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"Subjectivity"
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Combining minds : how to think about composite subjectivity
\"Roelof's monograph is the first sustained, book-length defense of \"constitutive panpsychism,\" an increasingly prominent theory of consciousness that argues that consciousness is a general feature inherent in matter. Constitutive panpsychism holds that the consciousness of humans and other complex beings are constituted out of this basic consciousness in the same way that human bodies are constituted out of physical matter. Roelofs defends this view against the 'combination problem', which is widely recognised as the most serious objection to it\"-- Provided by publisher.
Book
“La carne oscura de Fe”: Enfleshment and Subjectivity in Fe en Disfraz, by Mayra Santos-Febres
Aligned with the proposal of Sylvia Wynter in “Human Being as Noun? Or Being Human as Praxis? Towards the Autopoetic Turn/Overturn: A Manifesto” (2007), Mayra Santos-Febres used fictional storytelling to uphold new modes of being in Fe en Disfraz (2009). In this novel, Fe Verdejo is an Afro-Venezuelan historian working in the United States who activates connections with enslaved female ancestors when she finds some of their personal belongings and writings. This article analyzes the story of Fe (Faith, in English) as an example of fictional storytelling that challenges historiography and opposes the dehumanization of black females. Fe en Disfraz explores history and suffering, key elements in Western philosophy’s delimitation of humanhood, to uphold black subjectivity. It portrays ancestry and spirituality as crucial elements to contemplate black womanhood. Being mindful of contextual differences, I put Santos-Febres’ representation of black womanhood in dialogue with scholarship on black subjectivity, like those of Frantz Fanon, Audre Lorde, Sylvia Winter, Alexander G. Weheliye and Michelle Wright. Beyond a debate on power and oppression from the standpoint of those who are marginalized in these discussions, both as subjects and contributors, I add to an ongoing examination of the role of creative literature in reevaluating academic knowledge production.
Journal Article
The Impact Agenda and the Production of Subjectivity
In what is often referred to as the 'impact agenda', governments and research funding agencies across the world have recently introduced audit systems and funding mechanisms that require academics to demonstrate the societal impact of their research. Grounded in an ethnography of a UK university, and informed by Deleuze and Guattari's assemblage theory, this thesis explores the role the impact agenda plays in the production of academic subjectivities. I demonstrate how the defining function of the impact agenda is the production of the 'impactful academic' - an enterprising subject who demonstrates their value through the effective and efficient pursuit of research impact. I argue that this function of the impact agenda effectuates neoliberalism's tendency to construct persons as competitive individuals. Moreover, I show how it entails mechanisms of power which operate at the level of language and subjective interpretation and at the level of pre-personal affects. While the workings of power are never far away, I also bring to light processes of subjectification that take us beyond constructions of the impactful academic. In doing so, I draw attention to a conception of subjectivity that is conceived in terms of collective agency and creativity and which breaks with the neoliberal notion of the competitive individual. I argue this alternative way to conceive subjectivity points to the potentials for converting the impact agenda and for creating an alternative that is based on the cultivation of collective joy. In offering this account I contribute to knowledge in two central ways. First, I offer an advancement on existing studies relating to the impact agenda. I go beyond much of the existing empirical literature which tends to lack the 'critical edge' of critical scholarship. At the same time, I go beyond much of the critical literature which tends to rest on limited empirical data. What I offer is an in-depth empirical account of the impact agenda that is attentive to the ways in which the workings of power are both reinscribed and circumvented and which presents an alternative that is grounded in an analysis of the potentials that lie latent and emergent in the present. Secondly, I contribute to debates surrounding critical policy studies' growing interest in the concept of assemblage. I illustrate the value of taking up a reading of assemblage that is anchored in the work of Deleuze and Guattari and puts to work the allied concepts of strata and abstract machine. I argue that such an approach offers a way to overcome the pitfalls of 'policy assemblage' literature which neglects questions of subjectivity and fails to grasp the wider forces at work in the arrangement of policy assemblages.
Dissertation
Gender, Subjectivity and the Writer's Voice : Historicising the French Resistance, 1940-1970s
From 1940 until the 1970s, resisters sought to preserve the resistance for posterity and thus dominated the historicisation of the resistance: under the Occupation they published clandestine newspapers, and from the Liberation onwards, they wrote histories, essays, memoirs and both collected and gave testimonies. This thesis argues that the interrelation between genre, gender and subjectivity was a key dynamic in this process. It demonstrates that the choice of genre affected what was said about the resistance and by whom. Through an exploration of genre, this thesis argues that that men were more likely to foreground their subjectivity, whereas women were more likely to marginalise their own subject position. Women were nevertheless actively involved within this process of historicisation, and this thesis argues that the genre of history allowed women to embrace their marginal position and to use it as an asset. This thesis shows how the production of testimonial sources for the Commission d'Histoire de l'Occupation et de la Libération de la France (CHOLF) project, which began in 1944, provided a space in which women made an important contribution to historical understandings of the resistance as both interviewer and interviewee. The paradox of women writing about the resistance but not about their own resistance is a central theme of this thesis, which draws on archival and published sources to argue that by embracing and adapting the traditional 'female' roles of remembering and memorialising from the margins, women became key participants in the historicisation of the French resistance. It explores the tensions between the reliance on subjective experience and the claim to have written 'objective', 'scientific' and yet also 'authentic' accounts of resistance life. Tracing the discourses to the 1970s shows how women's resistance was increasingly understood as crucial to the resistance fight. Fundamentally, the thesis demonstrates that despite changes over time, women were central to the formation of the gendered narratives of resistance from the very beginning.
Dissertation
The universal subject of our time : (or: how I learned to stop worrying and love the machine)
\"The Subject itself is the Subject of the Machine. What does it mean to be human? We live in a technological age, where rapid advances in personal tech and the science of Artificial Intelligence are challenging us in ways never before imagined. A book in two parts, The Universal Subject of Our Time begins with an exploration of 20th Century post-modernism's undermining of subjectivity with thinkers such as Foucault, Derrida, Baudrillard and Althusser and continues with a description of the science wars, where physical realists challenged the post-modernists up to the 1990s when the intellectual conflict resulted in an uncompromising stand-off after the Sokal Hoax. In Part II the subject is resurrected by taking a look at arguments for machine intelligence and AI and also, from the perspective of physics, examines what subjectivity means, particularly in relation to black holes or black stars, and look to what lies ahead in the future, in terms of space exploration, Martian habitats and even the possibility of first contact with extra-terrestrials\"--Cover
Book
Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film
The main purpose of the article is to bring more clarity to the concept of art film, shedding light on the mechanisms of subjective reception and evaluating the presence of subjectivity-inducing segments as the grounds for defining art film. The second aim is to take a fresh look at the littlediscussed Estonian art cinema, drawing on a framework of cognitive film studies in order to analyse its borders and characteristics. I will evaluate the use of darkness as a device for creating meaning, both independently of and combined with other visual or auditory devices. The dark screen, although not always a major factor in the creation of subjectivity, accompanies the core problem both directly and metaphorically: what happens to the viewer when external information is absent? I will look at the subjectivity- inducing devices in the films of two Estonian directors, Sulev Keedus and Veiko Õunpuu. For the theoretical background, I rely mostly on Torben Grodal’s idea about the subjective mode as a main characteristic of art film, and the disruption of character simulation as the basis for the film viewer’s subjectivity.
Journal Article
On the Problem of Subjectivity in Marxism: Karl Marx and György Lukács
There was a long-standing engagement with the problem of subjectivity by different scholars over time. The problem of subjectivity is not only the key to the understanding of the Marxism but also the core of György Lukács’s philosophical studies in his lifetime. While it is well-recognized of the transformational influence of Marxism on the modern traditional philosophy, the comparison between Karl Marx and György Lukács regarding their discussion of the problem of subjectivity can shed light upon what and how Marxists carried on and expanded this contested philosophical problem.
Journal Article