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In this paper, the two-dimensional forms of differentiation as documented in Paris is Burning will be discussed, with the aim to analyse how this shapes the ballroom culture.
Ana Deumert argues that linguists need to move beyond discourse and representation if they want to understand the affective, visceral dimensions of power, oppression and inequality.
Kevin Doyle sees a vast consolidation and compression of human experience into more and more narrow and predictable terms. The unique language and vocabulary that innovative forms of the arts provide us can be an antidote, according to him.