Nasdijj's fake magical realist memoir: re-visioning magical realism's relationship with fakery

Examining what might be described as Nasdijj’s "fake magical realist memoir" The Blood Runs Like a River Through My Dreams, this paper is interested in how Nasdijj's text might be useful in contesting our understanding of the postcolonial literature of magical realism. Drawing attention to Nasdijj’s utilization of the “primitivist” conventions of magical realism, this paper will illustrate how fakery might be seen as essential not only to Nasdijj's text but also to magical realism. In fact, this paper argues that magical realist novels might be productively read as hoaxes, mobilizing what Graham Huggan describes as the "postcolonial exotic" in order to engage in a subversive act of “culture jamming”. The objective of the analysis is not to condemn magical realism along with Nasdijj’s opportunistic memoir, but rather to rescue magical realism from ideas about authenticity, celebrating its ironies and its challenges to colonial discourses of identity and history.

The whiteness of David Bowie

During the 1980s, in particular, Bowie embodied particular notions of white masculinity that were on the one hand supportive of its idealized hegemony, and on the other subverted its normative power. I will take 1983 as the year when his whiteness is particularly visible and unstable. Bowie, as either the blonde dandy from Let’s Dance; the enigmatic character, Maj. Jack 'Strafer' Celliers from Merry Christmas Mr. Lawrence (1983); or the simmering vampire, John Blaylock from The Hunger (1983), crystlised the pure qualities of white masculinity while demonstrating its violent, queer and subversive nature. The chapter will suggest that Bowie has constantly operated along a white continuum, self-consciously embodying it, granting it carnal and ideological power, while drawing attention to its death-like instinct, its anti-reproductive progeny, its implicit queerness.I have chosen to read Bowie’s whiteness through this shortened window of temporality to enable me to draw into the analysis the historical and cultural issues of the period in question. 1983 registers as the year in which whiteness is acutely imagined to be under threat from the Asian tiger and transforming geo-political realities, its own languid anti-corporeality, the AIDS ‘epidemic’, and from the rise of racism in Europe and elsewhere - realities which require it to re-position its power relations with the sexual, and ethnic Other. The whiteness in/of David Bowie speaks particularly eloquently to this historical moment.

Gender and public relations: critical perspectives on voice, image and identity

Although there is a small body of feminist scholarship that problematizes gender in public relations, gender is a relatively undefined area of thinking in the field and there have been few serious studies of the socially constructed roles defining women and men in public relations. This book is positioned within the critical public relations stream. Through the prism of 'gender and public relations', it examines not only the manipulatory, but also the emancipatory, subversive and transformatory potential of public relations for the construction of meaning. Its focus is on the dynamic interrelationships arising from public relations activities in society and the gendered, lived experiences of people working in the occupation of public relations. There are many previously unexplored areas within and through public relations which the book examines. These include: • the production of social meaning and power relations. • advocacy and activist campaigns for social and political change. • the negotiation of identity, diversity and cultural practice. • celebrity, bodies, fashion and harassment in the workplace. • notions of managing reputation and communicating policy. In extending the field of inquiry, this edited collection highlights how gender is accomplished and transformed, and, thus how power is exercised and inequality (re)produced or challenged in public relations. The book will expand thinking about power relations and privilege for both women and men and how these are affected by the interplay of social, cultural and institutional practices. Winner of the Outstanding Book PRide Award, awarded by the National Communication Association (NCA).

The shadow maker: a novel, and Exegesis exploring magical realism, trauma and elegy

 Through a creative artefact and critical exegesis, this thesis explores the interconnections between trauma literature, magical realism, and elegy. Drawing on various theoretical fields including postcolonialism and feminist theory, the thesis contributes an original intervention into the field of magical realist scholarship, arguing for the continuing significance of the magical realist mode as a politically engaged and subversive literature.

Affirming emergent practices in educational technology: the politics of usage

Drawing on de Certeau's characterisation of everyday practice as reuse, this paper focuses on the micropolitics of mobile touch-screen devices (MTSD) usage, and how emergent practices - appropriations and (re)deployments - interface with institutionalised notions of learning. The recontextualisation of technological artefacts into formal education settings can (and often does) result in a 'domestication' or 'schooling' of technology, bringing with it familiar power relations and patterns of success. However, the indeterminacy of technology allows for potentially subversive practices, for surreptitious appropriation and re-deployment of devices, processes and texts, and for 'counterplay' that challenges the ways that schooling is traditionally done. This paper discusses three examples of MTSD usage that highlight the productive role of users as creators of their own contexts for learning. The examples include young children's home usage of iPads, an early year teacher's use of iPads in her classroom, and a young child's account of his use of an iPad app at school. The paper is framed by a discussion of the possibilities opened up by practice-based approaches (such as that of de Certeau) for change-oriented research that seeks to affirm emergent and/or marginalised practices; to trouble tacit assumptions about schooling; and, to understand the relation between everyday practices and the institutionalised ground that they transform.

Reading and performing abjection: Staging Joyce, A professional reflection

As one who has mounted theatrical Bloomsdays since 1994,' I well understand that the issue of Joyces radicalism on the subject of the body is a recurring crux for dramaturg, director and actors, not so much on moral grounds, as on the grounds of playability and sometimes taste. It is one thing to read with a startled chuckle a febrile passage which transgresses norms, or to enjoy hyperbole in context, but embodied enactment is an entirely different matter, because the limits of what Joyce was prepared to essay in fiction are so extreme, so strangely and transgressively unfamiliar, despite the passing of close to a century since publication. It is the difference between reading in private and reading a staged and necessarily embodied and visual event that is the focus of this article. What performing Joyces bodies has revealed to me is his particular, unsentimental and secular take on bodies as both comic and sublime, even sacred - concepts that are rarely yoked together. Resisting the impulse to sanitise Joyce and censor him takes one into the territory of outrageous, often non-naturalistic, comedy, but also into a paradoxical notion of the body as sacred, and the gendered body as potentially subversive, via the by-ways of theatricality, censorship and taste.