subjective

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This resituation of pain offers the opportunity to recognize the specificity of childbirth pain as a crucial aspect of women's diverse birthing subjectivities.
Modal Subjectivities was recognized by the American Musicological Society in 2005 with its coveted Kinkeldey Award; however, the book's engaging style, bold premise, and persuasive argument will reward and gratify the reader who possesses a modicum of music literacy and a general interest in Renaissance poetics, regardless of discipline.
In the carnavalesque elements of the dance--in the politics of playing with the past--dancers bridge languages of class with performances of class at the same time as they refract the modern racial and gender ironies, contradictions and tensions in middle-class subjectivities and fantasies.
Together, Rajan's essays provide insightful and interesting readings of the cultural constructions/representations of Indian gendered subjectivities in the postcolonial context.
This fact, along with the fact that other subjectivities succeed us after we die, suggests an alternative to the intuition of impending nothingness in the face of death.
Instead, she views the utopian prospect of cultivating to transcendent perfection one's "true Individualism" as a mystifying "embourgeoisement" that obscures and devalues the "plurality of subjectivities" (276) that she hopes to release in her history of subjectivities.
The multiplicity of subjectivities that one encounters among Puerto Ricans in the early twentieth century is not the sole result of post-1898 changes but had been engendered throughout the many centuries of struggles and negotiations within local, regional, and international circuits of power.
Keller appeals to cross-gendered images of the divine in early Christianity (a female Holy Spirit, a breasted Father) to argue for a current conception of "gender fluidity" that can maintain a sense of the connectedness and "ethical mutuality" which should characterize our moral subjectivities.
While Screening the Male often reverses the discursive tables by applying terms and categories such as spectacle and the gaze to representations of men instead of women, Women and Film opens up territory that reshapes our vision and understanding of both female and male subjectivities in film.
Fish gradually advances a theory of hybridity, defined generally as "the mixing of different persons or things," to describe the aesthetic structure of these three women's texts and their fashioning of mobile, unfixed narrative subjectivities.
Panoramic views of the empty theater alternate with close-ups of the director seated in the orchestra section as he directs the actors--that is, creates fictitious subjectivities.