Dark Ages and Bright Futures

IF 1.1 2区 社会学 Q2 ANTHROPOLOGY
Deepti Misri
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引用次数: 8

Abstract

This article examines the shape of time for those living in Indian-occupied Kashmir, focusing particularly on two calendars that became embroiled in a “calendar war” in Indian-occupied Kashmir in the year 2017. The first was the annual calendar of the Jammu and Kashmir Bank, which proudly featured twelve “talented youth[s]” of the state. The second was a “countercalendar” circulated online by the anonymously run pro-azadi (self-determination) Facebook group Aalaw, featuring a rather different image of Kashmiri youth. Situating these calendars against a larger backdrop of visual representations of time in occupied Kashmir, this article examines how each calendar mobilized narratives about the past, present, and future in Kashmir, narratives that were negotiated through competing gendered images of youth via rhetorics of ability and disability. The article takes up the tensions between two strands of disability studies: liberal approaches that emphasize the celebration of disability and biopolitical critiques that foreground the violent production of debilitation, to consider how Kashmiri visual production suggests a vision of crip futures for those now living with disabilities in Kashmir.
黑暗的时代与光明的未来
本文探讨了生活在印控克什米尔地区的人们的时间形态,特别关注了2017年印控克什米尔地区卷入“日历战争”的两种日历。第一个是查谟和克什米尔银行的年历,上面自豪地列出了该邦的12位“天才青年”。第二份是由支持自决的匿名Facebook群组Aalaw在网上传播的“反日历”,展示了克什米尔青年的不同形象。本文将这些日历置于被占领的克什米尔的时间视觉表现的大背景下,研究每个日历如何动员关于克什米尔过去、现在和未来的叙述,这些叙述是通过能力和残疾的修辞,通过相互竞争的青年性别形象来协商的。这篇文章探讨了两种残疾研究之间的矛盾:一种是强调对残疾的颂扬的自由主义方法,另一种是强调对衰弱的暴力生产的生物政治批评,以思考克什米尔的视觉生产如何为现在生活在克什米尔的残疾人提供一种残缺未来的愿景。
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来源期刊
Public Culture
Public Culture Multiple-
CiteScore
2.10
自引率
6.70%
发文量
34
期刊介绍: Public Culture is a peer-reviewed interdisciplinary journal of cultural studies, published three times a year—in January, May, and September. It is sponsored by the Department of Media, Culture, and Communication, NYU. A four-time CELJ award winner, Public Culture has been publishing field-defining ethnographies and analyses of the cultural politics of globalization for over thirty years. The journal provides a forum for the discussion of the places and occasions where cultural, social, and political differences emerge as public phenomena, manifested in everything from highly particular and localized events in popular or folk culture to global advertising, consumption, and information networks. Artists, activists, and scholars, both well-established and younger, from across the humanities and social sciences and around the world, present some of their most innovative and exciting work in the pages of Public Culture.
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