Three Decades of Writing on Manifesto: The Making of a Genre

Yanoshevsky, Galia

doi:10.1215/03335372-2008-010

Cited by 24 publications

(7 citation statements)

References 22 publications

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“…Is it because, through their mode of address and necessarily bold tenor, manifestos encourage us to imagine outwards, to postulate and offer new ways to live with the earth, to rework ourselves accordingly (Plumwood in Gibson et al., 2015). Despite the violence that can spin out from, or alongside, a manifesto, they still implicitly offer words as a ‘revolutionary tool’: they aspire ‘to change reality with words’ (Yanoshevsky, 2009: 264).…”

Section: Introductionmentioning

confidence: 99%

“…Acknowledging the long genealogy of the manifesto, and having traced some of its cohering characteristics, we move to engage with what we identify as key manifestos across the scope of our concerns: (i) Indigenous rights and decolonisation; (ii) ecological crisis and anti-capitalism; and (iii) multi-species and an eco-feminist ethics of care. These manifestos – some, broadly conceived; some explicitly from the academy and others speaking outside it – illustrate the synonymity of this form with political urgency and times of ‘profound social and cultural transformation’ (Yanoshevsky, 2009: 260). It is this growing sense of urgency, together with a frustration with the limitations and exclusive nature of academic publishing, that has drawn us to the manifesto genre in order to engage in a more expansive public discourse.…”

Section: Introductionmentioning

confidence: 99%

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A manifesto for shadow places: Re-imagining and co-producing connections for justice in an era of climate change

Potter

Miller

Lövbrand

et al. 2020

Environment and Planning E: Nature and Space

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In this article, on behalf of The Shadow Places Network, we outline a working manifesto of politics and practice. We mobilise the format of the manifesto to speak to an uncertain and damaged future, to begin to imagine other possible worlds. For feminist philosopher Val Plumwood, whose thinking inspires this network, shadow places are the underside of the capitalist fantasy, ‘the multiple disregarded places of economic and ecological support’. In turning towards shadow places, and the unjust and unsustainable processes that produce them, we call for an environmental humanities that reaches beyond abstraction, fosters new responsibilities, considers the uncomfortable, and generates reparative possibilities and alternative futures. We aim to continue to trace out a world of shadow places. We acknowledge that these shadow places cannot be known in full, but through a willingness to engage in careful conversation with the beings and places harmed by (or strategically shielded from) processes of the Anthropocene, we can learn how to relate to each other and these places in more just ways. Recognising that shadow places are impermanent and contingent, this working manifesto does not look to predetermine or prescribe but rather invites conversation, encounter and exchange. In so doing we choose to contribute to making different worlds possible by pursuing new collaborations, new methods and new politics.

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Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

A manifesto for shadow places: Re-imagining and co-producing connections for justice in an era of climate change

Potter

Miller

Lövbrand

et al. 2020

Environment and Planning E: Nature and Space

View full text Add to dashboard Cite

show abstract

“…The range of manifestos that has been studied is wide, from political to aesthetic texts and from pre-modern to post-modern contexts (Caws, 2001;Cormack, 1998;Lyon, 1999;Danchev, 2011). In the study of manifestos as a genre, the argument is made that to be a manifesto, a text need not necessarily be called as such as long as it 'looks and behaves like one' (Yanoshevsky, 2009). It is the Bakhtin (1986) position that wherever there is a style there is a genre.…”

Section: The Unbecoming Scenariomentioning

confidence: 99%

‘The wild and wacky worlds of consumer oddballs’

Bode

Østergaard

2013

Marketing Theory

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The article starts with the assumption that the research community of consumer culture theory (CCT) is materially experienced and negotiated in its continuous rhetorical construction. Here, we use the concept of manifestos to analyze the fragile dialectics of a rhetorical and social praxis. In two manifestary moments in the historical development of CCT, we compare how manifestos materialize the transitions from individuals to the linked subjects by a shared relation to 'the other'. The analysis shows how the 'we' of yesterday was written differently from how the 'we' of the present and the future requires to be articulated. This sense of 'we-ness' is then connected to the changes in the internal and external layers of the academic environment. We conclude that to ensure a sustainable, dynamic development of CCT that avoids disintegration as well as eroding subjugation and stasis, a balance between radical and pragmatic voices has to be established. This balance incorporates the idea that power and knowledge are dynamically intertwined. In this sense, 'we-ness' is not a utopian final state, but a permanent necessity for CCT that emerges out of struggles and engages in conflicts.

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“…Subjectivity writ large as a manifesto is uncontainable, viral, xenomorphic, aesthetic, political, and doubled, existing "both inside and outside" the "creative domain" and "within the field of artistic production" (qtd. in Yanoshevsky 2009). It is also integrally interconnected with the cosmological, narrative fabric of women's lives, with the ruptured gaps women leap and the story women travel through.…”

mentioning

confidence: 99%

Cyberfeminist Literary Space: Performing the Electronic Manifesto

Guertin¹

2021

Electronic Literature as Digital Humanities

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According to media critic Justine Cassell, the most effective "feminist vision" of an electronic text or software design "as a space" for sharing authority with others is to have the work "be about [its own] design and construction" (1998: 302). Cyberfeminism and cyberfeminist electronic literature are relentlessly meta, demonstrating a prevailing preoccupation with their own construction. It should come as no surprise then that the dominant genre for cyberfeminists is the manifesto, including programs for Cyborgs (Haraway 1985), mercenaries of slime (VNS Matrix 1991), for Net.Wurkers (Mez 2001), Queertexters (Rhodes 2004), Zinesters (Antropy 2012), Xenofeminists (Laboria Cuboniks 2014) and Glitch Feminists (Russell 2020). These self-consciously styled literary works celebrate the complexity of their own construction and reading. The manifesto as a literary genre is a call to social action. As a participatory and conversational form, it invites the reader to become an active player or an interactor in a narratological, discursive, semiotic and/or literal revolution. As a twentyfirst-century form, it is especially well suited to feminist digital culture because of its three major properties: it is reciprocal, viral, and memetic 6

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Three Decades of Writing on Manifesto: The Making of a Genre

Abstract: Art icle navigat ion  Volume 30, Issue 2 Summer 2009  P re vio u s Art icle Ne xt Art icle  Art icle Cont ent s Three decades of writing on manifesto: the making of a genre.

Cited by 24 publications

References 22 publications

A manifesto for shadow places: Re-imagining and co-producing connections for justice in an era of climate change

A manifesto for shadow places: Re-imagining and co-producing connections for justice in an era of climate change

‘The wild and wacky worlds of consumer oddballs’

Cyberfeminist Literary Space: Performing the Electronic Manifesto

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