共查询到20条相似文献，搜索用时 31 毫秒
1.
Jahlani A.H. Niaah 《Inter-Asia Cultural Studies》2016,17(1):158-161
This article explores the strategies employed towards achieving post-colonial repair and transformation by a small village in Indonesia though the case of the Peasant Union's activism, interpreted by a Jamaican Rastafari considering Bandung after 60 years solidarity pilgrimage. 相似文献
2.
Kaarina Nikunen 《Popular Communication》2019,17(2):154-170
ABSTRACTThis article examines the social media campaign “Once I was a refugee” by former refugees as a response to the increasingly hostile political climate in Finland against refugees. With selfie activism, the campaign expanded the “space of appearance” and introduced new voice and visuality to the public debate. The case depicts politics of claiming citizenship and social value through self-presentation to counter views of refugees as economic burden, noncitizens, and surplus humanity. The empirical material is based on analysis of the Facebook and Twitter campaign and interviews with the participants. It is argued that selfie activism may occasionally, through new voice and visibility, expand the space of appearance and contribute to the rise of affective or counter-publics that can come together and make use of digital media for political action. However, the case also reveals how difficult it is to speak from a refugee position without being drawn into the discourse of deservingness. 相似文献
3.
《Popular Communication》2013,11(1):51-64
In this essay, I seek to thematize and examine the problems that emerge when Black popular communication, such as hip-hop, television programming, blues and jazz, graffiti art, toys, and film, meet national and global market forces. Specifically, I address how Black identity is marked within Black popular communication and how "authenticity" identity politics movements work to maintain Black identity. I also consider what problems emerge, such as cultural appropriations, when forms of Black popular communication are commodified and designed for mass consumption. Finally, I suggest how we can protect Black popular communication from appropriation and consumer culture threats through individual and collective action. I conclude that Black popular communication cannot witness a more democratic treatment of Black identity until we confront market forces that have as its primary goal the exploitation of Black identity for profit. 相似文献
4.
Based on findings from a qualitative case study focused on Mexican postgraduate international students at a prestigious university in the south of England, this article explores the coping strategies implemented by the participants prior to departing to their study abroad experience. Findings revealed varying degrees of involvement with pre-arrival preparations where some participants employed a series of creative tactics to ease their adaptation upon arrival, and some others who did not envision any strategies to prepare. However, as afterthoughts, the latter group of students realised such omission had hindered their transition to the new culture. This led to the conceptualisation of the studying abroad experience as a dynamic process enhancing the perspective of the international student as an active agent of their process of adaptation Ward et al., 2001). 相似文献
5.
《Cultural and Social History》2013,10(1):85-101
ABSTRACTThis article focuses on how the New Deal consumer activist Caroline F. Ware crafted an ambitious consumerist vision for the United States during the 1930s and 1940s. This vision aimed to end the Depression and bring post-war prosperity and to create a new kind of American democracy and citizenship, one suited to the promises and perils of an industrialized, urbanized America. One member of a loose cohort of like-minded intellectuals, and self-styled consumer ‘experts', Ware made one of the most persuasively articulated intellectual contributions of the period to a particular kind of liberal consumer activism. 相似文献
6.
Barbara Madeloni 《Multicultural Perspectives》2014,16(1):12-15
As social justice educators we operate within an academy that often denies the necessity of activism in our work. In this article the author explores, through one person's story, how hierarchies of knowledge and status work within neoliberal paradigms to marginalize scholar–activists and embodied knowledge, and offers possible paths toward scholar-activism. 相似文献
7.
Joe Tompkins 《Popular Communication》2014,12(1):32-47
This article examines film criticism as a social practice. Specifically, it explores the institutional politics of horror film criticism and the various ways critics of the genre justify their own readings and interpretive discourse. It does so by way of positing a horror film “reading formation,” which serves a critical-institutional function within the film academy, namely, securing academic legitimacy for the genre while shoring up cultural and political distinctions specific to elite modes of analysis. Accordingly, the article argues that three intertextual mechanisms (canonical recycling, political auteurism, and symptomatic interpretation) both condition the appropriation of horror film texts as legitimate objects-to-be-read and work to sustain discursive power relations between scholastically credentialed and “nonexpert” reading subjects. 相似文献
8.
Changwook Kim 《Inter-Asia Cultural Studies》2019,20(1):39-55
This study aims to reconsider and re-evaluate the rapid circulation of global creative city policy from the viewpoint of its creative workforce by focusing on the case of Yokohama, Japan. To shed light on this workforce’s everyday experiences and labor subjectivity, this investigation draws ideas from recent research trends of “creative labor” from the field of media and cultural studies, sociology of work, and political economy of communication. Based on in-depth interviews and participant observations, this research focuses on how the ethical and moral dimensions of labor subjectivity in creative work are prominently important in explaining Yokohama workers’ everyday living and working experiences as creative labor. Unexpectedly, this study found that these moral and ethical sentiments and actions, which take on the role of retaining their labor motivation, actually limit the development of political subjects who can resist given precarious working conditions and thereby hinder them from building a collective solidarity as “workers.” Thus this investigation concludes that the creative worker’s subjectivity retreats to solely a moral dimension rather than to a political one. Through this finding, this study explores whether the articulation of moral-political and social values in the course of cultural work can evolve from creative workers’ moral and ethical sensitivities and actions. 相似文献
9.
Ashish Rajadhyaksha 《Inter-Asia Cultural Studies》2013,14(4):608-624
AbstractWhen the Government of India declares its plan to convert Mumbai's Kala Ghoda art district into India's equivalent of Times Square, it does something that many Asian countries are doing in their understanding of the needs of the creative industry. In Mumbai's case, however, such an act has several additional historical echoes. This paper proposes that the origins of the so-called ‘creative class' lie in the failure of the city's historic 1982 textile strike, which saw the return of an artisanal practice to the city, often practiced by a class of casual labourers being forced to turn into low-end entrepreneurs without financial security. Such an artisanal entrepreneurship has had a far more complex relationship with industrialization than most theories recognize, and today's cultural industries are effectively replaying a longer history of this class in Bombay that may go back to pre-colonial and colonial times. The paper explores both the colonial and developmental interventions into this artisanal class as essential histories to understanding their new relationship to the ‘creative’ economy into which they are being presently inserted. 相似文献
10.
Saadia Toor 《Inter-Asia Cultural Studies》2013,14(3):318-340
Abstract This paper explores the relationship between (national) culture and state formation, arguing that the former is effectively a field of contestation where struggles over hegemony between various classes and social blocs are played out. Cultural nationalism has been the pre‐eminent form of nationalism in the twentieth century, particularly within the anti‐colonial and postcolonial contexts. Since this form of nationalism lends itself to moral regulation by ruling classes in a way that civic or political nationalisms do not (given its ability to produce and manipulate emotional affect) it becomes imperative to understand its relationship to power and to the project/process of state formation. This paper uses the case of postcolonial Pakistan as a lens through which to explore and analyse the complexities of this relationship during the early years of the Pakistani nation‐state. Using primary material – Constituent Assembly Debates and the texts of important intellectual debates on culture during this period – I show the different ways in which Pakistani culture was defined at this time, the politics and interests behind these various articulations, and their ultimate impact on state formation. 相似文献
11.
This paper investigates the implications for cultural policy of the logic of the instrumental view of culture taken to its conclusion. Policy developments that establish sets of justifications and rationales that have nothing to do with the cultural content of the policy concerned, but which arise from a deliberate realignment of policy frameworks, establish a form of hyperinstrumentalism. With hyperinstrumentalism the focus on outcomes and the ends of policy means that cultural policy is only as important as the ends to which it is directed. As such, hyperinstrumentalisation demonstrates the consequences for the sector of conditions where claims about the value of culture are irrelevant to political actors. The paper questions whether sense can be made of this shift as a coherent and strategic political choice, rather than as a simple assault on culture. The case of Northern Ireland’s Department of Culture, Arts and Leisure is used to illustrate this. The authors question whether hyperinstrumentalism undermines the justification for an autonomous domain of cultural policy. 相似文献
12.
This article reconsiders the relationship between transnationalism from above and from below, focusing on the consumer behavior of migrant workers. Although transnationalism from below may be regarded as positive resistance to dependence on nation-states and global capital, it also facilitates incorporation into global consumer cultures. This article reports how Bangladeshi return migrants have been enchanted by consumer practices in industrialized countries and have transmitted them into Bangladesh. Return migrants bring consumption habits as well as savings and remittances from industrialized countries. Returnees consequently spread consumer culture to their homelands efficiently, promoting the penetration of global capital and further migration. 相似文献
13.
As social justice–oriented teachers and teacher educators, it can seem as if we are fighting a losing battle against neoliberal education policies designed to disrupt and dismantle our field. In this article we draw upon traditions of critical race theory, counterstorying, and critical hope to examine the complex realities of contemporary teacher education and envision an alternate reality in which our profession develops and thrives. To do so, we first present a series of autoethnographic critical case studies that highlight dilemmas of practice. We then invite readers to examine each case through multiple lenses, as they grapple with the complexities of a visionary path forward. In so doing, we offer tools for critical professional development that articulate, deconstruct, and reimagine social justice–oriented teacher education and activism in this changing landscape. We close with recommendations to increase our collective capacity as social justice teacher educators, placing a central emphasis on the need for community, critical professional development, and hope. 相似文献
14.
Soo Ryon Yoon 《Inter-Asia Cultural Studies》2018,19(2):162-179
This essay explores the political implications of the flash mob dance in Dhaka, Bangladesh performed in response to the 2012 global viral sensation of South Korean rapper PSY’s “Gangnam Style” music video. The global fame of “Gangnam Style” has much to do with its success online and in the U.S. popular music industry. It, however, also solicited suspicion from popular culture critics that the images of comical PSY worked successfully thanks to unchecked consumption of the racial stereotypes of Asian men. While recognizing these problems as more than valid, this essay simultaneously calls for a more transnational and inter-Asian understanding of the material to argue for a productive quality of PSY’s performance. Using “refraction” as a mode of thinking about inter-Asian circulation of pop culture, this essay considers the flash mob performed in Dhaka, Bangladesh as an important yet underexplored case study that shows different performative practices associated with “Gangnam Style” deeply rooted in historicity of colonialism and nationalism. The case study shows that the circulation of “Gangnam Style” materialized through a performance in Dhaka enlarged contemporary discourse among young urban Bangladeshi spectators around Bangladeshiness and its cultural identity. This complicated an easy assumption about “Gangnam Style” and its success in the U.S. mainstream pop culture, while simultaneously displacing the Bangladeshi cultural subjects from the immobile position of “the Other.” 相似文献
15.
Hyunjoon Shin 《Inter-Asia Cultural Studies》2018,19(3):386-403
ABSTRACTThis study investigates the spatial practice of a subcultural activism of the “young radicals” in Seoul, South Korea through the lens of urban commoning. As a cohort of people born after the 1980s, these young musicians, artists, and cultural activists have endeavored to create, produce, and transform urban spaces through involvement in a series of anti-eviction protests. In particular, this study investigates how and why radical musicians, artists, and their associates have negotiated the chasms among their personal lifestyle, collective subculture, and political activism by pursuing their spatial practices for self-standing and survival over the past 10 years. Although not necessarily place specific, several cases are drawn from a group that relocated to the central area of Seoul since the mid-2010s, making its urban activism a subcultural (and transcultural) formation. 相似文献
16.
Lily Kong 《Inter-Asia Cultural Studies》2013,14(4):593-607
AbstractIn this paper, I draw attention to the complexities and confusions in the shift in discourse and praxis from “culture industry” to “cultural industries” and then “creative industries.” I examine how this “creative turn” is fraught with challenges, highlighting seven issues in particular: (i) the difficulties in defining and scoping the creative industries; (ii) the challenges in measuring the economic benefits creative industries bring; (iii) the risk that creative industries neglect genuine creativity/culture; (iv) the utopianization of “creative labour”; (v) the risk of valorizing and promoting external expertise over local small- and medium-scale enterprises in the building of “creative industries”; (vi) the danger of overblown expectations for creative industries to serve innovation and the economy, as well as culture and social equity; and (vii) the fallacy that “creative cities” can be designed. I suggest that the move towards creative industries discourse represents a theoretical backslide, and raise the possibility that a return to “cultural industries” would be more beneficial for clarifying our theoretical understanding of the cultural sectors and the creative work that they do, as well as enabling better policymaking. 相似文献
17.
ABSTRACTIn the British Isles, national policies for the arts are primarily viewed as the responsibility of arts councils with statutory duties to distribute state funding that meet the requirements of both “arms-length” principles and national strategic frameworks. This paper explores the tensions between policy making for the nation-state and for “the local” through comparative research on the arts councils (and equivalent bodies) in Scotland, England and Northern Ireland. Drawing on in-depth qualitative interviews with senior representatives from these organisations, it explores their notions of, responsibilities to and affiliations with “the local”. Findings suggest that despite their different models and relationships to the nation-state, and the disparities in the scale of investment, these national policy bodies commonly rely on networked governance to facilitate their relationship to “the local” which risks reproducing national interests, limiting the localised agency of place-based approaches and contributing to a culture of competition within cultural policy. 相似文献
18.
Audrey Yue 《Inter-Asia Cultural Studies》2017,18(1):10-24
From the transsexual sex workers of Bugis Street to the self-fashioning butches of the current creative economy, trans-visibility has always been an iconic feature of Singapore’s public culture. Using three case studies that examine colonial transsexual subculture, postcolonial transgender biomedical modernity and the contemporary inter-Asian performances of tomboy boybands, this paper examines these practices of trans-embodiment to reveal their centrality to Singapore’s modernity. While the recent transgender turn in the West has resulted in trans-visibility and acceptance, this paper will critically show how the experience of trans-visibility in Singapore provides a different model to consider the narrative of progressive modernity. It concludes by gesturing to this new model – one that does not replicate Eurocentric ontology – through further demonstrating these practices as strategies for the critical paradigm of “queer Asia as method.” 相似文献
19.
ABSTRACTIn May of 2017, a space called Soeng Joeng Toi was established, gathering a variety of people to share and co-organise a space together. While it may be considered a relative newcomer, Soeng Joeng Toi’s appearance can be seen as an inevitable breakaway from the mainstream political, economic and cultural climate of a city like Guangzhou. From its initial planning stages to its official operation, much of Soeng Joeng Toi’s inspiration and methods have come from extensive exchange with independent spaces both in China and abroad, where mutual recognition of similar conditions and thinking of the commons have led these different spaces to continue developing in a sustained dialogue. This text, written from the perspective of two of Soeng Joeng Toi’s “co-proprietors,” introduces the beginnings of Soeng Joeng Toi, its current operations and experiences of connecting with others as well as explores the possibilities of a shared activism involving people from different fields and geographic regions. 相似文献