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Blerds of a Feather, Nerd Out Together: Exploring Sociological Intersections of Black Identity and Nerd Culture
No full textBlack nerds, or “Blerds,” exist at the intersection of nerd identity and Black racial identity. In recent years, however, Blerds have built communities and events that celebrate both aspects of their identity. However, mainstream (predominantly white) nerd culture and societal stereotypes of Blackness often position these identities as conflicting, leaving Blerds to navigate a unique middle ground. This study explores how Blerds embrace both identities despite these tensions. Based on semi-structured interviews with 18 self-identified Blerds, the research examines how they negotiate their racial and nerd identities, how other identities intersect, and how they challenge norms around race and nerd culture. My findings highlight that Blerds actively resist stereotypes, creating spaces where Blackness and nerdiness coexist in ways that defy societal expectations. This study contributes to intersectionality research by demonstrating how identity is constructed at the crossroads of race and subculture, positioning the Blerd community as a site of joy, resistance, and belonging
Bodily Representations, Transformative Imaginations: Queerness in the Contemporary Chinese Experimental Art of Ma Liuming and Chi Peng
No full textMa Liuming’s Fen-Ma Liuming performances and Chi Peng’s photo series Consubstantiality and I Fuck Me each depict the artist’s own naked body engaged in acts of defiance, from queer sex to questioning binaries of gender and nation. Ma Liuming’s performance works present the binaries of male/female and socialist/capitalist as fluid and blended, queering both himself and the state of China; Chi Peng’s series I Fuck Me forwards a productive critique of personal identity’s relevance in public culture through its engagement with transnational queer politics. Each artist challenges the dominating pressures of normativity and expresses queerness as a mode of existence that resists binary interpretations. Their art reflects expansive expressions of gender and sexuality that serve to problematize postsocialist China’s transformation into a neoliberal state, further demonstrating that the evolution of queerness in Chinese experimental art and China’s development in the era of reforms (post-1978) are intertwined. This paper will illuminate how contemporary Chinese experimental artists use their bodies to create queer expressions that challenge the dominating pressures of heteronormativity, destabilize conformity, and transcend binaries within the developing social and physical landscape of postsocialist Beijing, reflecting the expansive nature of late-20th-century China’s unprecedented urbanization, social change, and economic development
The Impact of Lumbar Transforaminal Epidural Steroid Injections on Lumbar Radiculopathy in the Setting of Lumbar Spinal and/or Foraminal Stenosis Versus Lumbar Disc Herniation
No full textTrends and Risk Factors in Breast Cancer: Analyzing Incidence, Outcomes, and Associations
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“I am a normal Asian American?”: Diverse ways that Asian Americans respond to an open-ended question about their racial identification
No full textPan-ethnic labels such as “Asian” and “Asian American” are used to describe a vastly diverse group. However, the majority of those who would be described by others as Asian or Asian American do not choose to describe themselves with these terms (Ruiz et al., 2023). In this mixed method study, we used a Consensual Qualitative Research–Modified approach (Spangler et al., 2012) to inductively explore the preferred racial labels of 501 Asian American participants. The most common codes for racial self-identification were Asian (20%), Asian American (19%), Asian ethnic group (e.g., Korean; 17%), and Asian ethnic group plus American (e.g., Korean American; 11%). In addition to the racial self-identification codes, themes related to and beyond race emerged. For example, some participants elaborated on their racial and ethnic identites and specified other salient aspects (e.g., physical characteristics). Given the activist roots of the term “Asian American” (S. Sue et al., 2021) and heterogeneity within the group, we quantitatively examined if preferred racial labels were related to experiences of racism and demographic factors. While there were no demographic differences between the racial self-identification codes, there were significant differences in racism-related stress. Results from our study offer another dimension of diversity, chosen racial self-identification, which may be related to Asian Americans’ experiences with racism
Tapping the source: Raoul Peck’s James Baldwin and the archival backstage of \u3ci\u3eI Am Not Your Negro\u3c/i\u3e
No full textRaoul Peck’s I Am Not Your Negro (2016) presents itself and was understood as the cinematic counterpart to Remember this House, a book James Baldwin began in 1979 but never finished. In fact less than 20% of the film’s voiceover derives from this or any unpublished source. The rest consists of redacted fragments from Baldwin’s published non-fiction, most significantly No Name in the Street (1972), reassembled to simulate a free-indirect yet nevertheless first-person ‘libretto’. By situating I Am Not Your Negro in relation to the broader Baldwin revival of the 2010s and fresh concerns regarding the film’s excision of Baldwin’s sexuality, this essay contextualizes and philologically traces the ‘archival backstage’ of I Am Not Your Negro to reveal an intricate, almost sui-generis act of literary adaptation, where the imagined completion of an archival fragment stands in for the splintering and re-emplacement of published text. As part of this process, I Am Not Your Negro offsets and triples the usual first-person subjectivity of the essay film onto Peck (as arranger of images) and two Baldwins: an imagined narrator/screenwriter and an embodied historical actor. Most broadly this essay suggests that the epistemic assumptions surrounding the film and its companion paperback should be revisited, not so as to undermine their archival legitimacy but to more rigorously appreciate the power of their intervention