This book investigates the notion of silence as both an oppressing instrument and a powerful tool of resistance under the lenses and practices of cultural production. It will be of interest to scholars of cultural studies, cultural history, media studies, politics, visual studies, communication studies, history, and literature.
This book investigates the notion of silence as both an oppressing instrument and a powerful tool of resistance under the lenses and practices of cultural production.
Taking a transdisciplinary and transcultural approach to the study of creative and cultural practices, the chapters ask how cultural production is dealing with surges of oppressive regimes, censorship, and fake news, and which cultural processes are implied in silencing as well in giving voice to, in erasing, and in producing small and grand narratives. The book reaches beyond dominant instrumental views of contemporary cultural practice to understand culture not only as an expedient to conduct social policy but also as a diagnostic tool and a vernacular space of giving voice to the many small narratives that make the world we live in.
Offering an introduction to an underrepresented area of cultural studies, this truly interdisciplinary volume will be of interest to scholars of cultural studies, cultural history, media studies, politics, visual studies, communication studies, history, and literature.
Recenzijos
"This book is an ambitious attempt to provide insights into and the necessary context for the field of research on cultural practices where silence can be utilized as both a tool of oppression and an instrument of resistance.
By combining different approaches, this books authors contribute to forming a new interdisciplinary research field where silence is seen as both a tool of oppression and an instrument of resistance. In this regard, the volume will be of interest not only to specialists in cultural, art, queer, or gender studies, but also to philosophers, historians, psychologists, and sociologists, who can find in the texts fresh ideas and new approaches to the study of the phenomenon of silence, which, despite its comprehensive nature, has not yet been adequately reflected in the research literature."
-- Aleksandr Veselov, in The February Journal, 01-02: 161-170. DOI: 10.35074/FJ.2023.94.98.009
List of Figures; List of Contributors; Acknowledgements; Preface:
Telling a Story of Silence(s) in Three Parts; Part I: (Embodied) Silence and
Memory;
1. Un-Silencing Bodies, Un-Silencing Lives: Artistic
(Self-)Decoloniality and Artistic (Self-)Empowerment;
2. The Sound of Silence
in the Age of Man;
3. Ecocritical Perspectives on Nuclear Silence: Listening
Across Multiple Scales; Part II: (Imposed) Silence and Identity;
4. Burning
Silence in the Country House: On Colonial Torchčres at Betlér Manor;
5. Queer
Silences: Art, Sexuality and Acoustic Neuroma (The Art of Samak Kosem);
6.
Silence as a Weapon of Power Within the Context of the Portuguese
Dictatorship;
7. [ Inaudible]: The Politics of Silence in the Work of Lawrence
Abu Hamdan and Gabrielle Goliath; Part III: (Acts Of) Silence and Resistance;
8. Undoing Language: Gender Dissent and The Disquiet of Silence;
9. Rest as
Resistance: From Self-Care to Decolonial Narratives;
10. Gender-Based
Violence and COVID-19 Pandemic: Addressing a Pervasive Public Health Issue
Through an Upstream Multi-Systems Approach; Conclusion;
11. On the Subject of
Silence; Index
Luķsa Santos holds a PhD in Culture Studies from the Humboldt & Viadrina School of Governance, in Berlin, Germany and an MA in Curating Contemporary Art from the Royal College of Art, in London, UK. She is Assistant Researcher and Assistant Professor in Culture Studies/Artistic Studies at the CECC (Research Centre for Communication and Culture), Faculty of Human Sciences, Universidade Católica Portuguesa, Portugal, having been granted a Gulbenkian Professorship between 2016 and 2019. Having authored various publications in the domains of art and society, Luķsa Santos sits on the editorial and scientific boards of the peer-reviewed magazines Estśdio, Gama, and Croma, and of the Yearbook of Moving Image Studies (YoMIS Research Group Moving Image Kiel), Büchner-Verlag. Since 2018, she has been the co-artistic director of the nanogaleria, an independent curatorial project which she co-founded with Ana Fabķola Maurķcio.
