Search Results (11)

This article, Queering Militarism in Israeli Photography, examines Adi Nes’s Soldiers series, a body of work that interrogates the intersections of queerness, militarism, and nationalism within Israeli society. By employing a distinctive “military circus” aesthetic, Nes challenges the rigid heteronormative and hyper-masculine archetypes embedded in Israeli military identity. His staged photographs depict soldiers in circus-inspired performative poses, blending military discipline with elements of the carnivalesque to subvert conventional representations of military masculinity. This approach creates spaces where queerness, vulnerability, and fluid identity defy the rigid confines of nationalist narratives. Using queer studies frameworks, performance theory, and postcolonial critique, this article analyzes Nes’s depiction of soldiers as both military subjects and circus performers, examining how these representations disrupt the “naturalness” of gender, power, and identity within the Israeli national ethos. Through a close reading of key images—such as the fire-breathing soldier, the acrobat on a tightrope, and the strongman figure—this article argues that Nes critiques homonationalism and exposes the co-optation of LGBTQ+ identities into militaristic frameworks. His images juxtapose exaggerated masculinity with homoerotic and introspective vulnerability, positioning the queer body as both a participant in and a subverter of the national narrative. Drawing on contemporary queer theory—including José Esteban Muñoz’s concept of “disidentification”, Eve Kosofsky Sedgwick’s theories of queer shame and performativity, and perspectives on temporality, failure, and counterpublics following Elizabeth Freeman, Jack Halberstam, Michael Warner, and Sara Ahmed—this article frames queerness as an active site of resistance and creative transformation within the Israeli military complex. The analysis reveals how Nes’s work disrupts Zionist masculinities and traditional militaristic structures through a hybrid aesthetic of military and circus life. By reimagining Israeli identity as an inclusive, multi-dimensional construct, Nes expands queer possibilities beyond heteronormative confines and homonationalist alignments. This merging of critical queer perspectives—from the destabilizing of discipline and shame to the public visibility of non-normative bodies—posits that queer identities can permeate and reshape state power itself, challenging not only the norms of militaristic nationalism but also the boundaries of Israeli selfhood. Full article

Deras are generally perceived as an alternative socio-religious space frequented mostly by lower castes and economically weaker sections of society. They promise to make a significant difference to the lives of such vulnerable sections of society by lending them much needed spiritual, moral, and social support. Within the sprawling premises of Deras, downtrodden find a welcoming ‘counter-public’ enriched with social capital, which offers them an egalitarian domain free from the afflictions of caste discriminations, social exclusion, and subtle indignities often faced by them within the mainstream religious spheres. The growth of Deras thus may be seen as an index of subaltern socio-cultural and syncretic religious realms generating a rich haul of social capital. Full article

Hindu nationalism operates on a global scale today. Evinced by the transnational networks of the Sangh Parivar and the replication of strategies such as amending textbooks and patriotic rewriting of history, politics and discourse of Hindu nationalism are not solely contained to the territorial boundary of the nation. In this globalized battle for and against Hindu nationalism, the United States of America serves as an important site. In light of this, this article puts together existing scholarship on diasporic Hindu nationalism with late nineteenth-and early twentieth-century deterritorial history of Indian nationalism to present a broader framework for historicizing Indian activism in the US. It argues that while long-distance Hindu nationalism in the US cannot be traced before the 1970s, examining the early experiences of Indian activists in the US offers useful insights with which to evaluate the ongoing battles of Hindu nationalism in the US and opens another field of enquiry: Hindutva’s counterpublic. Full article

This commentary offers a reflection on the triangular interactive relationship between Hindutva, gurus and media. It suggests that Hindu nationalists understand gurus to be a specific form of valued Hindu cultural good, which helps to explain mediatised activist attempts to defend gurus from legal and media scrutiny, and historicises the theme of guru domination, caste politics and Hindutva through the optics of matter and media, exploring both the mass remediation of Brahmanical guruship models that attended Hindutva’s rise in the 1990s and the oppositional response it provoked, which we term ‘the subaltern counter-publicity of the guru’. It discloses how Hindutva is itself structurally composed of guru logics at different scales; it embodies a kind of ‘fractal guruship’. However, if Hindutva mediates principles of guruship, we also see how a multitude of public gurus mediates principles of Hindutva. This ‘bi-instrumentalism’ of Hindu nationalism and some gurus is witnessed in the instances we describe of gurus—and the idea of India as a guru—being used as a means of branding in order to convey and normalise the ‘Hindutva idea of India’. We suggest, in light of the frequent mutual mediation of gurus and Hindutva, that continued investment by devotees and commentators in gurus as figures embodying hope and the promise of post-communal amity can aptly be described using Berlant’s evocative phrase ‘cruel optimism’. Full article

Drawing on postcolonial critique to analyze the work and political purpose of activist groups on social media, this article asks the question: How do digital media communications simultaneously reinstate binary oppositions and invite rhizomatic relations? While the concept of counterpublics is helpful when it comes to understanding the voices of opposition in public discourse, it is also necessary to introduce postcolonial critique and geopolitical and historical distinctions in order to grasp the particularities of global digital activism (Brouwer and Paulesc 2017; Blaagaard 2018). This article does exactly that: Illustrating the postcolonial, hybrid, and cosmopolitan qualities of digital activism on social media platforms, the article presents a discursive analysis of Black Lives Matter Denmark (BLM-DK) as they operate on the social media platform Facebook. The group’s posts are dedicated to juridical and political struggles over discrimination and racial violence in Denmark and the United States, thus producing a counterpublic. The posts moreover introduce and connect two very different geopolitical and historical contexts, thus showing social media’s potential for creating rhizomatic relations. Full article

Feminist discussions in art history usually focus on the exclusion of women artists and the reification of women’s bodies. A growing constellation of queer and feminist theorists today, however, analyse failure and cuteness as aspects of contemporary feminist avant-garde practices, suggesting that alternative currents in art practice and theory are emerging that challenge traditional notions and modes of art production. In my article, I discuss these debates in relation to “weak universalism” and weak messianism in order to reshape our understanding of avant-garde theory and practice from a feminist perspective. I argue that feminist analysis transforms what was previously thematized as conditions of exclusion into an important part of artistic legacy in works made by previously excluded groups. I propose that the concept of a weak avant-garde might help to theorize these shifts. Full article

Black public activism has been guided largely by black affinities toward the U.S. Constitution, including its core democratic liberalist premises. This range of constitutionally defined political possibilities has both animated (and confined) a sense of public imagination and agency for many black Christians. Divergences and convergences between black religion-based public confidence and dissent are examined here, with reference to three paradigmatic approaches: (1) civil religious patriotism; (2) religious counter-publics; and (3) socio-religious liminality and semi-publics. Contrasts and continuities between these approaches are examined with attention to the impact of these approaches on a beleaguered and diminished American public realm and their relative affirmations or negations of broad understandings and undertakings of public purposes. Full article

This article explores the often normative and idealist notion of the public sphere at its possible breaking point by analysing the online reactions to two tabloid articles about a 2016 performance of Dancing with Strangers: From Calais to England by Instant Dissidence. It first looks at how a comment platform could be perceived as a subaltern public sphere and as a substitute for a live audience in order to reconsider the notion of the counterpublic. For this, it examines the dialectical tension between politics and aesthetics within a subaltern online public sphere not immune to all kinds of extremism. This leads to an attempt to consider online hostile lay critics as a potentially legitimate public to address the dilemma faced by contemporary artists when engaging with society in an all-inclusive manner. Finally, this article offers a different reading of Instant Dissidence’s performance and of the possible reasons for the commentators’ rage and alienation and proposes syncopolitics as a way out of both online polarisation echo chambers and the public engagement conundrum. Full article

In October and November of 1984, after the assassination of Prime Minister Indira Gandhi by her Sikh bodyguards, approximately 3500 Sikh men were killed in Delhi, India. Many of the survivors—Sikh widows and their kin—were relocated thereafter to the “Widow Colony”, also known as Tilak Vihar, within the boundary of Tilak Nagar in West Delhi, as a means of rehabilitation and compensation. Within this colony lies the Shaheedganj Gurdwara, frequented by widows and their families. Based on ethnographic fieldwork, I explore the intersections between violence, widowhood, and gendered religious practice in this place of worship. Memories of violence and experiences of widowhood inform and intersect with embodied religious practices in this place. I argue that the gurdwara is primarily a female place; although male-administered, it is a place that, through women’s practices, becomes a gendered counterpublic, allowing women a place to socialize and heal in an area where there is little public space for women to gather. The gurdwara has been re-appropriated away from formal religious practice by these widows, functioning as a place that enables the subversive exchange of local knowledges and viewpoints and a repository of shared experiences that reifies and reclaims gendered loss. Full article

Studies of digital religion frequently take democratic regime settings and developed economic contexts for granted, leaving regime and economic development levels as background factors (Campbell 2013). However, in China, the role of the authoritarian state, restrictions on religion, and rapid social change mean that online and offline religious practices will develop in distinct ways. This article analyzes the 2019 Bible handcopying movement promoted through China’s most popular social media WeChat as a way to commemorate the hundredth anniversary of the publication of China’s most widely used translation of the Bible. Drawing on interviews by and communication with the movement’s founder, the co-authors participated in and collected postings from a 500-member WeChat group from March to August 2019. We argue that while offline handcopying is an innovation in religious practice due to Chinese cultural and historical traditions, the online group constitutes a micro-scale “alter-public” (Chen 2015; Warner 2002), a site for religious discussion, prayer, and devotion that strengthens an “alternative” Protestant identity alongside that of Chinese citizen of the People’s Republic of China. Full article

This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers. Full article