1,722,581 research outputs found
El vestido habla: Alice Munro y Kai Cheng Thong
No full textEl objetivo del presente artículo es estudiar los diversos códigos atribuidos a la indumentaria en el corpus literario seleccionado a tal efecto y analizar cómo las identidades de los personajes son rediseñadas a través de ellos. Examinaremos cómo los sujetos de las obras de las autoras canadienses Alice Munro y Kai Cheng Thom hacen uso de la indumentaria como herramienta a través de la cual se ajustan a las normas impuestas o, por el contrario, subvierten los discursos hegemónicos
Recommended from our members
Falling back in love with being human ::letters to lost souls /
No full text"Kai Cheng Thom grew up a Chinese Canadian transgender girl in a hostile world. As an activist, psychotherapist, conflict mediator, spiritual healer, and celebrated writer, she's always pursued the same deeply personal mission: to embrace the revolutionary belief that every human being, no matter how hateful or horrible, is intrinsically sacred. But then Kai Cheng found herself in a crisis of faith, overwhelmed by the viciousness with which people treated each other, and barely clinging on to the values and ideals she'd built her life around: justice, hope, love, and healing. Rather than succumb to despair and cynicism, she gathered all her rage and grief and took one last leap of faith. Kai Cheng began writing letters to everyone she has trouble holding in her heart-those seemingly beyond saving. She wrote to dead people, exes, prostitutes, johns, monsters, transphobes, and racists; to the fantasy man she still longs for, to the ones who hurt her, and to the ones who watched. In writing these love letters, Kai Cheng found herself not only rediscovering and deepening her faith in humanity, but falling back in love with being human"-
Feeling Sideways: Shani Mootoo and Kai Cheng Thom’s Sustainable Affects
Full text linkDrawing on feminist, queer, trans, and anti-racist theory, this article examines the transmission of affect between racialized trans subjects as a mode of what I call feeling sideways. With this formulation, I seek to spark a discussion about the need to dislodge affect not only from gender and racial normative systems of power but also from linear understandings of growth and temporality. I here follow Stockton’s theories of sideways growth (2009) and Love’s notion of backward feelings (2009) to unravel modes of feeling sideways as a potential form of what I call sustainable affect. As case studies, I put two transCanadian works beside each other: Shani Mootoo’s novel Moving Forward Sideways Like a Crab (2014) and Kai Cheng Thom’s poetry collection, a place called No Homeland (2017). In different but related ways, these texts illustrate the various ways in which shame, anger, and empathy can become sustainable affects through touch and storytelling, with important ethical repercussions
The Alchemy of Transformation: Turning the Violence of Transphobia into Voice with Geoffrey Chaucer and Kai Cheng Thom
Full text linkThis essay compares issues of gender diversity in Geoffrey Chaucer’s fourteenth-century Pardoner’s Tale and Kai Cheng Thom’s recent novel Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir. This comparison expands on queer readings of The Pardoner’s Tale and demonstrates possible links across time between authors dealing with the experiences of gender diverse people. It shows how gender diverse people in different historical contexts can confront hatred and expand limiting frames of cultural expression, by drawing on their own embodied experiences as sources of knowing and converting that knowledge into forms of expressive culture
¿Dónde está lo transgénero en lo transcanadiense? La respons-habilidad en las ficciones de Kai Cheng Thom y Vivek Shraya
Full text linkThis article seeks to activate a much-needed discussion about the place of transgender literary production within the field of transCanadian literature, in its multifaceted iterations. The motivation behind it sparks from the imperative to respond, while simultaneously being accountable for the narratives we produce as feminist researchers in a moment of increasing racism, transphobia, and social divisiveness in Canadian literary communities. Departing from this desire, this article turns to Kai Cheng Thom and Vivek Shraya’s ethico-poetic storying and worlding through the lens of queer and trans philosophers Donna Haraway, Karen Barad, and Susan Stryker. Thom’s Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir (2016) and Shraya’s She of the Mountains (2014), I contend, pose a critique of the multiple modes of violence targeting racialized queer and trans communities, while simultaneously situating response-ability as an ethical compass from which to navigate, and not drown, in this global era of indifference.Este artículo busca activar una necesaria conversación sobre el lugar de la producción literaria transgénero dentro del campo de la literatura transcanadiense, en sus múltiples versiones. Mi motivación surge del imperativo de responder a, y de ser responsable de, las narrativas que producimos como investigadoras feministas en un momento de creciente racismo, transfobia y división social en las comunidades literarias canadienses. Partiendo de este deseo, este artículo se aproxima a la obra ético-poética de Kai Cheng Thom y Vivek Shraya a través de la perspectiva de la filosofía queer y trans de Donna Haraway, Karen Barad, y Susan Stryker. Propongo que las ficciones de Thom y Shraya, como ilustran los libros Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir (2016) y She of the Mountains (2014), plantean una crítica a la violencia contra comunidades racializadas queer y trans, al mismo tiempo que sitúan la respons-habilidad como brújula ética con la que navegar, y no ahogarse, en esta era global de la indiferencia
¿Dónde está lo transgénero en lo transcanadiense?: la respons-habilidad en las ficciones de Kai Cheng Thom y Vivek Shraya
Full text linkEste artículo busca activar una necesaria conversación sobre el lugar de la producción literaria
transgénero dentro del campo de la literatura transcanadiense, en sus múltiples versiones.
Mi motivación surge del imperativo de responder a, y de ser responsable de, las narrativas
que producimos como investigadoras feministas en un momento de creciente racismo,
transfobia y división social en las comunidades literarias canadienses. Partiendo de este
deseo, este artículo se aproxima a la obra ético-poética de Kai Cheng Thom y Vivek Shraya
a través de la perspectiva de la filosofía queer y trans de Donna Haraway, Karen Barad, y
Susan Stryker. Propongo que las ficciones de Thom y Shraya, como ilustran los libros Fierce
Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir (2016) y She of
the Mountains (2014), plantean una crítica a la violencia contra comunidades racializadas
queer y trans, al mismo tiempo que sitúan la respons-habilidad como brújula ética con la
que navegar, y no ahogarse, en esta era global de la indiferencia.This article seeks to activate a much-needed discussion about the place of transgender literary
production within the field of transCanadian literature, in its multifaceted iterations. The
motivation behind it sparks from the imperative to respond, while simultaneously being
accountable for the narratives we produce as feminist researchers in a moment of increasing
racism, transphobia, and social divisiveness in Canadian literary communities. Departing
from this desire, this article turns to Kai Cheng Thom and Vivek Shraya’s ethico-poetic
storying and worlding through the lens of queer and trans philosophers Donna Haraway,
Karen Barad, and Susan Stryker. Thom’s Fierce Femmes and Notorious Liars: A Dangerous
Trans Girl’s Confabulous Memoir (2016) and Shraya’s She of the Mountains (2014), I contend,
pose a critique of the multiple modes of violence targeting racialized queer and trans
communities, while simultaneously situating response-ability as an ethical compass from
which to navigate, and not drown, in this global era of indifference
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Dataset for paper: The spread of low-credibility content by social bots
No full text<p>Data for the paper <em>The spread of low-credibility content by social bots </em>by Chengcheng Shao, Giovanni Luca Ciampaglia, Onur Varol, Kai-Cheng Yang, Alessandro Flammini, and Filippo Menczer</p>
<p>Code is available at https://github.com/IUNetSci/HoaxyBots</p>
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
