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This paper draws on biographical research among the Akamba and the Luo communities in Eastern and Western Kenya, respectively. Our research explored how practices of adolescence as a process, an institution, and a performance of identity interact with colonial modernities and imaginaries in complex ways. The biographical research was carried out predominantly with women born in the late colonial period in Kenya. We provide critical reflections on the process and affordances of our embodied storytelling approach, which we position as an Africanist methodology and a decolonial research practice. This research and approach provided women with a space to narrate and perform their lived experience, potentially disrupting epistemic inequities that are embedded in the way research on growing up in the past is carried out. The discussions show how colonialism interacted with other factors, including gender and generational power, tradition, girls’ agency, and other life characteristics like poverty and family situation, in order to influence the lived experiences of women. Going beyond the narratives of victimhood that characterise coming of age in similar spaces, we present women’s emergent, incomplete, and incongruent agency. We position this agency as the diverse ways in which people come to terms with their difficult contexts. The discussion also points to the need for unsettling the settled thinking about girlhood and coming of age in specific historical spaces in the global South.

This article offers a person-centered understanding of courage, based on the classical, organismic-relational perspective in person-centered psychology. Drawing on literature (Shakespeare) and philosophy (especially Aristotle and Tillich), it discusses both the courage to be (and become) – and to belong. It considers courage as a virtue which in its deficiency is fear but in its excess is over-confidence, and elaborates four ways of understanding and working with this therapeutically: in terms of being (in terms of regard and self-regard), process (from fixity to fluidity), encounter (with self and others), and communities (influence and impact). At a meta-perspective, the article also offers a commentary on the issue of belonging in a world of psychology and/or psychotherapy that tends to discount person-centered psychology. [ABSTRACT FROM AUTHOR]

Building on qualitative approaches, post-qualitative is a turn of "becomings," never reached but always moving. Turning from and beyond established qualitative traditions, in the post-qualitative, we pursue the leads of St. Pierre and Lather to push qualitative boundaries and offer Langar - a Sikh cultural practice of collective cooking and consumption of a shared meal as an alternative site of knowledge creation. As part, we harness the philosophical virtues of Langar and utilise its resistive prowess to put forward a methodological footprint that turns from the qualitative yardstick of rigor-tested legitimisation of knowledge. We navigate the ontological turns to locate the post-qualitative determinants of Langar and argue for its methodological rightness that disclaim scientism-based warrantability of knowledge building and acceptance. [ABSTRACT FROM AUTHOR]

This paper explores embodied experiences of survivability in kidney transfer. By drawing on interviews with, and photography produced by, people on dialysis or with a kidney transplant, this paper counters biomedical approaches to survival by examining the fluid, dynamic, and shifting relations and affects of living on and with kidney transfer. Through an engagement with vitalist thinking, it is argued that kidney transfer is an ongoing process of becoming. In doing so, three characteristics of becoming in kidney transfer are identified: first, becoming in kidney transfer is characterized by material embodied experiences, which occur across and between the intersecting registers of the bodily interior, exterior, and body-in-space; second, experiences of survivability in kidney transfer are shaped through highly relational and dynamic engagements with other people, the more-than-human, and place; and third, becoming in kidney transfer involves developing new relationships to time and temporality. [ABSTRACT FROM AUTHOR]

Some of the earliest writings to which we have access introduce the myth of a human child raised by wolves. Enkidu is the "wild" friend of Gilgamesh in the eponymous Sumerian epic; Romulus and Remus of Rome are the infants who suckle from the she-wolf Lupa; and Mowgli's story has been told ever since he was conceived by Rudyard Kipling in The Jungle Book. While this wolf story might seem to imagine a friendly way of living with other-than-human beings, its contemporary uptake in media also serves as a prop for white supremacist orientations to the myth that reassert the primacy of "human" life, while always determining who counts as human. Nature, on this stage, is a savage, dangerous backdrop against which human cruelties and violence are portrayed as the "survival of the fittest." [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Filozofija i Drustvo is the property of University of Belgrade, Institute for Philosophy & Social Theory and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article aims to explore the roots of Deleuzean body beyond the traditional arguments of the philosophy of the body. In this context, firstly, I discuss the attitude of Cartesian dualism toward the body, and its consequences, which form the beginning of early modern philosophy. At the same time, they reflect the old, traditional views on the body. Those visions describe the body as a corpse in itself. With Spinoza and later Nietzsche the body, and soul/mind dualism is replaced with monism and perspectivism. It is from this perspective that the question of “what can a body do?” is posed. Drawing on the philosophies of Spinoza and Nietzsche, Deleuze describes the body as a vast principle of potentiality. Such a body constantly appears as the dimension of the multiplicity that is self-constructing. Therefore, in this article, while discussing how the attitude toward the concept of the body changed from Descartes to Deleuze on the ontological level, I simultaneously try to demonstrate the capabilities of such a new understanding of the body. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In his book "Emotions and Storms" issued in Baghdad in 1952, the Iraqi poet Sheikh Ali al-Sharqi 1894-1964 distinguishes himself from his peers among the poets of his time, and from the poets who followed him in dealing with emotional states in their subject matter and style. The poet tries to deal with human concerns, portraying his troubled, persecuted self, who found himself imprisoned in a prison, until he became a nightmare suspended in a cage, and seemed to suffer from the theft of happiness, and live in confusion and loss. Thus, the poet continues to reveal various emotional states. In this research, an attempt is made to apply the various mechanisms and procedures adopted by the semiotics of the passions of Grimas and Fontane in their book (The Semiotics of the Passions from the States of Things to the States of the Soul, 1991). This research also benefits from the readings of J. K. Cookie in his book (The Pursuit of Meaning, 1997), and is interested in the views of Dennis Bert Arn in his book (Literary Semiotics, 2000). This research reveals the connotations carried by the passions in the poems of Al-Sharqi, showing the mechanisms of action of emotions and how to produce their meanings, as well as monitoring the extent of the influence of these emotions in the formation of different connotations. This research pays attention to emotions, ways of achieving them, and clarifying their ability to generate hidden tendencies, which constitute an entry point for identifying emotional states that the self shows before the significance is formed in the cognitive and deliberative dimensions. [ABSTRACT FROM AUTHOR]

This article proposes collage as a cyclical epistemology for art therapy and arts-based research practice. Characteristics of collage and a cycle of construction, deconstruction, and reconstruction are presented and intertwined with post-structuralism. Construction, as a stable state of being, focuses on collage's ability to re-purpose materials and hold space. Deconstruction, as an unstable act of fragmenting and juxtaposing, emphasizes collage as a deconstructive event. Reconstruction, as the ongoing process of becoming, focuses on the layers of meaning within collage and its ability to impermanently stabilize. Through this cycle, collage becomes a way of creating, thinking, and being. Furthermore, collage can be considered a fitting epistemology for identity development due to its infinite entanglements, continuous simultaneity, constant instability, and ongoing state of becoming. Together, deconstruction and collage suggest methods for arts-based research, propose a theoretical perspective for art therapy, and provide an ontology and epistemology to guide research, leading to meaning making, potentiality, and a desirable ongoing state of impermanence. [ABSTRACT FROM AUTHOR]

Copyright of Çankaya University Journal of Humanities & Social Sciences is the property of Cankaya University Journal of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article scrutinizes Jeff VanderMeer's novel Annihilation (2015) and its cinematic adaptation directed by Alex Garland (2018) with the aim of investigating the tensions between the weird and visualization. It argues that it is in the monstrous, weirding function of the medium in Annihilation that the weird persists. By engaging with Gilles Deleuze and Félix Guattari's concept of becoming, I argue that the computer-generated imagery of the Annihilation film invites us to think of digital images themselves as monstrous – an articulation of the molecular, cellular, trans-species exchanges and mutations of the film, which sustains a movement towards becoming-imperceptible while becoming-visible. I argue that by releasing the monstrous, weird-making and world-making qualities of the literary and cinematic medium, the two works open us up to flowing articulations of the world that are not centred around the human but directed towards an appreciation of our existence in an incommensurable, incomprehensible, but nonetheless real and material, more-than-human embeddedness. [ABSTRACT FROM AUTHOR]

'Frailty' is increasingly used as a clinical term to refer and respond to a particular bodily presentation, with numerous scores and measures to support its clinical determination. While these tools are typically quantitative in nature and based primarily on physical capacity, qualitative research has revealed that frailty is also associated with a range of social, economic and environmental factors. Here, we progress the understanding of frailty in older people via a new materialist synthesis of recent qualitative studies of frailty and ageing. We replace a conception of frailty as a bodily attribute with a relational understanding of a 'frailty assemblage'. Within this more-than-human assemblage, materialities establish the on-going 'becoming' of the frail body. What clinicians refer to as 'frailty' is one becoming among many, produced during the daily activities and interactions of older people. Acknowledging the complexity of these more-than-human becomings is essential to make sense of frailty, and how to support and enhance the lives of frail older people. [ABSTRACT FROM AUTHOR]

In regards to the nature of time, it has become commonplace to hear physicists state that time does not exist and that the perception of time passing and of events occurring in time is an illusion. In this paper, I argue that physics is actually agnostic on the question of the nature of time. The standard arguments against its existence all suffer from implicit biases and hidden assumptions, rendering many of them circular in nature. An alternative viewpoint to that of Newtonian materialism is the process view of Whitehead. I will show that the process perspective supports the reality of becoming, of happening, and of change. At the fundamental level, time is an expression of the action of process generating the elements of reality. Metrical space–time is an emergent aspect of relations between process-generated entities. Such a view is compatible with existing physics. The situation of time in physics is reminiscent of that of the continuum hypothesis in mathematical logic. It may be an independent assumption, not provable within physics proper (though it may someday be amenable to experimental exploration). [ABSTRACT FROM AUTHOR]

It is the most personal article I have ever written, revealing my fears, hesitations, reflections, and decisions. I am still striving to write a scientific and academic paper, still looking for that academic framework that would allow this article to be recognized as a scientific text, with the reflection on that internal pressure and need to make it scientific. This is an article about the process of becoming an autoethnographer, creating a tool, shaping identity and research strategy, and becoming one.

Verbal discourse of the modern prose is formed by interconnected structure from a conscious mind in a way that the play of the signs in the text along with the personal mentality and memory of the character can become so fluid and elusive that ambiguity becomes a particular component of modern narrative. But semiotic layers with a detailed and systematic reading deal with the interaction of the text layers in the story to investigate implicit and explicit implications of signs in a semantic process through multiple codes and according to the context of the texture. "Abolhol" is a short story by Fereshte Sari written in the eighties. Narrator's diegesis that as if it is the symbolic narrative of the visualization of his subconscious mind and body about the fate of women, shows such semantic capacity of the places such as caravanserai and darkroom so fertile with human and inhuman activists that the phenomenology of reading with a layered semiotic approach, in addition to the interference of the paratext elements in the implications, the layers of time, space, aesthetics, and actors in codes are considered to show their semantic capacity in the semantic process of the story. But in the "sequence" the semantic process of the modern subject is on the path of "becoming" which led to the narrator's transcendental "Stative subject "in addition to the obvious role of "effective verbs" the narrator's "disjunction" was also considered in "meaning manqué" to show the difference between the character of traditional and modern stories in search of objects.

Music educational researchers in the Nordic countries have pointed out how municipal arts schools are organised based on, and tend to reproduce, anthropocentric values and approaches, and that such unequal norms and structures are to be challenged. Taking a border-crossing musical comedy project as a starting point, the specific aim of the current study is to illuminate how, and on what levels, organisational norms and traditional structures can be challenged, and what possibilities and new challenges that occur in a project taking place beyond the Anthropocene. To be able to grasp the aspects of becoming within the project and how that is related to aspects of organisation, we created a research entanglement based on post-human theory. Hence, situations seen as webs of relations were created, including the actors: humans with intellectual disabilities, musical performance students, educators, artists, researchers, and varied digital communication tools. Observations, video recordings, collaborative writing, qualitative surveys, and interviews produced material for analysis. Actor-network theory was applied aiming to describe how the constantly performed intra-active networks were constituted, as well as how the actors influenced each other. The results identify significant actors and trajectories in Sammankonst, that in turn challenge anthropocentric organisational structures of municipal arts schools.

In recent decades, digital and photographic life narratives by women living with breast cancer and mastectomy have gained public visibility. This article examines how a documentary and fashion photography project in contemporary Berlin rethinks normative concepts of femininity, embodiment, and sexuality through the performance of the breast cancer patient as Amazon warrior. Based on feminist theory, disability studies, media studies, and in particular Gilles Deleuze's concept of becoming , I coin the term "becoming-Amazon" for the process of relational subjectivity formation that the project opens up. Uta Melle's project shifts notions of post-mastectomy bodies as unfeminine, incomplete, or asexual and envisions and celebrates a multiplicity of relational femininities, embodiments, and erotic zones with difference. By combining digital cancer activism and an aesthetics and politics of visibility, difference, and intercorporeality, Melle's project intervenes in contemporary cancer discourse and unsettles what has been considered as redemptive cancer culture. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article adds to research on emerging masculinities in the Pacific by analysing how Papua New Guinean and Chinese male employees' intercultural work experiences impact their perceptions of becoming a good man. The idea of a good man acts as a benchmark for assessing the adaptability of Papua New Guinean employees to new work environments and determining if Chinese colleagues are their desired partners. I illustrate this point by first considering 'becoming' as an alternate framework to the binary framework reflected in earlier research. I next describe how Papua New Guinean workers impress their Chinese supervisors through negotiations and concessions about industrial and subsistence farming time, as well as how working with Papua New Guinean workers alters Chinese employees' perceptions of work. Finally, I demonstrate how employment practices foster Papua New Guinean workers' evolving perspectives on becoming a gutpela man ('good man') and Chinese employees' evolving perspectives on becoming a good person, a vital route to becoming a chenggong man ('successful man'). This article proposes characterizing emerging masculinities as hybrid identities that are context‐dependent, interculturally exchanged and temporal by presenting two parties' new thoughts on becoming a good man. This article demonstrates modulatory power dynamics in the Chinese refinery based on a two‐way narrative as opposed to portraying Chinese management as the dominating force. [ABSTRACT FROM AUTHOR]

Amidst a pandemic‐ridden world, in which esoteric practices, conspiracy theories, and alternative spiritual movements are gathering growing popularity, turning the spotlight on spirituality can be seen as a problematic move that some might feel tempted to reject outright. However, rather than reifying the belief‐driven pretensions traditionally upheld by religion, in this paper, I wish to propose a different outlook on spirituality, one which is linked to those inexplicable, visceral sensations engendered by German artist Katharina Grosse's explosive use of colour. To do this, I turn to the philosophy of Gilles Deleuze, who when affirming the non‐representational, spiritual potencies inherent to art provides the conceptual means through which to address such relationship. Specifically, Deleuze places the emphasis on his concept of sensation, which speaks neither of subject nor object. Indeed, by apprehending those in‐between, intensive moments in which a visual work of art stimulates our eyes, mind, and body, sensation foregrounds an immanent, and not transcendent, understanding of spirituality. This immanent understanding of spirituality refers to the pre‐individual forces and processes from the outside through which sensation enables us to precursively experience what the spiritual looks and feels like, yet without enforcing a dogmatic pathway to follow. Thus, by combining my reflections on Deleuze's thinking on sensation with creative vignettes based on an online ethnographic study of Grosse's artworks, the paper presents three methodological pointers: (1) Confronting the in‐betweenness of sensation, (2) Experimenting with the precursive force of language, and (3) Unleashing the literary power of becoming. Through them, I show how geographers might rethink their engagements with art as having more to do with an aesthetically induced, micro‐subjective journey into their spiritual becoming than with an intentional encounter. I conclude the paper by discussing the ethico‐political implications that endorsing an ethos of sensation might have for geography and beyond. Inspired by German artist Katharina Grosses explosive artworks, this paper seeks to rethink how geography and spirituality might be brought together, when taking the inexplicable, visceral sensations generated by colour as a starting point. In so doing, the paper combines my theoretical reflections on Gilles Deleuzes concept of sensation with three creative vignettes (based on an online ethnographic study of Grosses work) in order to present three spiritually informed, methodological pointers. The paper concludes by discussing the ethico‐political implications that endorsing an ethos of sensation might have for geographers engagements with the visual arts and beyond. [ABSTRACT FROM AUTHOR]

The purpose of this article is to examine the transformation of two generations in accepting or rejecting change. Drawing upon Gilles Deleuze's definitions of "becoming", this study aims to explore the difference between the characters in the novel Things Fall Apart, written by Chinua Achebe, in their susceptibility to change and the adaptation of generations in the face of fundamental individual and identity changes. Achebe’s novel has researched the entire campaign of conflict and confrontation between two generations in accepting or rejecting change, and why and how the change is possible in a highly traditional and colonized land. Gilles Deleuze is one of the most important contemporary post-structuralist philosophers whose ideas represent the removal of any structure and centrality. Deleuze considers "becoming" as a revolution that leads man to a new life and new way of thinking. Therefore, according to the nature of the novel and the atmosphere of confrontation and conflict that governs its characters, as well as Deleuze's reading of it, the two approaches of no change or individualism are in conflict with the acceptance of change or deterritorialization. The approach of individuality destroys any kind of hierarchy and does not accept the existence of any supreme principle to explain existence. In contrast, deterritorialization considers existence as an unknown structure that needs to be discovered. [ABSTRACT FROM AUTHOR]

Qualitative inquiry teachers often seek powerful pedagogies to improve their students' understandings. Using our experience leading a doctoral workshop, we share our method for teaching narrative interviewing using Schön's (1983) "reflection-in-action," meaning teachers and students reflect in the moment. We also root our pedagogy in Jerome Bruner's (1986, 1990) narrative as a mode of thinking and a mode of being, a philosophy exploring the ways learners story their own and others' lives. Describing our doctoral workshop, we highlight Laura, a recent graduate, narrating and becoming a qualitative inquirer. We conclude with a sample teaching lesson, designed to enhance students' reflective research practices. [ABSTRACT FROM AUTHOR]

Samad Behrangi, who is known as one of the most significant revolutionary writers of modern literature in Iran, wrote The Little Black Fish in 1968. It is a world-famous children's story that has been translated into many languages. The story is considered to be a political allegory that traces the adventures of a little black fish that seeks liberty. The fish decides to leave his homeland in order to find an alternative geography that will bestow him freedom. However, the act of migration from a tiny pool to a vast sea is not an easy task. The fish faces many hardships, including his family's resistance and the various difficulties on his way. Samad Behrangi's story profoundly shows the road to freedom is full of obstacles. In this perspective, it is possible to argue that the fish's desire to reach the sea is a symbolic endeavor to create a new perception of a place that allows him to decentralize the sharp borders of his constructed identity. The journey provides the fish with an opportunity to interact with external milieus and to reinforce certain aspects of his life that help him to build a multidimensional identity. The fish does not fall into the stable and the assigned categories of individuality, but rather he is a multiple and always-in-process character. Within this framework, the fish's journey aligns with Deleuze and Guattari's concept of the "becoming" process. Behrangi shows how the fish breaks away from the normative codes of his society and transforms into a boundless and free individual. Deleuze and Guattari maintain that the multiplicity of becoming is always "dwelling within us" (1980, p.240). Therefore, as we see in the character of the fish, the process of becoming is a continual transformation, and it creates a permanent desire for change. [ABSTRACT FROM AUTHOR]

The author, Submissions Editor of Psychoanalytic Perspectives for the past five years, surveys the several reasons he likes reading analytic writing as much as he does. He cites its usefulness as psychoanalytic companion, psychoanalytic supervisor, and midwife of an aliveness that is its own reward. [ABSTRACT FROM AUTHOR]

In this article, I try to relate Herman Melville’s literary creativity to Gothic and baroque art forms to understand the aesthetic vision revealed in his novels more in a more comprehensive manner. Melville’s aesthetic vision challenges the understanding and it can best be understood in relation to northern artistic styles. Another cultural form, Hegel’s dialectics with its speculative sentences, as the counterpart of northern art in philosophy, is another key to understand Melville’s literary vision.However, Melville does not share Hegel’s rational aims. His literary vision can be better understood through Spinoza’s substance, which combines absolute rationality with a sense of meaninglessness. The main subject in Melville’s novels is not limited to human heroes, but rather a whole field of existence that appears on a ship or an island. Deleuze’s concept“plane of immanence”, which is inspired by Spinoza’s substance, can help to understand this holism of Melville’s novel-being.On this plane of immanence, “assemblages” and “becomings” emerge between humans, animals and plants. Behind the novel-being as the plane of immanence, the capitalist mode of production announces itself as the main cause of movement.In the study, structuralism inspired methods such as establishing formal analogies and homologies were used while relating distinct literary, artistic and philosophical forms. Thus, a step was taken to make sense of Melville’s literary creativity and contextualize it in the field of cultural forms.