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The Refugee Crisis: Day Two
October 2019 conference at UIC Institute for the Humanities addresses marginalization of #refugees due to friction with #host countries #FiveMillionFilm ^cr
=> Andreas Feldmann, Lynette Jackson, and Sultan Tepe (organizers)
refugee  crisis  conference  university  illinois  chicago  host  country  relationship  othering  art  film 
2 hours ago by csrollyson
Trinh T. Minh-ha on Vimeo
"Trinh Minh-ha operates on the boundary of documentary, experimental and traditional film, focusing on several powerful themes. As well as the status of women in society, she examines the life of migrants, portraits of whom she depicts in the background of the dynamic relationship between traditional and modern societies. The artist calls these figures the “inappropriate/d other”, and says in one of her interviews: “We can read the term “inappropriate/d other” in both ways, as someone whom you cannot appropriate, and as someone who is inappropriate. Not quite other, not quite the same.”

However, anyone expecting objective documentaries in this exhibition will be surprised. Trinh Minh-ha draws on her own experience, transforming the personal into the public and socially engaged, and in this way her films becomes “poetic-political” works. The artist’s sensitivity and empathy is not simply a way of presenting political themes in a user-friendly way, but is also manifest in unobtrusively recurring motifs of love and friendships.

What are the most powerful impressions we receive from films by Trinh Minh-ha? Firstly, there is a balance to her treatment of themes that offers the viewer the possibility of examining things from many different perspectives. Then there is the persistence with which she attempts to offer a three-dimensional image of “those others”.

However, even upon a first viewing our attention is caught by something else. Trinh Minh-ha works with the viewer’s senses, which she attempts to provoke into total vigilance. The sounds and music she uses are not any in any sense background, but at certain moments take over the narrative role, at others withdraw discreetly in order to allow the actors themselves to speak. The combination of stylised interviewers and theatrical scenes, modified in the postproduction stage by archival materials and linear film narration, along with sounds and suggestive colours, creates an almost synaesthetic experience, in which words express the same as sounds and colours. However, concentration on the part of the viewer is essential. How, otherwise, might they perceive all these levels simultaneously with the same intensity? How can such films be shown in a gallery? How does one create an environment in which the visitor does not just gaze, but accepts the role of a genuine film audience? Walls and chairs soundproofed in soft foam and the proximity of the screen will perhaps make it easier to accept the role of attentive viewers, who will insist on following a film from beginning to end."
trinhminh-ha  2015  film  documentary  migration  othering  vigilance  sensitivity  empathy  society  others  appropriate  inappropriate  innappropriated  gaze  concentration  attention 
6 days ago by robertogreco
RnB sensation Janelle Monáe is here because we need her | London Evening Standard
"It's her loyalty to a shirt and trousers that led many to assume that she is a lesbian. She responded: "I only date androids" (referring to her EP and album, which together tell the story of her android alter-ego Cindy Mayweather, liberator of the android race).

"That's great, they can claim me as well as the straight community, as well as androids," she says. "I speak about androids because I think the android represents the new 'other'. You can compare it to being a lesbian or being a gay man or being a black woman ... What I want is for people who feel oppressed or feel like the 'other' to connect with the music and to feel like, 'She represents who I am'.""
janellemonáe  2011  oppression  others  othering  androids  solidarity  sexuality  sexualidentity 
october 2018 by robertogreco
An Xiao Busingye Mina en Instagram: “David Wojnarowicz had a concept for the world we inherit, the “pre-invented world,” which he defines eloquently here. I interpret it as the…”
[image with text:

"Wojnarowicz identified with outsiders of all kinds—both those who resisted and escaped the "pre-invented world," and those ground don by it. He identified with the discarded, the trapped, and the rebellious. In this page from his 1988 journals, he expressed those feelings in an offhand notation:
The only hero I have or can think of is the monkey cosmonaut in the Russian capsule that got excited in space and broke loose from his restraints and began smashing the control board—the flight had to be aborted.

"The world of the stoplight, the no-smoking signs, the rental world, the split-rail fencing shielding hundreds of miles of barren wilderness from the human step… The brought-up world; the owned world. The world of coded sounds: the world of language, the world of lies. The packaged world; the world of speed metallic motion. The Other World where I've always felt like an alien." —David Wojnarowicz, Close to the Knives"]

"David Wojnarowicz had a concept for the world we inherit, the “pre-invented world,” which he defines eloquently here. I interpret it as the consensus narrative, the world that we might call the mainstream or the dominant. We are watching today the steady disintegration of the pre-invented world. The post-Cold War consensus is collapsing, and a new world is coming into being. On the one hand is a violent ethnonationalism and authoritarianism. On the other is a global, communal, inclusive outlook. It is not clear which one will win, but for those of us born on the margins, for those of us who’ve always struggled with the pre-invented world, these are the most dangerous times. But this comes with the recognition that the world before wasn’t made for us, either. The world before was also dangerous.
.
Wojnarowicz died of AIDS in 1992. He wouldn’t live to see the emergence of gay marriage and contemporary queer culture in the US, nor of a massive public health campaign to curb the spread of HIV and AIDS. For the queer community in the US, we have seen improvements. And if we are lucky, what comes next after these dark times might be better. For now, we live in a time of monsters."
anxiaomina  2018  davidwojnarowicz  pre-inventedworld  ethnonationalism  authoritarianism  change  mainstream  unschooling  deschooling  queerculture  othering  otherness  homogeneity  ownership  property  consensus  dominant  margins  marginalization  trapped  resistance  discarded  rebellion  1988  multispecies  monkeys  escape 
october 2018 by robertogreco
Empathy as Faux Ethics - EPIC
This model has several dangers. It sets up a framework in which empathy becomes a way to further separate the ones who design (professionally) from those who do not (I am deliberately avoiding labels such as “designers” and “users”). It assumes that “The Designer” possesses a unique ability to access to the psyche of “The Other.” It’s no wonder that design is so often viewed as a self-aggrandizing profession. The model also assumes that the insight acquired by empathizing gives The Designer sufficient understanding to define and resolve The Other’s problems—even the world’s problems.
design  empathy  othering  colonialdesign  ethics  ethicaldesign  edm  fauxethics 
june 2018 by laurakalbag
Sarah Grey on Twitter: "Good question! My inexpert thought is that it's not ideal, but what often gets used is worse: "national costume" and "ethnic garb" and the like. I'd suggest being more specific: "a traditional Korean formal dress called the hanbok"
(On whether the phrase “traditional dress” is othering:)
My inexpert thought is that it's not ideal, but what often gets used is worse: "national costume" and "ethnic garb" and the like. I'd suggest being more specific: "a traditional Korean formal dress called the hanbok" or "18th-century-style Bavarian formalwear."
dress  2018  GreyEditing  editing  copyediting  othering  garb 
may 2018 by handcoding
Twitter
It’s and more in most constructions than “woman."
clinical  othering  from twitter_favs
april 2018 by danielbentley
Book Detail | Polity: The Expulsion of the Other Society, Perception and Communication Today, by Byung-Chul Han
"The days of the Other are over in this age of global over-communication, over-information and over-consumption. What used to be the Other, be it as friend, as Eros or as hell, is now indistinguishable from the self in our society's narcissistic desire to assimilate everything and everyone until there are no boundaries left. The result of this is a feeling of disorientation and senselessness that needs to be compensated for, be it by self-harm or, in the extreme, by harming others through acts of terrorism. 

In his new work, the renowned cultural theorist Byung-Chul Han builds on his previous critique of neoliberalism, arguing that in this absence of the Other, our times are not characterised by external repression but by depression through the self. In his characteristically concise style, he traces this violence of the identical through phenomena like fear, globalization and terrorism. He also argues that by returning to a society of listeners, by acknowledging the Other, we can seek to overcome the isolation and suffering caused by this crushing process of total assimilation."



"The Terror of the Same
The Violence of the Global and Terrorism
The Terror of Authenticity
Anxiety
Thresholds
Alienation
Counter-body
Gaze
Voice
The Language of the Other
The Thinking of the Other
Listening
Notes"



""No other philosophical author today has gone further than Byung-Chul Han in the analysis of our global everyday existence under the challenges of electronically induced hyper-communication. His latest - and again eminently readable - book concentrates on the "Terror of Sameness", that is on a life without events and individual otherness, as an environment to which we react with depression. What makes the intellectual difference in this analysis of sameness is the mastery with which Han brings into play the classics of our philosophical tradition and, through them, historical worlds that provide us with horizons of existential otherness."
Hans Ulrich Gumbrecht, Albert Guérard Professor in Literature, Stanford University

"The new star of German philosophy."
El País

"The Expulsion of the Other has the classic Byung-Chul Han 'sound,' an evocative tone which powerfully draws the reader in. ... With imperturbable serenity he brings together instances from everyday life and great catastrophes."
Süddeutsche Zeitung

"Han's congenial mastery of thought opens up areas we had long believed to be lost."
Die Tagespost"
byung-chulhan  books  toread  othering  others  communication  infooverload  philosophy  socialmedia  internet  web  online  news  otherness  sameness  depression  everyday 
january 2018 by robertogreco
Trinh T. Minh-ha - Wikipedia
"In Woman, Native, Other Trinh T. Minh-ha focuses her work on oral tradition – family, herself, and her culture. In this approach Trinh asserts a people’s theory that is more inclusive. This method opened up an avenue of women of color to critique theory while creating new ways of “knowing” that is different than standard academic theory. Trinh proposes to the reader to unlearn received knowledge and was of structuring reality. In Chapter 1 she explores questions of language, writing, and oral tradition. She suggests being critical against “well-written,” and knowing the difference between a “written-woman” and a “writing-woman.42” In the second chapter Trinh repudiates Western and male constructions of knowledge through anthropology. She argues that anthropology is the root of western male hegemonic ideology that attempts to create a discourse of human truth. Mixed in with her stories and critiques are photographic images of women of color from Trinh’s work in film. She includes stories of many other women of color such as Audre Lorde, Nellie Wong, and Gloria Anzaldua to increase the ethnic and semiotic geography of her work, and to also show a non-binary approach that problematizes the difficulty of representing a diverse “other.” Woman, Native, Other, in its inclusive narrative and varied style attempt to show how binary oppositions work to support patriarchal/hegemonic ideology and how to approach it differently to avoid it."
srg  trinhminh-ha  anthropology  hegemony  audrelorde  nelliewong  gloriaanzaldua  non-binary  women  gender  diversity  clarity  oraltradition  ideology  truth  canon  othering  narrative  binaries  patriarchy  reality  structure  convention  colonialism  colonization  decolonization 
november 2017 by robertogreco
Michelle Alexander's Keynote Speech from the 2017 International Drug Policy Reform Conference - YouTube
[20:15] "We're all primed to value and prefer those ho seem like us though the preferences hues have themselves re remarkably greater. No doubt due to centuries of brainwashing that have led them to actually believe often unconsciously, that they are in fact superior. Marc Mauer in his book "Race to Incarcerate" cites data that the most punitive nations in the world are the most diverse. The nations with the most compassionate or most lenient criminal justice policies are the most homogeneous. We like to say that diversity is our strength, but it may actually be our Achilles heel. Researchers have reached similar conclusions in the public welfare context. The democarcies that have the most generous social welfare programs, universal health care, cheap or free college, generous maternity leave, are generally homogeneous. Socialist countries like Sweden and Norway are overwhelmingly white. But when those nations feel threatened by immigration, by so-called foreigners, public support for social welfare beings to erode, often quite sharply. It seems that it's an aspect of human nature to be tempted to be more punitive and less generous to those we view as others. And so in a nation like the United States, where we're just a fe generations away from slavery and Jim Crow. Where inequality is skyrocketing due to global capitalism, and where demographic changes due to immigration are creating a nation where no racial group is the majority, the central question we must face is whether We, the People, are capable of overcoming our basic instinct to respond more harshly more punitively with less care and concern with people we view as different. Can we evolve? Can we evolve morally and spiritually? Can we learn to care for each other across lines of race, class, gender, and sexuality? Clearly these questions are pressing in the age of Trump.

[via: "Michelle Alexander asks the most fundamental question: Can we learn to care for each other across lines of difference?"
https://twitter.com/justicedems/status/934478995038572544 ]

[See also: "Michelle Alexander: I Am 'Endorsing The Political Revolution' (Extended Interview) | All In | MSNBC"
https://www.youtube.com/watch?v=tFHNzlx24QM ]
michellealexander  2017  drugs  waroondrugs  race  racism  bias  diversity  homogeneity  heterogeneity  policy  welfare  socialsafetnet  healthcare  education  maternityleave  socialism  sweden  norway  humans  criminaljustice  socialelfare  compassion  incarceration  donaldtrump  immigration  xenophobia  othering  democracy  jimcrow  thenewjimcrow  us  politics  humannature  demographics  inequality  class  classism  sexuality  gender  sexism  marcmauer  berniesanders  hillaryclinton  revolution  change  billclinton 
november 2017 by robertogreco
Getting Others Right - The New York Times
"A woman holds a little dog in the crook of her arm. Her sleeveless open-necked top is richly patterned. She wears lipstick, earrings, a bangle. The dog, a puppy perhaps, is both alert and relaxed, looking directly at the camera, just as the woman does. The photograph has such an informal mood, such disarming warmth, that we might suppose it had been made recently, were it not in antique-looking black and white. It’s wonderful when an old picture lets us in like this, obliterating the distance between its then and our now.

The woman in this photograph was named Trecil Poolaw Unap, and the photographer was her brother, Horace Poolaw. They were Kiowa, born and raised in Oklahoma. Horace Poolaw made the photograph in 1928, near the beginning of a career in which he went on to become an avid photographer of Native American life. His photographs, some of which he sold at fairs, often came with a stamp: “A Poolaw Photo, Pictures by an Indian, Horace M. Poolaw, Anadarko, Okla.” It was clear that he wanted to assert that these were pictures with a particular point of view.

Compare the portrait by Poolaw with a few made in the same decade by the most famous photographer of Native Americans, Edward S. Curtis. Curtis’s portraits look different because they were intended for publication in “The North American Indian,” a hugely expensive and intricate photographic undertaking that occupied him for decades. The project was championed by Theodore Roosevelt and financially supported by J.P. Morgan. There’s a portrait of a Hupa woman wearing fur and beads, another of an elderly Cheyenne man in a feathered headdress, yet another of a female Hupa shaman. The lined faces and stoic expressions of these sitters, as well as their “traditional” regalia, announce them as types. They are in keeping with the hope Curtis expressed in the General Introduction to his project: “Rather than being designed for mere embellishment, the photographs are each an illustration of an Indian character or of some vital phase in his existence.”

There’s no denying the meticulous beauty of Curtis’s pictures (and there are thousands of them: The project, published between 1907 and 1930, ran to 20 volumes). But his approach, as laid out in his introduction, was precisely the opposite of Horace Poolaw’s, and it shows: When we look at Trecil Poolaw Unap with her dog, with her ironic smile, we don’t think of her as an “illustration of an Indian character,” nor do we surmise that she is caught in some “vital phase” of her existence. A certain ease and immediacy sets her apart from the beautiful but frozen characters that populate Curtis’s work.

The case of Edward S. Curtis is complex. He was no dilettante: He made serious ethnographic studies of indigenous communities, from the Piegan of the Great Plains to the Kwakiutl of Vancouver Island. And in the 1920s in New Mexico, he became involved in political initiatives that sought to defend Native Americans against government control. But the general tenor of his work idealized Native Americans in the name of preserving vanishing ways of life. He was not above removing, through later photographic manipulation, an offending clock from a carefully arranged scene. Curtis, a knowledgeable and determined man, knew exactly how he liked his Indians.

Horace Poolaw, in contrast, made pictures that were great in their testimonial simplicity and democracy of vision; a relaxed group of Kiowa and Cherokee deacons in slacks and jackets, his son Jerry on leave from Navy duty in his sailor’s uniform and a feathered headdress. Curtis, meanwhile, was inclined to invent scenarios, expunging inconvenient details in order to emphasize a concept of primitivism. One photographer thus gave us lively pictures of life as it was being lived, and the other, at much greater cost and with much more ambition, ended up delivering stilted images of dubious value. Is the lesson here that the truth of a given community can only be delivered by an insider?

A century on, the conundrum remains. There are now many Native American photographers doing outstanding work, bringing to their seeing all the advantages of insider knowledge. Brian Adams is an Inuit photographer of Inuit culture, with a body of work characterized by inquisitiveness and joy. Some of the most rousing photographs of the Standing Rock protests were taken by Josué Rivas, who is Mexica, and Camille Seaman, of the Shinnecock tribe.

But for outsiders to any culture, the situation remains tricky. Take the British photographer Jimmy Nelson, whose “Before They Pass Away” was published as a lush large-format coffee table book in 2013 and has since become ubiquitous in bookstores around the world. “Before They Pass Away” is made explicitly in homage to Edward S. Curtis, whom Nelson often cites as a hero. It proceeds from the same idea as Curtis’s: that certain peoples, on the verge of disappearing, must be captured in illustrative, archetypal photographs. “Before They Pass Away” is accordingly full of postcard-pretty images of the Mursi in Ethiopia, the Huaorani in Ecuador, the Dani in Indonesia. The sitters look out mutely from Nelson’s ark, and scant concession is made to the fact of their contemporaneity. They occasionally tote guns, but do they use boat engines or watch television? If they have any mobile phones, they’re hidden away. What we get, instead, is feathers, fur, cowrie shells, leaves and lots of body paint.

Like Curtis — but without Curtis’s ethnographic rigor — Nelson places his subjects in a permanent anthropological past, erasing their present material and political realities. He is sentimental about those he photographs and often proclaims their beauty, but having invested himself so deeply in the idea of their “disappearance,” he is unable to believe that they are not going anywhere, that they are simply adapting to the modern world. No wonder he is flummoxed by the various tribal leaders who have protested the inaccuracy of his pictures.

What a relief it is then to consider a markedly different project, by the American photographer Daniella Zalcman. In 2016, she published “Signs of Your Identity,” a book featuring First Nations Canadians. But by her own admission, she had a false start. For a month in 2014, Zalcman (who, I should mention, was an acquaintance of mine in college, though I only recently re-encountered her through her work) photographed indigenous Canadians who were struggling with substance abuse and H.I.V. The images she came away with, she thought, risked further stigmatizing the community. When she returned the following year, she began to explore a different story, one that was urgent but that also allowed her to focus on individual experience.

That project was about indigenous people who had been forced to attend Canada’s Indian Residential Schools during the 19th century (the last of which closed only in 1996). Young children were taken from their families and placed in these institutions to enforce their assimilation into mainstream Canadian culture. Indigenous languages were suppressed, and physical and sexual assaults were common. Zalcman interviewed several dozen people, of varying ages, who had spent time in these schools and were haunted by their memories.

Zalcman’s challenge was how to make these memories visible. Her solution, as old-fashioned as it was elegant, was to make double exposures, joining two instants into one by overlaying images of places with portraits of people. She presented these double exposures with written fragments of her interviews with the sitters. Looking at the doubled images, you imagine that the mind of the person pictured is literally occupied by space on which it is overlaid: the decrepit school buildings, the grass where a demolished school once stood. But you also sense that this could be you, that these images are not a report on tribal peculiarities but on the workings of human memory. Uncertain about her right to shape the story, Zalcman lets the subjects speak for themselves. This hesitancy is productive: She manages to accomplish quietly forceful reportage from material that could easily have been sensationalized.

Sympathy is often not enough. It can be condescending. But taking on the identity of others, appropriating what is theirs, is invasive and frequently violent. I have heard appropriation defended on the grounds that we have a responsibility to tell one another’s stories and must be free to do so. This is a seductive but flawed argument. The responsibility toward other people’s stories is real and inescapable, but that doesn’t mean that appropriation is the way to satisfy that responsibility. In fact, the opposite is true: Telling the stories in which we are complicit outsiders has to be done with imagination and skepticism. It might require us not to give up our freedom, but to prioritize justice over freedom. It is not about taking something that belongs to someone else and making it serve you but rather about recognizing that history is brutal and unfinished and finding some way, within that recognition, to serve the dispossessed.

Photography is particularly treacherous when it comes to righting wrongs, because it is so good at recording appearances. Capturing how things look fools us into thinking that we’ve captured their truth. But appearance is bare fact. Combined with intuition, scrupulous context and moral intelligence, it has a chance to become truth. Unalloyed, it is worse than nothing."
tejucole  photography  2017  ethnography  othering  time  memory  appropriation  edwardcurtis  horacepoolaw  nativeamericans  jimmynelson  sympathy  daniellazalcman  storytelling  condescension  context  dispossession  identity  complexity  memories 
june 2017 by robertogreco
The dark psychology of dehumanization, explained
As anti-Muslim rhetoric increases under Trump, more Americans are seeing Muslims as less than human.
othering 
march 2017 by jda
The lowest moment of Donald Trump’s press conference - Vox
"'The' makes the group seem like it’s a large, uniform mass, rather than a diverse group of individuals. This is the key to 'othering': treating people from another group as less human than one’s own group. The Nazis did it when they talked about die Juden ('the Jews'). Homophobes do it when they talk about “the gays.” …

"I doubt it’s an accident that Trump talks about ethnic groups in the same way that we talk about foreign governments and armies. If that 'the' treats ethnic groups as some monolithic cabal, that might ring true with the conspiracy-theory mind-set that characterizes some of his core audience — the audience that Trump has been priming to see and make trouble at polling places 'in certain areas.',
the  othering  207  lynneguist  trump 
february 2017 by handcoding
http://qz.com/806174/second-presidential-debate-linguistics-explains-why-donald-trump-sounds-racist-when-he-says-the-african-americans/
“The” makes the group seem like it’s a large, uniform mass, rather than a diverse group of individuals. This is the key to “othering:” treating people from another group as less human than one’s own group. The Nazis did it when they talked about die Juden (“the Jews”). Homophobes do it when they talk about “the gays.” In my research on British and American cultural relations, I’ve found that British writers’ views on American English are a good predictor of whether they’ll write “Americans say it that way” or “The Americans say it that way.” Those who feel that American English threatens British English use “the” to hold Americans at arm’s length (possibly while holding their noses).

Neither candidate refers to the general American public as “the Americans”—to do so would be deeply weird, since it would seem like they did not include themselves in the group. (Trump does have a penchant for talking about “the people of this country” and how they are furious, but if he had said “the Americans are furious,” we’d know for sure we had a Manchurian candidate.)

But both candidates sometimes say “the” before the names of nationalities and ethnicities. The difference is that when Clinton talks about the Russians, the Syrians, the Iranians, and the Kurds, she’s talking about governments or military groups, not everyone of that particular nationality. Trump’s use of the African-Americans and the Latinos feels different.
trump  labels  label-making  othering  the 
october 2016 by thegrandnarrative
Second presidential debate: Linguistics explains why Donald Trump sounds racist ...
ΓÇ£TheΓÇ¥ makes the group seem like itΓÇÖs a large, uniform mass, rather than a diverse group of individuals. This is the key to ΓÇ£othering:ΓÇ¥ treating people from another group as less human than oneΓÇÖs own group. The Nazis did it when they talked about die Juden (ΓÇ£the JewsΓÇ¥). Homophobes do it when they talk about ΓÇ£the gays.ΓÇ¥ In my research on British and American cultural relations, IΓÇÖve found that British writersΓÇÖ views on American English are a good predictor of whether theyΓÇÖll write ΓÇ£Americans say it that wayΓÇ¥ or ΓÇ£The Americans say it that way.ΓÇ¥ Those who feel that American English threatens British English use ΓÇ£theΓÇ¥ to hold Americans at armΓÇÖs length... The difference is that when Clinton talks about the Russians, the Syrians, the Iranians, and the Kurds, sheΓÇÖs talking about governments or military groups, not everyone of that particular nationality. TrumpΓÇÖs use of the African-Americans and the Latinos feels different.
language  racism  othering  bigotry  trump  Delicious 
october 2016 by StJohnBosco
Who Gets To Be The "Good Schizophrenic"
A natural hierarchy arose in the hospital, guided by both our own sense of functionality and the functionality perceived by the doctors, nurses, and social workers that treated us. Depressives, who constituted most of the wardΓÇÖs population, were at the top of the chain, whether or not they were receiving ECT (electroconvulsive therapy).... In the middle were those with anorexia and bipolar disorder ΓÇö two disorders not necessarily linked by nature, but lumped together from a lack of other diagnoses on the ward.... The ones with schizophrenia, on the other hand, landed at the rock bottom ΓÇö excluded from group therapy, seen as lunatic and raving, and incapable of fitting into the requirements of normalcy.... As with most marginalized groups, there are those who are considered more socially appropriate than others. Being seen as inevitable failures by the dominant culture causes a desire to distance yourself from other, similarly marginalized people who are seen as even less capable of suc
mental-illness  mental-health  psychiatry  stigma  schizophrenia  hierarchy  mental-hospitals  psychotherapy  othering  pathologizing  Delicious 
april 2016 by StJohnBosco

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