ÿþ<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> <html> <head> <title>TravellingConcepts.net: Resistance</title> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> <meta name="keywords" content="" /> <meta name="description" content="" /> <style type="text/css"> <!-- .style1 {font-size: 18px} .style3 {font-family: Georgia, "Times New Roman", Times, serif} a:link {color:#993300;text-decoration:none;} a:visited {color:#993300;text-decoration:none;} a:hover {color:#ff6600;text-decoration:underline;} a:active {color:#ff6600;text-decoration:underline;} --> </style> </head> <BODY BGCOLOR="#ffffff" leftmargin="0" topmargin="0" marginwidth="0" marginheight="0" > <div align="center"> <BR> <TABLE BORDER="5" WIDTH="779px" HEIGHT="100%" cellpadding="0" cellspacing="0" BGCOLOR="ffffff"> <tr> <td> <BR> <h3>Resistance</h3> <HR> <table><tr><td width="35%" valign="top"> <P><B>click on author's name<BR>to read their paper</B></P> <a href="anim_addo1.html" title="">Joan Anim-Addo</a><br /> <a href="bizzini1.html" title="">Silvia Caporale Bizzini</a><br /> <a href="goodman1.html" title="">Sara Goodman</a><br /> <a href="karavanta1.html" title="">Assimina Karavanta</a><br /> </td> <td width="55%"> <P><B>indicative quotes</B></P> <br> <DIV align="left"> <P>"Even while resisting history itself, as this  dark continent must, at times, the daily negotiation between history (mine) and history (yours) compels a theorising which is perhaps easily unheard since it positions the self at the crossroads... [T]he questions remain to be addressed, specifically here in Europe: which bodies and indeed which minds are weighted in discourse encoding the power to give or alternatively to discover, and where are the narratives of the  crossover griot to be found in all of this?" <em>Joan Anim-Addo</em></P> <br /> <P>"As Scott Wilson reminds us:  History and criticism & are in practice processes of reading & the past, as an object of fascination, produces the fantasy screen of  history , the mirror in which  recognition is always also a  misrecognition  (1995: 12 & 13). This quotation must be understood within the broader intellectual critical project of Cultural Materialism. Wilson s analysis of the possibilities of new historical readings stresses that reinterpreting the historical process that has forged the Real does not take away possibilities of change, but produces new tools to understand differently the (Western) historical process. These new forms of historical interpretation underlie the importance of resistance in the definition of new ontologies of the self and & the role that, eventually, writing can play in the process. One of the aspects we have to consider when analyzing the notion of subject formation is, as Fredric Jameson points out (1998), the pressing influence that a globalised and visual representation of society has on our understanding of ourselves as social subjects and how these hybrid discursive practices permeate the narrative of (resistant) writers & " <em>Silvia Caporale Bizzini</em></P> <br /> <P> As part of the theory moment, we suggested reading together White Women, Race Matters: the Social Construction of Whiteness (Frankenberg, 1993). The atmosphere became increasingly tense and the disciplinary researcher pointed out that these works were irrelevant to her discipline and seemed quite upset that we would suggest them. As we used various examples to show why this and other works should be included and could even be considered relevant to her field, her resistance and frustration increased. <em>Sara Goodman</em></P> <br /> "& delve into the ways these  marginal texts represent the local as the site of un-constituted and un-representable constituencies, presuming their agency not only to critique the global forces of exploitation but also to articulate their presence in the matrix of a rapidly growing globality. In other words, I intend to explore these  marginal texts and their voices as articulations of the local represented not as an effeminate, subsumed and threatened territory but as the topos of unassimilated and un-accommodated difference." <em>Assimina Karavanta</em><br /></P> <BR> &nbsp; <BR> </td> <TD width="10%" > &nbsp; </TD> </tr></table> </body> </html>