Vikki Bell – författare

Drawing on sociology, philosophy and anthropology, this collection brings together leading commentators, including Judith Butler, Paul Gilroy and Arjun Appadurai, as well as a range of new scholars. It examines questions of visuality, political affiliation, ethics, mimesis, spatiality, passing, and diversity in modes of embodied difference. The volume advances conceptual and theoretical issues through testing various propositions around specific examples or questions. What emerges is a rich engagement with the complexity of contemporary forms of belonging.

Vikki Bell provides a compelling rethinking of feminist theory as bound up with attempts to understand oppression outside a focus on 'women'. She affirms feminism as a site and mode of making these connections.

Winner of British Sociological Association Philip Abrams Memorial Prize 1993 Within feminism incest has often been subsumed under a discussion of sexual violence and abuse. Yet, important as this is, there has been little account of how feminist work itself relates to other ways of talking about and understanding incest.In Interrogating Incest Vikki Bell focuses on the issue of incest and its place in sociological theory, feminist theory and criminal law. By examining incest from a critical Foucauldian framework she considers how feminist discourse on incest itself fits into existing ways of talking about sex. Closely surveying the historical background to incest legislation and the theoretical issues involve, Vikki Bell delineates their practical implications and shows what uncomfortable questions and important dilemmas are raised by the criminalisation of incest.

Winner of British Sociological Association Philip Abrams Memorial Prize 1993 Within feminism incest has often been subsumed under a discussion of sexual violence and abuse. Yet, important as this is, there has been little account of how feminist work itself relates to other ways of talking about and understanding incest.In Interrogating Incest Vikki Bell focuses on the issue of incest and its place in sociological theory, feminist theory and criminal law. By examining incest from a critical Foucauldian framework she considers how feminist discourse on incest itself fits into existing ways of talking about sex. Closely surveying the historical background to incest legislation and the theoretical issues involve, Vikki Bell delineates their practical implications and shows what uncomfortable questions and important dilemmas are raised by the criminalisation of incest.

Since the end of the last dictatorship in 1983, Argentina’s visual artists and art-activists have been central to campaigns to demand the criminal prosecution of those initially granted amnesty and to a variety of commemorative projects. In The Art of Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina Vikki Bell examines this involvement and intervention. She argues that the problematics that arise within the aesthetic realm cannot be understood solely through an art-historical approach; instead, they must be understood as a constitutive part of a broader collective endeavour. In this sense, the ‘art’ of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations are constituted and entwined with questions of response, ethics and justice. It concerns how people align themselves between the past and the future.

This book will be an invaluable resource for those studying the law, politics, art and sociology of contemporary Argentina as well as those concerned more widely with transitional justice and the politics of memory.

Since the end of the last dictatorship in 1983, Argentina’s visual artists and art-activists have been central to campaigns to demand the criminal prosecution of those initially granted amnesty and to a variety of commemorative projects. In The Art of Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina Vikki Bell examines this involvement and intervention. She argues that the problematics that arise within the aesthetic realm cannot be understood solely through an art-historical approach; instead, they must be understood as a constitutive part of a broader collective endeavour. In this sense, the ‘art’ of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations are constituted and entwined with questions of response, ethics and justice. It concerns how people align themselves between the past and the future.

This book will be an invaluable resource for those studying the law, politics, art and sociology of contemporary Argentina as well as those concerned more widely with transitional justice and the politics of memory.