mental conclusions, the social andexistential practices require positive theoretical solutions. A postmodern deconstructedsubject does not constitute a sufficient basis for social activity or political identification.Therefore, a significant challenge for the feminist theory today is to find a form for thesocial subjectivity and, at the same time, avoid an oppressive and reductive category. RosiBraidotti employed the Deleuzian figure of a nomad, and proposed a concept of a subjectbeing resistant to postmodern fragmentation. She made a distinction between identityand subjectivity: identity is rooted in the unconscious, while subjectivity is conscious anda source of political resistance. The resistance is not due to stronger foundations, in comparisonto the Cartesian subject, but results from mobility and openness to the Other. Attemptingto construct a clearly positive conception of a subject, Braidotti proposes ‘a nomadicpolitical project’. The question is: is it possible to put this idea into a social reality ordo we have just another sophisticated theoretical concept?

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Саамский театр из Каутокейно: тропами номад

88%

Sibińska M.

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tom 2

263-274

EN

Beaivváš Sámi Našunálateáhter from Kautokeino (Norway) is an institutional theatre with Sami (Lappish) as the main stage language. Sami institutional theatres in Scandinavia have a relatively brief history which reflects the tension between the Sami people’s sociopolitical aspirations and Sami theatre artists’ freedom of expression. The theatre from Kautokeino is based upon a robust tradition (e.g. such pre-theatrical modes as the yoik, the art of storytelling, the shamanistic séance), and at the same time it is open to impulses from other cultures and theatrical traditions (both European and non-European). The article takes its point of departure in a postmodern concept of nomadism (Deleuze, Guattari, Braidotti, Islam). It focuses on the nomadic as the impetus and the driving force behind the Beaivváš Sámi Našunálateáhter. The nomadic, however, is understood not only as a reference to the Sami cultural heritage, but as an artistic practice based upon the reaction against aesthetically, historically, politically and socially rigid intellectual patterns. The practice is manifested, inter alia, in transgressions of established genres and aesthetic categories, multilingualism and cultural interferences.

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Artist Collaboration and Unity in Times of Crisis: The Spirals Project

75%

Díaz Vicedo N. , Marini H.

Text Matters: A Journal of Literature, Theory and Culture

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2023

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nr 13

317-339

EN

The pandemic crisis of COVID-19 that we have recently endured, and that to some extent we are still experiencing, abruptly changed the way in which we conceive of the interaction between inner and outer space. Specifically, during the most difficult times caused by the two severe lockdowns, this limitation came complete with a total lack of spatial mobility. This article will explore the impact that this had upon the creative process of writing and making performance work for the female subject and how the return to the domestic space as the only possibility, affected their writing and creativity. Using the concept of the “nomadic subject” developed by Rosi Braidotti in 1996 and revised in 2011 in her book Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory, this article aims to explore these questions from the intersection of body and language through the symbol of the spiral as a source of creation.

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When Your Neighbor Is a Bear, your Fiancé – a Dog, and Your Lover – a Tuna. About Human-Nonhuman Encounters in the Works of Kawakami Hiromi, Shono Yoriko and Tawada Yoko. A Critical Posthuman Perspective

38%

Kubiak Ho-Chi B.

Analecta Nipponica

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2018

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nr 8

83-96

JA

本論文では、現代の日本人女性作家のフィクション作品に驚くほど頻繁にみられるテーマである、人間と非人間（特に人間ではない動物）の出会いを取り上げる。川上弘美の短編における主人公達は、新しいアパートに引っ越して人間の隣人を川まで散歩に誘う古風で礼儀正しい熊であり（『神様』1993年）、非人間の生まれと容貌を完全に自覚しながらも人間と共にオフィスで働くモグラ（『鼹鼠』2001年）である。権威ある芥川賞を受賞した川上作品（『蛇を踏む』1996年）に描かれる人物は、日常生活をおくる中で、彼女の母親だと主張し蛇の世界へと誘う一匹の蛇に出会う。一方、他の著名な女性作家で社会的に認められた日本の作家達の間でも評価を受ける多和田葉子と笙野頼子の小説においては、犬（多和田『犬婿入り』1993年）やマグロ（笙野『タイムスリップ。コンビナート』1994年）が、主人公女性の愛する者として登場する。こうした作品において、日本の女性作家は文化的、言語的、地理的境界のみならず、更に人間中心主義的世界の限界をはるかに超えていく。彼らの作品に向き合うとき、人間と非人間の出会いと親密な関係をめぐる問題は、日本だけでなく現代世界のポストヒューマン的思想を悩ませる問いを、公然と投げかける。つまり、アクタントである人間と非人間、その身体、思考に関する問い、そして人類が生物や非生物といった他の存在と共存する世界における相互関係をめぐる問いである。

EN

The present paper considers encounters between humans and nonhumans (especially nonhuman animals), a theme surprisingly frequent in the fiction works of contemporary Japanese women writers. The main characters of two short stories by Kawakami Hiromi are an old-fashioned, well-bred bear, which moves into a new apartment and invites its human neighbor for a walk to the river (Kamisama, 1993), and a mole which, being perfectly aware of its nonhuman origin and appearance, works with humans in an office (Ugoromochi, 2001). The other character of Kawakami’s work, awarded with the prestigious Akutagawa prize (Hebi o fumu, 1996), meets in her real, everyday life a snake claiming to be her mother and trying to draw her into the world of snakes. In turn, in the novels by other famous women writers, Tawada Yoko and Shono Yoriko, who are counted among the most recognized Japanese authors, we find a dog (Inu mukoiri/The Bridegroom Was a Dog by Tawada, 1993) and a tuna (Time Slip Industrial Complex by Shono, 1994) as lovers of the main female characters. In their works, Japanese women writers transgress not only cultural, linguistic and geographical barriers, but above all, they go far beyond the boundaries in force in the anthropocentric universe. Addressing in their works the issue of encounters and close relationships between humans and nonhumans, they openly provoke questions that concern not only Japan, but also the world’s contemporary posthuman thought: questions about human and nonhuman actants, its body, emotions, thoughts and mutual relations in a world where men coexist with other, animate and inanimate forms of being.