Documents found
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3231.More information
The Sex Work Activist Histories Project (SWAHP) is an interdisciplinary research and recordkeeping initiative to record and disseminate the radical knowledges, activist expertise, and important social movement histories created by activists connected to the Canadian sex worker rights movement. This paper explores how stakeholders of SWAHP work together ethically, and maintain good relations with each other when engaging in what we call high-stakes recordkeeping. Our discussions consider both the divergences or differences between academic and non-academic project partners, our convergence or common ground, and the bridges we have built between academic and non-academic concerns and practices to establish and develop methodologies and practices that inform SWAHP’s ongoing collaborations and sex-work activist histories, archives, and related activisms. We consider how to be mutually accountable to our varied and complex analytical and affective positionalities in the specific context of working ethically and relationally in high-stakes recordkeeping. We conclude by considering the relevance of these lessons to other contexts of community-led archiving and research. This paper is a lightly edited transcript of the speaker notes from a 2021 CAIS/ACSI (Allard, Ferris, Lebovitch, Clamen, and Hughes, 2021) panel presentation. Project partners are identified individually in their article sections to share, highlight, and preserve what is unique about each project partners’ perspective and voice, and to make explicit how we work together.
Keywords: community archiving, sex work activism, high-stakes recordkeeping, anti-violence feminisms, relationality
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3232.More information
While major societal tensions affect the social organization, the scope of group animation is immense because it can transform, deflect or reinforce behaviors, opinions and ways of thinking. Organizing the communication through a previous scripting, animation can either impose its objectives in full transparency or hide them behind masks of virtue, or to pass its power of influence on to individuals so that they determine through dialogue a common sense which is their most precious social good. Moving away from an intersubjective approach, the « animation space » has shrunk as many citizens refuse to participate in activities designed for them and not with them. If only dialogic processes can make a reflexive distancing and critical thinking grow, how can a journal dedicated to this topic apply them in its animation of a research and practice community?
Keywords: espacio de animación, espace d’animation, animation space, scénarisation, guion, scripting, proceso dialógico, dialogic process, processus dialogique, sentido común, common sense, sens commun
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3233.More information
Though born a free man, John W. Lindsay at the age of seven was abducted by slave catchers and enslaved in Washington D.C. He eventually landed in Western Tennessee where he made a declaration that he intended to emancipate himself no matter the cost. In order to receive the rights, liberties, and immunities granted to natural-born white men in the United States constitution, Lindsay had to flee to the border town of St. Catharines, Ontario. This article will reconstruct the principally unknown life of Lindsay as he negotiated nations, helped to build a Black community in Canada out of American refugees, and resolved to live in citizenship and equality with his contemporaries.
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3238.
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3240.More information
Thomas Heywood’s 1607 play, A Woman Killed with Kindness, ends with the protagonist, Frankford, discovering the lute of Anne, the wife he has just banished for adultery. Grieved by the sight of the instrument that he conflates with his marriage and with Anne herself, Frankford exiles the lute along with his wife. When she receives the instrument, Anne plays a lament, then directs her coachman to “go break this lute upon my coach’s wheel, / As the last music that I e’er shall make” (16.69–70). Shortly following the destruction of the lute, Anne dies. Anne’s body and memory, clearly, are inextricably linked to the lute: in the drama, her body is a musical instrument that she can play, that can be played upon, and that can be destroyed. The lute as body metaphor is a common image in early modern English literature, and Heywood both uses and complicates the metaphor. The lute, first, demonstrates Anne’s impossible and paradoxical identity as a chaste wife, noblewoman, and possible prostitute. Moreover, the lute emphasizes Anne’s powerlessness over her own body, particularly her humours. Like other characters in the play, Anne had let her bodily passions control her, but when she breaks the lute, she breaks also her passions’ power over herself and others. Yet when she destroys the lute, she does not abandon music altogether, for music can bring about powerful social harmony. Instead, she plays her own body as a musical instrument, which makes her self-slaughter instructive rather than destructive. Her death is didactic for the audience—both onstage and in the theatre—that gathers around her deathbed, and suggests a variety of means of controlling the passions, some of them more deadly than others. In A Woman Killed with Kindness, Anne’s music is an exemplar of the extraordinary efforts necessary to quell the unruly passions that cause so much of the conflict in the play.