In recent years there has been a growing interest in person-centred, 'living well' approaches to dementia, often taking the form of important efforts to engage people with dementia in a range of creative, arts-based interventions such as dance, drama, music, art and poetry. Such practices have been advanced as socially inclusive activities that help to affirm personhood and redress the biomedical focus on loss and deficit. However, in emphasizing more traditional forms of creativity associated with the arts, more mundane forms of creativity that emerge in everyday life have been overlooked, specifically with regard to how such creativity is used by people living with dementia and by their carers and family members as a way of negotiating changes in their everyday lives. In this paper, we propose a critical approach to understanding such forms of creativity in this context, comprised of six dimensions: everyday creativity; power relations; ways to operationalise creativity; sensory and affective experience; difference; and reciprocity. We point towards the potential of these dimensions to contribute to a reframing of debates around creativity and dementia.
This article revisits the personal stories that younger male civil partners told about their sexual practices, in what most termed their ‘marriage’, to generate insights into the extent to which they succumbed to the dangers that critics of same-sex marriage foretold. It provides a baseline analysis against which the findings of future studies of both heterosexual and same-sex marriages and civil partnerships can be compared. The data we discuss are comprised of joint ( n = 25) and individual ( n = 50) interviews with couples. Participants’ stories about ‘public’, ‘private’ and ‘exclusive’ sex can appear to support the predictions of some key critics. Participants tended to make commitments to sexual monogamy and link their sexual practices to deepening couple intimacy. However, viewed as stories of socioculturally shaped and biographically embedded sexual practices, they offer insights into the more complex relationships between civil partnership, marriage, sexual exclusivity and intimacy. On closer examination, they suggest it is not simply the case that civil partnership or same-sex marriage (and marriage more generally) ‘imposes’ heteronormative sexual conventions but that relational biographies are significant in shaping simultaneously conventional and deconstructive approaches to married sexuality. Partners in formalized same-sex relationships do not simply follow heterosexual norms. Rather, they juggle the often contradictory norms of mainstream and queer sexual cultures. Understanding the implications for marriage as an institution requires approaches to analysis that do not pose heterosexual marriage as the ‘straw man’ of queer analysis.
Este artigo examinará temas queer em um dos primeiros exemplares do Cinema Novo, Os cafajestes, de Ruy Guerra. Por meio de uma análise do filme, este artigo defenderá a importância de uma leitura queer e observará a existência de temas queer tanto na trama como na mensagem política geral da obra. Dessa forma, este artigo explora como a teoria queer ocidental pode ser usada para se compreender o cinema político brasileiro da década de 1960. Ele conclui, em parte, que, por meio do complemento da perspectiva marxista com uma análise queer, pode-se demonstrar que Os cafajestes proporciona ao público um diagnóstico potente e multifacetado da opressão
Lying is typically considered as a morally salient phenomenon in existing research. In this article we seek to expand the understanding of lying and deception as socially situated phenomena. We draw on qualitative interview data from a larger project on everyday experiences of living with dementia and examine how carers of people living with dementia describe, explain and justify care practices that involve the use of untruth in some way. We find that carers frequently refer to a problem with their temporal landscapes. Weaving this into moral accounts of lying, we argue for recognising the importance of our orientation in time (to the past, the present and the future) for how lying and deception are made sense of in everyday life.
Previous readings of Glauber Rocha’s Barravento/The Turning Wind (1962) have generally focused on Marxist rhetoric or on the film’s treatment of Candomblé. Through a close reading of the film, this article proposes an interpretation that foregrounds the film’s depiction of sexuality and sexual identity, which helps illuminate to a greater degree the film’s potential to challenge the status quo. Coupling a queer theoretical framework with attention to the specificities of contemporary Brazilian sexual culture, this article suggests that the film’s more ambivalent or contradictory aspects often relate to how it constructs sexuality and sexual identity. Furthermore, it suggests that tensions around sexual identity can be traced to the heart of the political problem Rocha explores in Barravento, and that the resolution of these tensions is key to the development of a liberated, non-hierarchical and anti-authoritarian community.
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