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1.
《Journal of International and Intercultural Communication》2013,6(2):107-138
Abstract Intercultural communication, in many cases, is cross-lingual communication. Effective cross-lingual communication requires successful translation processes. Translation quality involves two factors, the technical and the linguistic. Focusing on the influence of language factor, this study demonstrates the application of semantic network analysis and spatial modeling to examine translation equivalence. The examined texts are seven different linguistic versions of the Universal Declaration of Human Rights (six official languages and Korean). The results suggest that translations are roughly equivalent but with subtle differences reflective of each language's cultural predispositions. The paper concludes by discussing the importance of translation and language issues for intercultural communication. 相似文献
2.
《Journal of International and Intercultural Communication》2013,6(4):346-368
Abstract Originally indicative of adherence to Hindu spirituality, the bindi is gaining popularity beyond Indian shores as a trendy fashion accessory. This paper attempts a discursive analysis of the bindi as a performative indicator of acquiescence to the Indian way of life, and as a symbol of resistance to assert individuality and femininity in the pursuit of larger sociopolitical action. Research findings indicate that although it was once considered a quintessential symbol of Indian womanhood, the bindi as a performative identifier has evolved beyond religious significance to include Indo chic, political affiliation, pseudo spiritual identification, as well as feminism and social activism. 相似文献
3.
David C. Oh Anna Wong Lowe 《Journal of International and Intercultural Communication》2017,10(2):153-167
This essay’s purpose is to recover Fiskean deconstructive criticism as a means of examining the complexities of texts. Specifically, we argue that Lost in Translation’s moments of spectacle reveal that even in a text that reinforces White Orientalist views of Japan, the text’s obtuse meanings subvert, though not upturn, this dominant narrative. The film’s text reifies heteronormative masculinity and femininity with the blending of the pre- and postmodern Japan, yet obtuse meanings subvert the Western gaze and present hybrid queer spaces that complicate Western neocolonial domination. Subversion cannot completely overturn those meanings, but guerrilla opportunities allow for tactical resistance. 相似文献
4.
Andrea Ordanini 《Journal of Cultural Economics》2006,30(3):183-200
The is article analyses the two main approaches for artists’ selection in the recording industry: the direct model in which large major companies directly choose new artists from the supply market, and the agency model in which small independent labels realise the first choice and, subsequently, large organisations pick their new artists among those pre-selected by independents.An empirical analysis of chart sales reveals that artists selected through the agency model exhibit a longer presence on the chart due to repeated successes, while they are slower to reach heavy success once they have entered the chart. Conversely, the direct model leads to artists with a faster path to a strong success, but the same artists have a shorter presence on the chart due to the sporadic nature of their success. The profile of artists selected through these two models is also found to be different: big international soloist stars are more frequently selected through the direct model, while national bands are more frequently selected through the agency model.The insights suggest important implications for management in the cultural industries and especially in the recording industry.
Jel Codes: L82; O32 相似文献
5.
《Journal of International and Intercultural Communication》2013,6(2):114-135
Abstract The establishment of the European Union, reunification of Germany, and Germany's extension of dual citizenship to immigrant minorities provided challenges to the country's understanding of itself as a nation. In negotiating these changes, debates on citizenship frequently centered on definitions of German culture. Using the concept of Leitkultur (guiding culture), conservatives argued that Germany should reject multiculturalism and stem immigration. This essay analyzes discourses on cultural policy in Germany through a contextual and textual analysis of the film Mostly Martha. In its alignment with aesthetic conventions of the art house food film, Mostly Martha participates in the debate on cultural citizenship and embodies changes in the German film industry that have moved German cinema toward increased commercialism. The film's main character, Martha, is transformed through an intercultural relationship and a trip to Italy. We argue that the film's citation of this well-known tradition of traveling south to redeem oneself and its treatment of ethnic “Otherness” engages in the Leitkultur debate and participates in the transition from national German to transnational cinema. Through the utopian treatment of Italian food, the film fetishizes cultural difference and reaffirms fixed constructs of nation and gender, thereby avoiding an explicitly politicized engagement with intercultural citizenship and identity. 相似文献
6.
Abstract This study is a mixed methods analysis of how French-Muslims respond to a French law banning the wearing of religious symbols in French public schools. In summer 2007, 356 French-Muslims were surveyed, and 20 of those Muslims were interviewed for this analysis. The statistical analysis reveals religiosity to be a significant predictor of French-Muslims’ negative sentiment toward la Loi 2004-228, the ban on the wearing of religious symbols in French public schools. In the interviews, French-Muslims express how they perceive la Loi 2004-228 as stifling Islamic religious identity and freedom, and leading to religious and political struggles in France. The paper concludes with a discussion of how the current situation in France represents a struggle over assimilation and how the issue of and controversy over Muslim immigration has spread throughout the European Union. 相似文献
7.
《Journal of International and Intercultural Communication》2013,6(1):42-61
Abstract This study uses the filmic text Slumdog Millionaire to examine how the tension between the nation and the transnational was communicated within South Asian diaspora. Findings from the textual analysis of commentary in the New York Times, The Guardian and the Times of India show that identity is articulated in purist as well as hybrid ways among South Asian diasporans. A lack of comfortable fit between cultural identity and place is evident. The analysis also shows that diasporic identity, hybridity, nation-state, and transnational forces work in particular configurations to raise consciousness about subaltern oppressions and exclusions within multiscalar operations of power and representation in globalizing conditions. Implications for intercultural communication and transitions are discussed. 相似文献
8.
《Journal of International and Intercultural Communication》2013,6(1):38-58
Abstract The study critically reviews China's cultural policy and counterhegemony strategy against global Hollywood from 1994 to 2000. The central argument is that the Chinese government's strategy of using the so-called main melody propagandistic films to battle against Hollywood from 1994 to 2000 is ineffective in terms of film market recouped and quality films produced, but may be considered partially successful in terms of the technological renovation of film exhibition infrastructure. The reason lies in the conflict between a planned production and a market demand, plus an ambivalent explanation of the function of the film industry and an unclear definition of the cultural policy. This conflict not only speaks to the complexity of global-local interplay, but also reflects the fundamental dilemma of China's “one-party market economy” (Kahn, 2002, ¶ 2), and its contradictory perspective on globalization. The study also revisits the thesis of “cultural imperialism” and calls for a more synthesized way to explain the complex global-local dialectic. 相似文献
9.
The band Third Eye Blind recently completed a tour, selling tickets exclusively on eBay. Many tickets were bundled with either VIP passes or autographed
posters. These data are used to measure variations in price across different markets, as well as the premiums paid for different
ticket types. Auctioning the tickets allows the seller to practice Third Degree Price Discrimination and bundling, without
having to determine prices in each market and for each different bundle. We find: tickets bundled with VIP passes command
a substantial positive premium; tickets bundled with autographed posters command a small negative premium; different prices emerge in different geographic markets; and auction prices are positively related to the fixed
price at which tickets could be purchased by way of Buy-it-Now.
相似文献
| Timothy MathewsEmail: |
10.
11.
《Journal of International and Intercultural Communication》2013,6(3):189-207
Abstract This paper examines the relationship between new media use and international communication that addresses religiosity and affirms users’ standpoints occupied by transmigrants that are marginalized in dominant societal structures. Drawing from focus group interviews among recent Chinese Protestant immigrants in Toronto, we argue that new media “use” is broadened by users’ cultural appropriation in situational contexts to include proxy internet access as accommodative communication given the political and legal constraints in their home country. Chinese transmigrants not only reinterpret and alter semantic associations that spiritualize the internet, they also engage in innovative strategies that involve the intertwining of offline and online communicative modes. These include deploying complementary media forms or communicating in codes that are mutually understood among participating members to facilitate intragroup networking among Chinese religious communities. Implications are discussed with regard to the importance of cultural norms and situational context in shaping mediated international communication. 相似文献
12.
Richard Swedberg 《Journal of Cultural Economics》2006,30(4):243-261
In this paper on the creative industries and cultural entrepreneurship I take my point of departure in Richard Caves’ Creative Industries [Caves, R. (2000). Creative industries: Contacts between art and commerce. Cambridge, MA: Harvard University Press.]. While Caves draws heavily on economic analysis and contemporary sociology in his excellent analysis of these two topics, he does not use the sociological classics at all. The main purpose of the paper is an attempt to remedy this, by drawing attention to the possible contribution that the works of Max Weber, Emile Durkheim, and Georg Simmel can make to our understanding of the creative industries and cultural entrepreneurship. Since this paper was prepared as a keynote address for the 2006 conference of the Association for Cultural Economics International in Vienna, I also discuss Schumpeter’s ideas on art and entrepreneurship, ideas which grew out of Viennese culture.
相似文献
| Richard SwedbergEmail: |
13.
Sao-Wen Cheng 《Journal of Cultural Economics》2006,30(4):263-286
The cultural atmosphere in a society is accumulated over time through the consumption of cultural services and is diminished through depreciation. Using cultural capital (e.g., cultural heritage, paintings, music scores), cultural services are provided by the cultural-services industry (e.g., museums, opera houses); cultural capital is enlarged by new cultural goods created by individuals. Individuals’ utilities are positively affected by the cultural services they consume, by the cultural goods they create and by the cultural atmosphere and the cultural capital accumulated in society. In a laissez-faire economy, individuals tend to ignore the positive external effects of their cultural-services consumption and creation of cultural goods on other individuals via accumulating cultural atmosphere and cultural capital. Consequently, suboptimally little cultural atmosphere and cultural capital will be accumulated. The efficient intertemporal allocation can be restored by introducing an appropriate subsidy that not only stimulates consumers’ demand for cultural services and the creation of new cultural goods but also enhances the accumulation of cultural atmosphere and cultural capital.
相似文献
| Sao-Wen ChengEmail: Phone: +49-271-7404534 |
14.
Helmut Krauch 《Minerva》2006,44(2):131-142
Translator’s note*: I am pleased to offer this translation of a lecture by Helmut Krauch, both because he is an old friend, whom I have known
for more than forty years, and because it fills a gap in the history of science policy research. As this lecture makes clear,
the Studiengruppe, led by Krauch, was the first in Europe to measure the share of nuclear and military research in total R&D expenditure and
to make systematic technology assessments to guide government policy. Moreover, its Project ORAKEL opened the way to wider
public debate on major policy issues in science and technology. Krauch’s book on Computer Democracy remains an outstanding contribution to the reform of Western democracy. I commend this essay warmly to all concerned with
the history of science and technology policy.
This is an edited translation of a lecture delivered at the Institute for Technology Assessment and Systems Analysis at the
Research Centre for Technical Change and the Environment in Karlsruhe, 10 April 2000. We are grateful to the Institute for
permission to publish the essay, to Professor Christopher Freeman, for generously preparing a translation, and to Dr. Reinhard
Coenen for helping to prepare the final version. 相似文献
15.
Isabelle Guérin Govindan Venkatasubramanian Santosh Kumar 《Journal of Cultural Economy》2020,13(4):387-401
ABSTRACT Economic anthropology has long advocated a broader vision of savings than that proposed by economists. This article extends this redefinitional effort by examining ceremonial gifts in India and arguing that they are a specific form of savings. Rural households, including those at the bottom of the pyramid, do save, in the sense of storing, accumulating and circulating value. But this takes place via particular forms of mediation that allow savers to forge or maintain social and emotional relations, to keep control over value – what matters in people’s lives – and over spaces and their own future. We propose terming these practices relational and reproductive saving, insofar as their main objective is to sustain life across generations. By contrast, trying to encourage saving via bank mediation may dispossess populations of control over their wealth, their socialisation, their territories and their time. In an increasingly financialised world of evermore aggressive policies to push people into financial inclusion, the social, symbolic, cultural and political aspects of diverse forms of financial mediation deserve our full attention. 相似文献
16.
Determining heterogeneous behavior for theater attendance 总被引：2，自引：1，他引：1
Victoria Ateca-Amestoy 《Journal of Cultural Economics》2008,32(2):127-151
In this paper we propose and estimate a model of theater participation using the data contained in the 2002 Survey of Public Participation in the Arts from the USA, a dataset widely used to study the determinants of cultural participation. Our contribution relies on the use
of an estimation technique that respects the count data nature of the attendance variable (number of theater performances
that an individual attended) and allows for heterogeneous behavior. By using a Zero Inflated Negative Binomial Model, we can
characterize two distinct behaviors for the observable attendance: a group of never-goers (who never participate) and a subpopulation
that has a positive probability of attending. For this latter group, we can estimate the effect of certain personal variables
on the probability of highest frequency. The results suggest that the proposed model is appropriate for estimating cultural
participation.
相似文献
| Victoria Ateca-AmestoyEmail: |
17.
ABSTRACTBanned from the U.S. during the “war on terror,” the British/Sri Lankan hip-hop artist M.I.A. responded by recording her 2007 album Kala in multiple locations throughout the global South, collating indigenous musical styles and unorthodox recording techniques. Via a critical/cultural analysis, this paper explores M.I.A.’s work on Kala as subaltern resistance mobilized by “differential movement,” particularly in its mode of production, which operated outside of, and in opposition to, institutional mechanisms designed to expunge or neutralize politically subversive art and artists. Yet M.I.A.’s musical sampling also surfaces conflicts between creative freedom and cultural appropriation, emblematizing “postcolonialist/postmodern schizophrenia” (Vályi, 2011. Remixing cultures: Bartók and Kodály in the age of indigenous cultural rights. In K. McLeod & R. Kuenzli (Eds.), Cutting across media: Appropriation art, interventionist collage, and copyright law (pp. 219–236). Durham, NC: Duke University Press.). 相似文献
18.
Bastien Soutjis 《Journal of Cultural Economy》2020,13(1):114-131
ABSTRACTDrawing on Mallard’s contribution [2007. Performance testing: dissection of a consumerist experiment. The sociological review, 55 (2), 152–172] on the work undertaken by consumerist journals to evaluate products independently from the mediation of market players, our goal is to characterize the new digital form of the consumerist mediator by using a specific case: Yuka, a mobile application (app) enabling consumers to obtain alternative health labeling on foodstuffs. Relying on interviews, observations of the app and analysis of underlying product databases and reports on food labeling issues, we examine the new forms of consumer-to-market interactions brought about by the app, the conceptions of health inscribed in its product qualification algorithm and the operation of the database on which it is based. Our position is threefold: firstly, we argue that the relationship between the consumer and the market established by Yuka is less distant than the one established by traditional consumerist mediators. Secondly, in the case of Yuka, we argue that the market relationship is based on a compromise between scientific logic, technological uncertainty and consumer concerns. Thirdly, we claim that this case demonstrates new ways for consumerist prescribers to politically intervene on markets, but that the potential of the intervention is tied to new issues related to the openness of product data. 相似文献
19.
ABSTRACTThis article explores the expanded and transformed nature of the psychological work contract for forms of cultural and artistic labour in precarious conditions. The forms of passionate work found within cultural production are argued to form a new model for governing our subjective involvement in and attachment to work. This more expansive and demanding relationship with work has become generalized beyond the specific area of cultural production into employment relationships more generally. In doing so the expanded psychological contract of work comes to operate as a form of logistical media and infrastructural governance, connecting the micropolitics of governing labour with larger structural conditions of precarity and instability. Thus, while work today is less stable in what it offers, it demands even greater psychological investment despite increased uncertainty. 相似文献