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1.
Abstract

This essay examines a moment of institutionalization in cultural studies, and argues that questions of gender have a significant place in this interdisciplinary domain. The issue is discussed in a pedagogic context that has almost normalized feminism, seeing its political contributions as belonging to the past. The essay argues that the conceptual conjuncture of culture and gender which has been central to feminist theorizing in India needs to be rethought. This conjuncture arose from thinking about culture in the framework of nationalism and the anti‐colonial struggle, and the alignment of women with national culture. I discuss briefly the trajectory of how we have gone about investigating the culture‐gender conjuncture, present a reformulation of what I think we're up against, and introduce some new research projects which are trying to take this on board. The focus in these projects is on the question of translation, and how the issue of ‘regional’ languages poses a challenge to prevalent ideas in the women's movement and in feminist teaching. The larger proposition is that we need to formulate curricula based on new kinds of research if we are to take feminism into the cultural studies classroom of the future.  相似文献   

2.
《Popular Communication》2013,11(2):73-88
Over the past few decades, alternative constructions of masculinity have entered the Japanese popular cultural scene. These definitions are slowly chipping away at traditional constructions of gender and creating new subjectivities through which men and women may choose to define their gendered identities. This article explores some of these changing constructions through a case study of 1 particularly popular male celebrity, young male actor and singer Kimura Takuya. Examining his appearances on various Japanese media sites-from television dramas, to popular magazines, to concert videos-this article attempts to identify the different codes of masculinity emerging from Kimura's diverse characters, and considers their possible significance within the larger Japanese popular cultural environment in which they are distributed and consumed.  相似文献   

3.
ABSTRACT

The title is supposed to be a paradox, as the two notions are opposed in Gramsci’s work: hegemony being the heterogeneous aspect of the dominating alliance in a given historical period (e.g. fascism), whereas the national‐popular representing the unified cultural resistance from below. The question mark thus refers to a short circuit of opposites, to an unexpected consequence of liberation itself, rather than to the domination of some new cultural industry, as the one Adorno had fought against. Not that cultural industries aren’t stronger than ever; but cultural studies have developed various strategies to critique them over the post‐war years. I want to argue here that the new amorphous world without transcendence and alternative (usually called ‘globalization’) puts the discipline in a more difficult situation. Is there a danger of cultural studies becoming an accomplice to such a new hegemonic culture of the global‐popular?  相似文献   

4.
Abstract

The gender sexual politics of Liu Yu‐hsiu has been pivotal in the hegemonic ascendancy of Taiwan state feminism in recent years. Through an examination of Liu’s psychoanalytically mediated essays of cultural criticism, this article traces the contour of Liu’s sexual imaginary within the context of 1990s feminist and queer politics. Liu’s modernising project of gender equality, I argue, upholds heterosexual monogamy as a feminist ideal that seeks to purge all the masculine ills, including perversion and promiscuity. Meanwhile, queers and prostitutes come to be figured as the very negativity that must be repressed. Yet, like the Lacanian Real, they impinge on the symbolic order that Liu ordains as they thwart her desire to civilise sex.  相似文献   

5.
《Popular Communication》2013,11(4):193-215
This article focuses on a Venezuelan telenovela, El País de las Mujeres (The Country of Women), broadcast to high ratings in Venezuela, Argentina, Peru, Puerto Rico, and the United States. Drawing on feminist media studies and cultural studies, I conducted textual analysis of the serial and in-depth interviews with the production team and audience members. I analyzed the production, mise-en-scene, and consumption of the representations of sexual harassment, domestic abuse, abortion, and homosexuality that are present in this telenovela's storylines. The analysis suggests that the inclusion of topics that have been part of the public debate for some time are accepted by viewers, whereas those that are controversial or not publicly discussed are not readily sanctioned by the audience. In addition, the study illustrates how telenovelas' stories and themes contribute to the public debate about social issues, and how production and consumption, traditionally represented as opposing forces, are deeply articulated.  相似文献   

6.
《Popular Communication》2013,11(1):43-60
This article examines how iVillage.com, one of the most popular World Wide Web portals for women, advises them on how to integrate the demands of wage and domestic labor. Specifically, the article focuses on the implications such advice has for gender relations within the family and for feminist politics in U.S. society. Discursive strategies in advice generated by iVillage.com support the ideology of postfeminism, which promotes individual consumer-based solutions for a primarily middle-class audience over politics addressing the gendered division of labor, both within individual families and in social structures. Such commercial Web-site discourses are consistent with those constructed by other mainstream media.  相似文献   

7.
Abstract

In this paper, gender negotiations in the production, musical forms, and consumption of Cantopop are taken as a cultural exemplar for a social and political imagination of ambivalence, which seems to be shaping popular life in Hong Kong. It has three focal points – musical forms and expressions of Cantopop (style, lyrics, iconography, affect), gender politics, and ‘everyday‐ness’ – which converge to mark a notable cultural logic performing an enlarging sense of ambivalence about a city that has seen a shift from high moments of economic prosperity to the current postcolonial uncertainties. In other words, Cantopop signals a shift in our sensibilities, a redrawing of our affective map of everyday life after an important historical and politico‐administrative shift. In a sense then, this paper explores Hong Kong's changing identity within the sight and sound of popular culture, by specifically tracing some of the ways in which gender politics is inscribed, coded, negotiated, performed, or simply flirtingly posed on the surface of popular culture.  相似文献   

8.
Abstract

Reflecting on a personal experience of ‘pre‐professional’ university education and reluctant engagement with Cultural Studies as an academic project, this article examines the now ambiguous role of undergraduate education under neo‐liberal management regimes. Arguing that a ‘new class politics in knowledge’ is emerging with the transnational policy‐sharing and international student exchange schemes with which diverse governmental cultures are responding to globalization, Morris suggests that the undergraduate classroom is becoming a ‘frontier’ of struggle over the future. Teaching cultural studies to undergraduates in a liberal arts environment is one way in which the discipline's emphasis on local knowledge can be put to institutionally creative uses.  相似文献   

9.
ABSTRACT

Focusing on the letters of the South African feminist writer and social theorist Olive Schreiner (1855–1920), this article explores Schreiner's strategic uses of letter-writing as a key tool in her work as a cultural entrepreneur in a number of different social and political contexts. In advocating a microhistory approach which recognizes that macro and micro are interconnected and should be seen as lenses of perspective rather than as separate spheres, we examine various strands of Schreiner's ‘cultural project’ and consider how her epistolary activities articulated and furthered this.  相似文献   

10.
In this article, I read the politics of popular religion in Thailand through the case studies of magic monks and spirit mediums, which have been traditional key actors in the popular religious domain and have maintained their lasting popularity in the country in the 1990s and 2000s. Positioning my argument in the context of the much‐criticized commercialization of Buddhism, I accentuate that magic monkhood and spirit mediumship have exhibited themselves as culturally defined channels of, and strategies for, individuals' religious self‐empowerment. In the politics of negotiating and contesting for their religious identities and selfhood, the continued popularity of magic monk and spirit medium has exposed the conventional practices and ideologies of class and gender relations, which apparently favour men over women and, thus, countered attempts by ordinary disciples and followers to move out of their socially marginalized positions in both religious and socioeconomic worlds. In other words, the politics of Thai popular religion point to the affirmation or negotiation of existing religious and socioeconomic structures, but never the resistance against them. The consensus voice in this terrain of everyday life's religious practices emphasizes strong desire and a quest for material wealth and mundane success more than anything else.  相似文献   

11.
《Popular Communication》2013,11(4):213-229
Because of the success of the first six animated feature films produced in the "new era" of Disney animation (The Little Mermaid, 1989; Beauty and the Beast, 1991; Aladdin, 1993; The Lion King, 1994; Pocahontas, 1995; The Hunchback of Notre Dame, 1996) and their mass merchandising, Disney animated characters became ubiquitous for children of the 1990s. Although Bell, Haas, and Sells (1995) suggested that Disney films present a "sanitization of violence, sexuality, and political struggle concomitant with an erasure or repression of difference" (p. 7), an increasing emphasis on sexuality and the exotic is evident in the construction of the female heroines in these films, particularly in the female characters of color. This article analyzes what may be referred to in Said's (1978) terminology as the orientalization of women of color in five of these six Disney animated films and posits how these representations of gender and cultural difference operate within Disney's consumerist framework, which provides "dreams and products through forms of popular culture in which kids are willing to materially and emotionally invest" (Giroux, 1999, p. 89). Using a critical lens, I interrogate the unity of images regarding gender and race that these Disney texts offer and the ways in which these meanings operate within the larger socio-historical framework regarding women of color and the notion of Whiteness.  相似文献   

12.
Critical and feminist studies have continued to demand for accounts of the representational challenges confronting marginalized people, as various social and cultural platforms continue to other and discriminate. The Roma, or the Gypsies, in particular have been one of the most reviled and marginalized ethnic groups. This study examines textual representations of gypsies in contemporary popular culture, evident in a musical adaptation of Victor Hugo’s celebrated novel The Hunchback of Notre Dame and its accompanying worldwide press coverage. It finds that artistic and press representations of the gypsy woman Esmeralda embody characteristics consistent with historic stereotypes of the bohemian. It also shows that the novel’s band of Parisian criminals have been reconfigured for present-day global audiences to include critique of current political and popular discourses about immigration. International critics, however, miss this latter point and confine their reporting to dominant ideology and (continued) rhetorical colonization of the other.  相似文献   

13.
Crime fiction was, in its ‘Golden Age’ form, a new product of the interwar middlebrow. It was a particular and very popular way in which conservative-modern problematics about the domestic and about human emotional relationships but also about criminality and the law were talked through. This article examines the novels of Margery Allingham as an exemplar of this genre with reference to her own professional and gender identity as well as the broader cultural context. Crime fiction was one of several kinds of crime (particularly murder) stories, both fictional and ‘real life’, which circulated between the official discourses of the law and middle-class culture. This discussion explores Allingham's treatment of masculinities and of sexuality. It argues that narrative techniques that used the Gothic problematized the interrelationships of morality, modernity and history, and also inflected the pleasures of leisure reading with wider ‘middlebrow’ concerns about the gendered status of the modern citizen and more diffuse cultures of punishment and social responsibility.  相似文献   

14.
Abstract

This article addresses the issues of how feminism, cultural studies and inter‐Asia studies can intersect amicably and meaningfully as an institutional program by using Yonsei University as an example. Speaking from the position of someone who is one of the founders and teachers of the Graduate Program in Cultural and Gender Studies at Yonsei University, I endeavor to analyze the possibilities and limitations of combining these fields together. This article suggests that practitioners of inter‐Asian cultural studies carefully formulate and establish a conceptual framework as foundation upon which we can begin to discuss some possible commonalities for future curriculum. I believe that the framework ought to focus more on the ‘post‐nation state paradigm,’ and incorporate the achievements of both critics of global capitalism and the neoliberal order, and creators of new meanings – including migrants and youths – as a possible transnational subjectivities. Inter‐Asia cultural studies also needs to learn some lessons from the history of the belittlement and groundless exclusion of feminism experienced by the Birmingham School and Korean cultural studies practitioners and the gender‐blindness they held.  相似文献   

15.
The literary field has been conceptualized in social scientific work as patterned in particular ways. Historically, popular reading has been linked with contested processes of social change. Tastes for reading have, following Bourdieu, been seen as embedded in continuing processes of distinction and the making of hierarchies. Research has demonstrated the ways in which these hierarchies might be reflective of gender as well as of class relationships. This article examines the findings of the Cultural Capital and Social Exclusion study in the light of these debates. The survey gathered data about the types of reading material used by a representative sample of the United Kingdom (UK) population, including their preferences for newspapers, magazines and books. The article reports on a number of possible relationships identified in the study about the location of reading as a social practice, drawing on the survey data and explanatory accounts of respondents' reading preferences drawn from focus groups and interviews. The regularity of participation in reading and ownership of books are outlined in relation to occupational class. Evidence relating to the reading of magazines and newspapers is then examined in the light of contemporary policy concerns. Patterns of taste in books are explored, examining preferences for ‘literary’ genres, gender, education and ethnicity. The article concludes by addressing the position of taste for, and knowledge of, specific works representing a range of positions within the literary field to complete the picture of cultural capital and the literary field in the contemporary UK.  相似文献   

16.
《Popular Communication》2013,11(2):95-121
Rap superstar Eminem has become the new poster child for everything that's dangerous about contemporary popular culture. He's crude, juvenile, and foul-mouthed. His lyrics are violent, misogynistic, and homophobic. He's corrupting our youth, poisoning our culture, and laughing about it all the way to the bank. Or so the story goes. This essay argues that much of what underpins the moral panic surrounding Eminem is a set of largely unspoken questions about race, identity, authenticity, and performance. In particular, this paper examines the ways that Eminem's status as a White man who has achieved both critical and commercial success within a predominantly Black cultural idiom serves to challenge dominant social constructions of race in the United States by de- and reconstructing popular understandings of both Whiteness and Blackness.  相似文献   

17.
Abstract

In popular culture, Hong Kong is probably the most “Japanese city” outside Japan. It is home to a wide variety of Japanese popular cultural products and a regional base to many of the Japanese music and television companies who expanded their operations in the city in the early 1990s. Hong Kong's emerging middle class, especially the younger generation, has enthusiastically accepted Japanese contemporary culture and lifestyle, making the city one of the biggest destinations for Japan's cultural exports. Based on fieldwork surveys and interviews, this paper looks at the organizational aspect of popular culture during the heydays of Japanese popular culture in Hong Kong in the 1990s and early 2000s. The investigation focuses on the marketing strategies and promotional efforts used by agents of Japanese popular culture in Hong Kong and the role of popular culture piracy in this process. Beyond analyzing the Japanese case, the paper introduces a new framework to examine the transnational expansion of popular cultures across markets in East and Southeast Asia, highlighting the role of companies and promoters in this process.  相似文献   

18.
《Popular Communication》2013,11(3):129-151
Using a theoretical frame of cultural studies and social constructivism, I analyze data collected from 15 Americans born between 1965 and 1978-"Generation X'ers"-about how they remember and understand the significance of their popular communication tastes and practices for their political socialization, or what I choose to call individual political development. This study finds that these tastes and practices have had quasi-intentional, functional importance for individual political development in this generation, importance best described as media "uses and effects." While also theorizing about the implications of the postmodern era in which "Generation X'ers" and others have lived, this work speaks to the importance of incorporating individual developmental processes and meaning-making into work on the political implications of mass media and popular communication.  相似文献   

19.
ABSTRACT

In 1973, the pop music industry in the Philippines, long dominated by the American Top 40, was jolted by the emergence of a new kind of sound that delivered soulful Filipino lyrics in the medium of Western rock. At about the same time the protest movement found, in the popular forms of Western rock and folk, powerful vehicles for cultural resistance. This experimentation within and outside the industry generated great interest across social classes and opened many possibilities for new kinds of popular music, later to be called Pinoy (slang for Filipino) rock or Pinoy pop music. This article looks into the dynamics of Pinoy pop/rock and protest music during the period of authoritarian rule and after, marking their points of intersection and divergence and analyzing the factors that account for the rich popular music production in the 1970s and the 1980s.  相似文献   

20.
《Popular Communication》2013,11(3):143-162
This article is a textual analysis of a recent ad campaign for Varilux eyewear that features a fictional group of protesters known as "The Presbyopic Six." Varilux is a brand of eyeglass lenses marketed by Essilor, a French corporation. Viewers "follow" the protesters from their arrest for defacing a large-print book sign at a bookstore through booking, and through interviews with fictional journalist Lauren Lewis while incarcerated in a minimum-security prison. The ads suggest that new, more aggressive methods of protest have clearly passed the Presbyopic Six by. The campaign announces and celebrates their marginalization. The campaign also suggests that contemporary journalism is driven by the same kind of homogeneity. It could also be argued that a degree of evolution in protest and journalism is seen in these ads. Thus, the campaign may also be a veiled criticism of today's anonymous, aggressive protestors.  相似文献   

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