The ideas embedded in Enlightenment concepts of subjectivity, understood as a coherentand rational identity, have established a universal perspective for a long time. Today,this outlook is being questioned by the experience of difference. The voices of minoritiesdemanding acceptance and representation, both in social practice and in theory, have becomemore audible. But while theory allows for radical mental conclusions, the social andexistential practices require positive theoretical solutions. A postmodern deconstructedsubject does not constitute a sufficient basis for social activity or political identification.Therefore, a significant challenge for the feminist theory today is to find a form for thesocial subjectivity and, at the same time, avoid an oppressive and reductive category. RosiBraidotti employed the Deleuzian figure of a nomad, and proposed a concept of a subjectbeing resistant to postmodern fragmentation. She made a distinction between identityand subjectivity: identity is rooted in the unconscious, while subjectivity is conscious anda source of political resistance. The resistance is not due to stronger foundations, in comparisonto the Cartesian subject, but results from mobility and openness to the Other. Attemptingto construct a clearly positive conception of a subject, Braidotti proposes ‘a nomadicpolitical project’. The question is: is it possible to put this idea into a social reality ordo we have just another sophisticated theoretical concept?
The ideas embedded in Enlightenment concepts of subjectivity, understood as a coherentand rational identity, have established a universal perspective for a long time. Today,this outlook is being questioned by the experience of difference. The voices of minoritiesdemanding acceptance and representation, both in social practice and in theory, have becomemore audible. But while theory allows for radical mental conclusions, the social andexistential practices require positive theoretical solutions. A postmodern deconstructedsubject does not constitute a sufficient basis for social activity or political identification.Therefore, a significant challenge for the feminist theory today is to find a form for thesocial subjectivity and, at the same time, avoid an oppressive and reductive category. RosiBraidotti employed the Deleuzian figure of a nomad, and proposed a concept of a subjectbeing resistant to postmodern fragmentation. She made a distinction between identityand subjectivity: identity is rooted in the unconscious, while subjectivity is conscious anda source of political resistance. The resistance is not due to stronger foundations, in comparisonto the Cartesian subject, but results from mobility and openness to the Other. Attemptingto construct a clearly positive conception of a subject, Braidotti proposes ‘a nomadicpolitical project’. The question is: is it possible to put this idea into a social reality ordo we have just another sophisticated theoretical concept?
Beaivváš Sámi Našunálateáhter from Kautokeino (Norway) is an institutional theatre with Sami (Lappish) as the main stage language. Sami institutional theatres in Scandinavia have a relatively brief history which reflects the tension between the Sami people’s sociopolitical aspirations and Sami theatre artists’ freedom of expression. The theatre from Kautokeino is based upon a robust tradition (e.g. such pre-theatrical modes as the yoik, the art of storytelling, the shamanistic séance), and at the same time it is open to impulses from other cultures and theatrical traditions (both European and non-European). The article takes its point of departure in a postmodern concept of nomadism (Deleuze, Guattari, Braidotti, Islam). It focuses on the nomadic as the impetus and the driving force behind the Beaivváš Sámi Našunálateáhter. The nomadic, however, is understood not only as a reference to the Sami cultural heritage, but as an artistic practice based upon the reaction against aesthetically, historically, politically and socially rigid intellectual patterns. The practice is manifested, inter alia, in transgressions of established genres and aesthetic categories, multilingualism and cultural interferences.
The present paper considers encounters between humans and nonhumans (especially nonhuman animals), a theme surprisingly frequent in the fiction works of contemporary Japanese women writers. The main characters of two short stories by Kawakami Hiromi are an old-fashioned, well-bred bear, which moves into a new apartment and invites its human neighbor for a walk to the river (Kamisama, 1993), and a mole which, being perfectly aware of its nonhuman origin and appearance, works with humans in an office (Ugoromochi, 2001). The other character of Kawakami’s work, awarded with the prestigious Akutagawa prize (Hebi o fumu, 1996), meets in her real, everyday life a snake claiming to be her mother and trying to draw her into the world of snakes. In turn, in the novels by other famous women writers, Tawada Yoko and Shono Yoriko, who are counted among the most recognized Japanese authors, we find a dog (Inu mukoiri/The Bridegroom Was a Dog by Tawada, 1993) and a tuna (Time Slip Industrial Complex by Shono, 1994) as lovers of the main female characters. In their works, Japanese women writers transgress not only cultural, linguistic and geographical barriers, but above all, they go far beyond the boundaries in force in the anthropocentric universe. Addressing in their works the issue of encounters and close relationships between humans and nonhumans, they openly provoke questions that concern not only Japan, but also the world’s contemporary posthuman thought: questions about human and nonhuman actants, its body, emotions, thoughts and mutual relations in a world where men coexist with other, animate and inanimate forms of being.
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