首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献，搜索用时 31 毫秒
1.
The central argument in this paper is that actor-network theory (ANT) does not do ‘cultural economy’ symmetrically: it has had a lot to say about economy but much less to say about culture. This rejection of culture is ontological and epistemological: culture appears in ANT largely as an artefact of modernist thought rather than as an empirical aspect of agents' performances. And yet if ‘economy’ can be critiqued and reinstated as performative, so too can ‘culture’. To explore this, we focus on objects of concern that – unlike the financial markets that have formed the core of ANT-inspired thinking about the economy – are assembled by actors in and through what they themselves understand to be cultural materials, cultural calculations, cultural processes, cultural institutions. In such examples, ‘culture’ is continuously invoked and enacted by actors in constructing their actions, whatever critical sociologists might have to say about its ontological status. It seems paradoxical that a theoretical approach that makes sacrosanct the associations constructed by agents who assemble their own world, generally discusses ‘culture’ only from the point of view of critical epistemology. Bearing all this in mind, we argue that it is time for us to ‘reassemble’ the cultural.  相似文献   

2.
In recent years, questions of ‘character’ have become increasingly prominent in a range of policy contexts, from education to social welfare and from business to healthcare. What unites these various contemporary paens is an assumption that building ‘character’ is a crucial component of ethics and that it holds the key to establishing and maintaining virtuous conduct; moreover, that the cultivation of ‘character’ is at best under-valued and at worst actively undermined and denigrated in any number of contemporary economic and organizational practices. In this paper, we seek to interrogate key aspects of this upsurge of interest in ‘character’ as it has been articulated in particular recent and on-going debates about the reform of organizational life. We argue that this ‘turn’ suffers precisely from an abstraction and lack of contextual specificity – not simply in relation to questions of ‘character formation,’ but also in regard to matters of organization, and indeed the relationship of the one to the other – that severely curtails both its ethical reach and explanatory power.  相似文献   

3.
This article develops the concept of ‘alternative cultural tourism’ through an in-depth study of the Prague Fringe Festival (PFF). In doing so, it argues that existing approaches to cultural tourism often fail to differentiate between different forms of culture (i.e. alternative versus mainstream), whilst also interrogating the criteria by which festivals can be understood as examples of alternative cultural tourism. Utilising a combination of both quantitative and qualitative data, involving audiences, festival performers and workers/volunteers, it is asserted that the PFF brings together a diverse mix of cultures, and seeks to create a more participatory and engaging tourist experience. Additionally, its more egalitarian organising structure produces different kinds of work and social relations in the production of art and culture – particularly between various groups working within the festival, but also in the creation of different ideas about audience engagement, performer relations, and engagement with the local community (through the idea of the ‘festival participant’). The article concludes by briefly exploring the potential of alternative cultural tourism to provide more meaningful and sustainable models of urban cultural development.  相似文献   

4.
Drawing on interviews with children’s market researchers, brand managers and other market actors in North America, the UK and Europe, this study analyzes and positions children’s market professionals as knowledge brokers and moral interlocutors who transact between and among clients, colleagues and, at times, parents. The transactions – as understood by practitioners – extend beyond simply seeking to elicit ‘preferences’ for this or that product or experience and suggesting ‘market solutions’ to the immediate business problem at hand. Rather, the cultural labor exerted here resembles a continual sorting process in pursuit of the distinction between the child as a dependent economic actor from the child as a moral being worthy of recognition and commercial deference. They thereby strive to enable the continuity – i.e. erase the boundary – between markets and culture by enacting sympathy, sentiment and even intimacy in the conceptualization and execution of research. Investigating how these market professionals understand, construct and act upon children as economic actors, while situated amidst public, moral discourses to the contrary, opens possibilities to examine how value arises in the cultural practice of making social persons and how social personhood in some ways modulates and informs market exigencies.  相似文献   

5.
Marc Bauder’s finance film, Master of the Universe (2013) won the European Documentary Film Prize in December 2014. Bauder’s film focuses on a series on interviews with a former leading investment banker, Rainer Voss, high up in one of Frankfurt’s deserted bank skyscrapers. Voss’s statements, set against the skyline of Frankfurt’s ‘Mainhattan’ financial sector, allow Bauder to constitute an aesthetic that, I argue, successfully addresses a key problem in moving image studies, namely how to find an appropriate film form to register the workings of contemporary finance. Bauder’s film offers an unusual depiction of the self-constitution and self-understanding of a banker-turned-whistleblower, focusing on Voss’s speech acts of explication and justification. Drawing on Judith Butler’s analysis of performative agency and of the separation of economics and politics through iterative perlocutionary acts, I argue that Bauder’s investigation into the performativity that establishes the autonomy of the financial sector and grants it extensive social power offers a significant aesthetic engagement with financial performativity and contributes to debates about documentary and performativity and about routes to a reconnection of economics and politics.  相似文献   

6.
In this essay we argue that there is an important but frequently overlooked link between Walter Benjamin’s and Julia Kristeva’s attempts to explore new modes of critical practice. What connects Benjamin and Kristeva, in our account, is a vital concern with the cost of critique, that is, with the question whether critical agency in its most productive modes is inherently related to certain forms of ethical violence. We aim to show that, once we read them together, these authors’ pivotal contribution consists of offering an alternative model of critique animated by an ethos of in(ter)-vention, which is keyed to techniques of criticism that are both disruptive and innovative. Ethical violence here refers to a strategic displacement of moral self-perception, which undercuts people’s aspirations toward maintaining a morally robust character in the face of political adversity and social injustice. To illustrate the stakes of such displacement, we turn to the figure of the ‘anti-journalist’ Karl Kraus whose in(ter)ventions display integrity in action rather than integrity of character. Specifically, under the rubric of ethical violence, we propose a dynamic interpretation of Kraus’ performance in terms of polemical witnessing, which combines the corrosive aspects of Benjamin’s ‘destructive character’ with the constructive aspects contained in Kristeva’s notions of ‘sharing singularity’ and ‘intimate revolt’.  相似文献   

7.
Cinema marks a profound shift in the relation between image and text – indeed it is the watershed of the subjugation of language by image. Cinema as an innovative shift in both industrial capitalism and cultural practice marks, therefore, the restructuring of language function in accord with the changing protocols of techno-capitalism. The ‘talking cure’, otherwise known as psychoanalysis, is itself a symptom of cinema. As a precursor for TV and computing and Internet, cinema transacts value transfer across the image utilising a production process that can be grasped as founded under the rubric of what I call ‘the attention theory of value’. The deterritorialised factory that is the contemporary image, is an essential component of globalisation, neo-imperialism, and militarisation, organising, as it were, the consent (ignorance of) and indeed desire for these latter processes. Thus ‘cinema’, as a paradigm for image-mediated social production, implies a cultural turn for political economics. It also implies that it is the interstitial, informal activities that transpire across the entire surface of the socius as well as in the vicissitudes of the psyche and experience that are the new (untheorised) production sites for global capital – and therefore among the significant sites for the waging of the next revolution.  相似文献   

8.
Based on patterns of naming across four generations in first author Lie’s Chinese Indonesian family, we argue that naming practices are not just a function of personal taste or cultural habit but rather reflect negotiation of larger-scale political and historical conditions. We show that seeming contradictions and puzzles in the names and naming practices in Lie’s family can be explained by the specific social and political challenges faced by members of the family, particularly during the assimilation period of Suharto’s 1966–1998 reign. Both Lie’s family and the Indonesian state have treated names as having a high degree of constitutive power in these negotiations.  相似文献   

9.
  相似文献   

10.
ABSTRACT

This paper examines the social construction of ‘fashionability’ – namely, what is ‘desirable’ and ‘fashionable’ – with reference to the concept ‘cultural mediators’ that foregrounds agency, negotiation and the contested practices of market actors in cultural production. It zeroes in on the cultural mediators’ attitudes and positions in the two markets by drawing on 25 in-depth interviews with industry veterans. It shows that the mediators in South Korea and China increasingly occupy hybrid occupational roles and social positions across industries and sectors yet achieve limited success in countering the status quo of Western fashion through mediation. The analysis contributes to the literature with a categorisation of seven mediation practices that shape the valuation of fashion products (i.e. ‘fashionability’) in two ways. Empirically, this categorisation illuminates how cultural mediators make reference habitually to the broader social and cultural contexts to co-construct cultural-aesthetic objects. Theoretically, it advances a cultural-economic approach to the understanding of cultural mediation and challenges the reductionist viewpoint of actor–network theory through the notion of a matrix of cultural-economic agency.  相似文献   

11.
Abstract

The objective of this article is to critique the current literature on Jews and Jewishness in North American television. It is our contention that this work is problematic in a number of ways. First, it insists on a strict binary between ‘bad’ and ‘good’ television images, and ‘bad’ and ‘good’ audience responses to these images. Second, it assumes that a unified, ‘acceptable’ Jewish identity pre‐exists the production of these images, and that this identity merely needs to be incorporated into the television landscape to make its images ‘better’. Third, it assumes a direct and unproblematic relationship between what the viewers see on television and how they understand the world. In the second half of this essay we introduce scholarship in other areas of television and media studies, as well as in the emerging field of Jewish cultural studies, to point to the need to theorise a much more complex relationship between identity and spectatorship than is realised in much of the current literature on Jewishness and television. We argue that our relationship, as viewers, to television is inherently complex, contradictory, ambivalent, and shifting, and thus cannot be pinned down by rigid and hierarchical binary structures. Further, we argue that Jewishness cannot be reified as a single, visible, knowable identity, and that the ambivalent pleasures of viewers viewing Jewishness on television, including our own, must be accounted for rather than dismissed.  相似文献   

12.
To the extent that ‘classical organization theory’ is seen to possess any enduring interest it is mainly as a historic artefact. The idea that the principles, axioms, adages and devices elaborated by its proponents any longer possess traction in the present is rarely countenanced. In contrast to this customary view, the present article seeks to indicate the continuing significance of classical organization theory, for both analysing and intervening in organizational life. This necessitates a reconstruction of the conventional understanding of this received term, one in which classical organization theory is viewed less as ‘theory’ in the conventional sense, but rather as a geographically dispersed, institutionally disconnected and historically discontinuous ‘stance’, characterized, inter alia, by a pragmatist call to experience, an antithetical attitude to ‘high’ or transcendental theorizing, and, not least, an ethical focus on organizational effectiveness born of a close connection to ‘the work itself’ or ‘the situation at hand’. Deploying the term ‘classic organization theory’ in this way, to refer to a stance, attitude or comportment, and an associated persona that bears it, we are able to highlight the significant differences between this comportment and the increasingly ‘metaphysical’ attitude characterizing many contemporary approaches to organization and organizing, not simply in organization studies, but also more widely in sociology and cultural economy.  相似文献   

13.
This essay investigates portrayals of ‘uncontacted tribes’ of the Amazon by the humanitarian organisations and the popular texts that aim to study and save them. These portrayals rely upon a convergence of figures of racial, gender and sexual deviance recuperated from the age of high imperialism, with newer configurations of the human which emerged in the wake of the Second World War. How might we account for the fact that these objects of preservation are presented – save for a few crucial exceptions – as degraded, almost dead or simply not there? By way of addressing this question, I offer the production of the ‘uncontacted’ as one site for examining the imbrication of humanitarianism and violence.  相似文献   

14.
Abstract

The essay approaches recent discussions of ‘life’ and biopolitics from the historical context of early 20th century German vitalist thought. By closely analysing the concept of the ‘drive’ in art historian Wilhelm Worringer's Abstraction and Empathy (1908) and Sigmund Freud's Beyond the Pleasure Principle (1920), the essay shows how the paradoxes of those texts prefigure and contribute to the contemporary problematic of ‘life’ in theoretical discourse across the humanities. In Worringer and Freud, the drive is an ‘elastic’ concept stretching beyond – and yet constitutive of – the epistemological object (‘life’) that it is called upon to describe. The distortion of the drive in each author's thought – from an impulse of organic vitality to a principle of inorganic primordiality – manifests the contradictory ‘life’ of vitalist concepts themselves in their elastic potential for transformation, regression and contradiction.  相似文献   

15.
  相似文献   

16.
  相似文献   

17.
Interprofessional education (IPE) – students of different professions learning together, from and about each other – is increasingly common in health professional degrees. Despite its explicit aims of transforming identities, practices and relationships within/across health professions, IPE remains under-theorised sociologically, with most IPE scholarship focussed on evaluating specific interventions. In particular, the significance of a shared knowledge base for shaping professional power and subjectivity in IPE has been overlooked. In this paper we begin to develop a framework for theorising IPE in allied health, by drawing parallels with a cognate area in which there has already been fruitful conceptual development: interdisciplinarity. Specifically, we offer a worked example of how the two areas may be brought into dialogue, by deploying Barry, Born and Weszkalnys’ (2008) conceptualisation of interdisciplinarity as a lens for understanding IPE. Following Barry et al. (2008) we delineate a number of ‘modes’ and ‘logics’ of knowledge-production that emerge both in IPE literature and in our own empirical study of IPE. Our empirical data are drawn from 32 semi-structured interviews with 19 allied health students participating in an IPE curriculum at one Australian university. Findings point to the emergence of interprofessional practitioner identities among students that have the potential to undermine traditional epistemological boundaries and transcend role-based distinctions in future health profession(al)s. We argue that Barry et al.’s ‘logic of ontology’ sheds light on previously unidentified processes of transformation within IPE, and offers a theoretical framework that can explain the importance of a shared pan-professional knowledge base for the reflexive individual construction of new interprofessional ontological subjects.  相似文献   

18.
The idea of multiple markets, conceptualised as a variety of concrete market configurations, was fruitfully developed in the socio-material networks research programme. However, it has not yet been able to solve the following puzzle: the differentiation and specification of multiple markets that exist at the same time in the same place. In this paper, I argue that White’s model of ‘markets from networks’ can contribute to filling this gap, since it is centred on the specification of a market’s structural and cultural boundaries. His model allows for the analysis of concrete market practices intertwined with more abstract concepts of markets formed in discourses that move firms and markets across different levels – from local markets to market sectors. An in-depth analysis of the emergence of the World Music market demonstrates the advantages of employing this model in the analysis of multiple markets.  相似文献   

19.
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process?  相似文献   

20.
THE PROPER COPY     
Efforts to make (and keep) knowledge public have provided a powerful counter-model to the recent expansion of exclusive intellectual property rights in such arenas as information technology, digital media, biological research, and pharmaceutical access. While sympathetic to the impulse to counteract the new ‘enclosures’ with knowledge made public, this essay critically interrogates some of the constitutive limits – in fact, the constitutive outsides – to these counter formulations. Paying particular attention to how public domain initiatives, like their strict intellectual property counterparts, also police the line between the proper and the improper copy, I argue that mechanisms for keeping knowledge public do not just circle the wagons against the predations of the Monsantos and Microsofts of the world. In their rhetorical and normative commitments to the proper copy, they also risk reproducing some of the same constrictions and exclusions that we tend to associate with (privatized) acts of enclosure itself. I explore this argument first in reference to creative commons and copyright, which can reproduce a strong ideological commitment to improvement – ‘innovation’ or ‘creativity’ – against the mere copy. What is the cost, I ask, of making the idea of improvement the price of admission not just to intellectual property claims, but to participation in newly ‘democratic’ public and common spaces of knowledge production? Second, I look to global pharmaceutical politics – specifically, regulatory efforts to improve access to cheaper copied and generic drugs in Argentina – to raise questions about the public domain's normative place in the continued expansion and harmonization of intellectual property regimes in the so-called global South. Together, these discussions suggest how the public domain and the commons, like their IP counterparts, can rhetorically and normatively expand and be secured against the improper copy.  相似文献   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号