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The work of critical theory cannot stop when it leaves the classroom, but must encompass the lived experience of the everyday. This essay combines personal narrative, disability theory, and a discussion of archiving strategies to question the boundaries of disability, injury and impairment.
Although fandom has an interesting and constructive relationship with disability, injury, and impairment, this paper does not focus on individual fan-works that feature these topics. This essay is instead an examination of the macro-structure of two different archives: TV Tropes and Archive of Our Own.
TV Tropes is an informal encyclopedia of narrative devices that uses community engagement to read narratives in a critical yet accessible way. Employing the macro-structure organization of the database, users frame the linkage of pity and disability in an atypical manner that subverts mainstream ableist assertions. This shows us that the structure of the archive allows for opportunities to resist oppressive ideologies. Rather than subverting official archival methods, Archive of Our Own instead provides space for users to create intersectional spaces through personally generated tags. While these websites are examples of how diverse archival strategies can positively engage with disability narratives, the decision to separate the labels of disability and injury is indicative of tensions around the categorization of the body. Examining how the division can be broken in both theory and fandom creates new, productive models of activism.

Journal issue at https://wiki.aalto.fi/pages/viewpage.action?pageId=151504259 . Journal home page at https://wiki.aalto.fi/display/Synnyt/Home .

Contemporary far-right politicians increasingly diffuse messages through social networks. This article argues that online communication may prove effective for political engagement because it can cre-ate emotional reactions against certain groups, in a process that I call "emotional antagonism. " An exam-ple of emotional antagonism is online Islamophobia, which considers Islam as supposedly incompatible with democratic values and tends to conflate Muslims with migrants. Through qualitative observations and textual analyses of tweets, this article explores the following questions: How do certain online exchanges emotionally frame Muslims as the social "others" in relation to European culture? Why and how does the Internet facilitate the spread of emotional antagonism? What type of political propaganda and participa-tion is connected to affective online Islamophobia? The article analyses two case studies: 1) Islamophobic tweets sent in the aftermath of the British referendum in 2016, with the hashtag #Brexit; 2) Anti-Muslim tweets that contain the hashtag #chiudiamoiporti (close the ports), launched by Italian Vice Prime Minister Matteo Salvini in 2018 to support anti-migration measures. The article shows that exploring emotional an-tagonism can add complexity to the current understanding of Islamophobic conflicts, of social media plat-forms' characteristics, and of political participation based on online communication.

Abstract Although humor is generally associated with innocent amusement, in the case of crisis events it has various psychological, social and politically charged effects, both negative and positive. In times of crisis humor functions as a technique for neutralizing emotionally charged areas and by that means provides hope. On the other hand, in contemporary society there exist sensitive socially restricted and culturally dependent boundaries beyond which humor is not permitted to extend. This article discusses how humor becomes politicized when it functions as a part of crisis events, both as a trigger for crises and as a strategic tool to manage them. Specific attention is paid to the impact of spatiality by dissecting how the links between crisis and humor change when the scalar perspective shifts and how different spatial levels interact when humor becomes political. 'Body', 'local', 'regional', 'national' and 'global' are important spatial abstractions across which the socio-political meanings connecting humor and crisis events become produced.

This paper looks into the contemporary art practice in Pakistan and tries to cognize feminist art and feminist aesthetics in local context with a belief that feminist aesthetics ultimately answers the issues of feminism itself. In its broader scope the study looks at the works of selected women artists, most of them actively involved with the Women Action Forum (WAF), in order to theorize feminist aesthetics which must re-define feminism and feminist's concerns in the present day Pakistan where like elsewhere women affairs have become a pertinent issue. The paper negates the popular notion that feminist art must address the controversial issues of 'social morality' and/or it is all about agendas of the leftists against any established cultural norms. Feminist art in Pakistan exhibits a flavor of its own which is somewhat different than the Western notions.

This article explores three facets of green space within a medieval monastic context: its origin, its effects and properties and the way it was shaped into an expression of power. We learn a great deal about the history of green space through the nuances of monastic thought and vice versa. The term 'green space' in a medieval context may initially seem anachronistic and an artefact of twenty-first century health policy and neuroscience and yet, as this article argues, the use of medieval knowledge for moral and institutional power as well as medicine and spiritual contemplation tells us as much about monastic thought as its equivalent reveals of our urban and rural landscapes today. The term 'green space' is an insight into the medieval brain, an artefact of monastic self-fashioning and power. Medieval and modern perspectives should share the spotlight. In outlining properties and exploring political ecology, this article deploys a collection of rhetorical landscape descriptions, primarily from the Cistercian literature of the twelfth century, placing them in a wider context. In doing so, we understand another facet of monastic authority established and over landscape and articulated through the power structures of medicine, natural philosophy and other aspects of monastic learned discourse. Knowledge makes green, green promotes health, health valorises monasticism, monasticism shapes knowledge: a green circle of power.

This research examines the predominant U.S. race-based discourses surrounding the first five seasons of the South Asian American-led network television show, The Mindy Project . Through a textual analysis of the show, its news coverage, and live interviews with its showrunner Mindy Kaling, it reveals the subjectivation of Kaling as the "angry woman of colour" and exposes the profound anxieties that result when diasporic subjects challenge the boundaries between margin and centre. Drawing from feminist and postcolonial theories, this paper uncovers the relationship between "progressive" journalistic knowledge production and colonial-capitalist logics. It finds a reproduction of the "native-as-lack" cloaked within discourses of "diversity" and "reality" as well as an expectation that the diasporic showrunner shows her "authenticity" through the self-appropriation of her Otherness.