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Mentalizing homeostasis: The social origins of interoceptive inference
Aikaterini Fotopoulou, Manos Tsakiris
Neuropsychoanalysis·2017·288 citations
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View paper →ZANU's External Networks 1963–1979: An Appraisal
Gerald Chikozho Mazarire
Journal of Southern African Studies·2017
The Zimbabwe African National Union (ZANU) emerged from the smouldering ashes of the intra-party violence that followed its break away from the Zimbabwe African People's Union (ZAPU) in 1963 and the clampdown by Rhodesian authorities. Its structures were barely consolidated when it was banned in 1964, and its efforts in exile suffered a crisis of recognition, as the key sponsors of African liberation movements continued to view it as an 'inauthentic' and 'separatist' movement. This article traces the structures and strategies that ZANU used to manoeuvre through these obstacles to become a fully-fledged liberation movement by the mid 1970s. It pays particular attention to the work of individuals and organisations that facilitated this transformation by tracing a wide range of regional and international networks, including military, financial, humanitarian and diplomatic roles. The main sources are the growing corpus of oral reminiscences and published memoirs of the main players. It argues that ZANU was a beneficiary of the contradictions in the international solidarity movement. As it grew in stature, however, its own internal contradictions as a movement threatened to consume it and render the efforts and sacrifices of its exiles worthless. Yet, as the war escalated, these exile networks were the very basis on which an effective diplomatic offensive was launched, which complemented the successes that ZANU had in the battlefield. This aspect of the ZANU war effort is often conveniently omitted by ZANU itself.
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View paper →"Drag Performance and Femininity: Redefining Drag Culture through Ident" by Cristy Dougherty
Cristy Dougherty
Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato·2017
Viewing gender as a performance reveals how gender identity is shaped and formed. There is currently tensions associated with drag queen performance as an act of subversion and transgression from the heteronormative definition of gender and drag as a perpetuation of heteronormative definitions of gender. There is also a tension between the affirmation of femininity and transgression from gender binaries of womanhood. In order to address these tensions, this thesis project examined the reasoning behind how transgender women and gay men drag queen performers navigate the world of femininity. Specifically, this study explored the varied reasons behind performing femininity through drag and to further understand what it means to perform femininity. This project also delved into gender scholarship and how it related to gender as performance, drag queen performance, and transgender identity performance. I collected the data through purposeful sampling and semi-structured interviews with three transgender drag queens and three gay man drag queens. The interview responses were analyzed using thematic analysis. The themes that were discovered in this project suggested that through drag performance, femininity is used as medium to access a unique understanding of the self. The data suggested that cultural and social understandings of gender influenced performance of the self on and off the stage and the participants still worked within these assumptions surrounding gender to make sense of their identity. Ultimately, this thesis explored what it means to perform femininity and identity in a culture that perpetuates cultural and social understandings and notions of gender performance.
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