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1.
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   

2.
ABSTRACT

This essay reads the Latina/o/x migrant vernacular discourses that emerge out of pro-migrant activism. Anzaldúa’s notion of mestizaje – a logic of border consciousness – is put into conversation with Deleuze’s notion of nomad thought – a logic of movement – to inform a rhetorical strategy for reading the vernacular archive of social movement discourse. The “No Papers, No Fear” is one such social movement that demonstrate the logic of mestizaje/nomadism in their communication strategies. This study illuminates three tensions that define the ways Latina/o/x migrants in the US navigate the spaces of citizenship: tensions between movement/stasis, migrant identity/national identity, and fear/safety.  相似文献   

3.
In late 2012, Santino J. Rivera published a collection of Chicana/o literature as a cultural and political response to the closure of Mexican American Studies in the Tucson Unified School District. This essay argues that Rivera's text invites critical interrogation of the whiteness ideologies underlying critiques of MAS in an attempt to make spaces for Chicana/o sensibilities. Such sensibilities, this essay argues, include In Lak'ech and mestiza rhetorics, which emphasize cultural empowerment, identification, spiritual love, and humanization.  相似文献   

4.
Abstract

Hybridization scholars have shown that the implosion of culture in response to globalization has led nations to feel threatened and thus reclaim their cultural differences. Nouvelle Star, the French version of American Idol, is a powerful representation of this process. The global format which emphasized popularity and emotions was rejected to showcase traits considered to be distinctly French: intellectualism and musical taste. By exploring the franchise's history and analyzing Nouvelle Star's episodes and audience responses, this paper describes how global similarities and national differences were produced in a movement of cultural hybridization.  相似文献   

5.
ABSTRACT

Conditions of abjection are increasingly viewed as problems to be managed with surveillance. Across disparate domains, bodies that challenge normalized constructions of responsible neoliberal citizenship are categorized, monitored, policed, and excluded in dehumanizing and often violent ways. This paper explores the role of surveillance in such processes. The registers covered include everyday abjection (welfare systems, battered women’s shelters, and homelessness), criminalized poverty (police targeting of the poor and emerging ‘poverty capitalism’ arrangements), and the radically adrift (the identification, tracking, and containment of refugees). In each of these cases, surveillance is yoked to structural inequalities and systems of oppression, but it also possesses a cultural dimension that thrusts marginalized and dehumanized subjectivities upon the abject Other. Therefore, I argue that in order to critique the gendered, racialized, and classed dimensions of contemporary surveillance, it is necessary to take seriously the mythologies that give meaning to surveillance practices and the subjectivities that are engendered by them.  相似文献   

6.
Abstract

For over a decade, critical scholars have exposed antiracist white heroes in popular discourse who reproduce white innocence, superiority, and privilege. This essay exposes claims of antiracist white heroics by former Klansman and Nazi sympathizer, David Duke. Critical analysis of Duke's letter to the editor, published 11 days before his Louisiana State Senate victory in 1989, reveals that Duke used implicit whiteness strategies of mythic recovery to justify his infamous civil rights reversals and white paternalism to rescue blacks from welfare and whites from affirmative action by restoring rugged individualism. Duke's rhetoric models ways for whites to sanitize personal and cultural histories of white supremacy, while reproducing white privilege. The recovery of white masculine heroes and rugged individualism myths is also found in the 2008 McCain-Palin presidential campaign. Critical analysis of such rhetoric challenges our scholarly knowledge about whiteness and exposes persistent constructions of white innocence.  相似文献   

7.
Review     

Roy Strong, National Portrait Gallery Tudor and Jacobean Portraits. vol. 1, Text; vol. 2, Plates. Her Majesty's Stationery Office, 1969. £15 15s.  相似文献   

8.
ABSTRACT

We assess Mureithi's 2009 documentary, ICYIZERE: hope (Motion Picture, Josiah Films), as a document of representational space and collective memory. We argue that the post-genocide reconciliation workshop represented in the film embodies and constructs a sacred/secular space. The reconciliatory space is produced through (1) negotiations of dialectical tensions between past/present as well as individual/collective memory, and (2) (re)presentations of rehumanization within the workshop whereby participants (and audiences) can (re)interpret the Other. We analyze the rehumanization process in the documentary via identity widening theory (Ellis, D.G., 2006, Transforming conflict: Communication and ethnopolitical conflict. Boulder, CO: Rowman & Littlefield Publishers) and empathetic human interaction. Finally, we detail how the documentary situates participants within a transformative space of negotiated memories of the genocide with current day reconciliation efforts.  相似文献   

9.
Abstract

Both fans and critics of Lars von Trier's work would likely agree with his capacity to make his audience suffer. This essay canvasses the devices through which the suffering of women in von Trier's melodramas is rendered excruciating to watch. Drawing on Deleuze's influential account of masochism, the first part of the essay discusses how von Trier's film Dogville foregrounds the complicated relationship that suffering has with pleasure and power. The second part of the essay focuses on the temporal dynamics of melodrama and the creative ways in which Lars von Trier disturbs the rhythms of suffering on screen. In particular I argue that von Trier introduces intervals of ‘dead time’ that make the passage of time itself painful to the audience and that open up a larger cultural history of temporal disorder. This part of the essay looks back to von Trier's early experiments with time in Psychomobile 1: The World Clock (2000) and forward to more recent innovative play with time and movement in Melancholia (2011) to make the case for rethinking the temporal dimensions of mediated suffering and the significance of time in the work of Lars von Trier.  相似文献   

10.
ABSTRACT

Banned 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   

11.
Abstract

One of the under-studied effects of global migration has been an increase in transnational marriages. This phenomenon has greatly impacted Taiwan as women from Southeast Asian nations and Mainland China, through professional marriage brokers or personal contacts, enter into marriages with Taiwanese men. How well these women adapt to Taiwan's culture and learn its local languages is studied through the lens of two theories of intercultural communication: Kim's theory of cross-cultural adaptation and Kramer's theory of cultural fusion. Based upon in-depth interviews with 28 women, results show some support for both theories. However, the postulates of cultural fusion demonstrate a better fit: Learning is an additive process; long-term association with co-ethnics appears to correlate with greater satisfaction and adaptation; and women's negotiated identities follow a range of outcomes.  相似文献   

12.
Using Carbaugh’s (2005. Cultures in conversation. Mahwah, NJ: Lawrence Erlbaum; 2007. Cultural discourse analysis: Communication practices and intercultural encounters. Journal of Intercultural Communication Research, 36(3), 167–182) cultural discourse analysis and Petronio’s (2002. Boundaries of privacy: Dialectics of disclosure. Albany, NY: State University of New York Press) Communication Privacy Management (CPM) Theory, this study highlights four cultural premises that garner intercultural privacy management between foreign English language teachers (ELTs) and Japanese coworkers (JCWs) in Japan. The analysis revealed that ELTs: (a) expected not to be a “free space” for privacy inquisition by JCWs, and (b) expected voluntary reciprocity in (egalitarian) workplace relationships. JCWs viewed: (a) privacy inquisitions as acts of kindness/caring and (b) soliciting help from a supervisor as providing opportunities for better care. This study calls for attention to intercultural privacy management and enhances CPM’s cultural criteria.  相似文献   

13.
ABSTRACT

Catherine Malabou's opinion of non-essentialist models of gender identity and art is unambiguous: in her words, they are ‘catastrophic’ to women and to artists (Malabou [2014]. ‘Sujet: Femme'. de(s)générations des féminismes 21, 29-38: 135). What, then, are the implications of Malabou's hallmark concept of ‘plasticity’ on theories of performativity? Has plasticity come to supplant performativity, just as Malabou believes that it has come to supplant Derridean writing? Or if, as Malabou suggests, philosophical concepts are inherently plastic, may we maintain that performativity was always already plastic? In the following article, I read Malabou's work on writing alongside her work on the feminine in order to question how plasticity and performativity might be examined together to theorise the ways in which the discursive and the material interact in the production of subjectivities. By highlighting the performativity at play within Malabou's own writing about the end of writing, I propose that her work challenges her claim that literature cannot deconstruct philosophy. In response to Malabou's anti-essentialist plastic theory of the essence of woman, I underline the parallels between performativity and plasticity and suggest that the two concepts overlap in their mutual configuration of identity and form as mutable and transformable.  相似文献   

14.
This ethnographic study examines the practice of Aikido, a martial art style originating from Japan, by a community of non-Japanese practitioners in the southwestern region of the United States. This paper recounts the second nature-making of the art's skillful responsiveness as a thing to be explained from the ground, rather than leaving its cultural dynamics and their appropriative relations unchallenged as a relatively homogenous process of globalization and increased contact. In the case of Shining Energy (a pseudonym), the “taking” of another's cultural elements and “making” it a fully habituated and naturalized way of moving and being (second nature) are predicated on geo-making, the production of ontologizing resources (first nature) that enable culturally sanctioned modes of somatic engagements with the world. The process of appropriating Aikido entails an inversion between the figure and ground that foregrounds the geo-making of the ground/field for activity itself.  相似文献   

15.
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   

16.
ABSTRACT

This essay focuses on the relationship between culture and governance, exploring how the practice of government has invoked conflicts and crises in the Korean culture industries. The Park Geun-Hye regime used culture as a central engine to boost Korea's national economy by adopting the new slogan, ‘Creative Korea’, to embody the country's national values within the international community. However, the regime's constant emphasis on creative economies came under attack when it was discovered that the Ministry of Culture and Tourism abused its authority by censuring 9,473 artists who were critical of the regime. Through an analysis of journalistic interviews with artists, critics and cultural practitioners, this paper examines how the relationships of governmentality, culture and creativity have been negotiated in the process of regime change. In addition, this paper explores how the Korean Wave phenomenon – the transnational expansion of Korean popular culture – during the past two decades has reshaped the society's perception of the governor–governed relationship within the cultural sphere.  相似文献   

17.
Abstract

China's entry into the global networked society has raised considerable debate over what is derived from the development and expansion of information and communication technologies (ICTs). One of the hotly debated issues is Internet copyright piracy, which is critical to the credibility and stability of China's membership to the global networked society. This paper examines Chinese users’ online discussion about Internet software piracy as local resistance to global copyright enforcement exercised through globalization processes. The study uses Mittelman and Chin's (2005) framework of Polanyi's (1957) counter-hegemony and Gramsci's (1971) counter-movements as a heuristic device to conceptualize the resistance points to globalization located within the dominant discourse on intellectual property rights, specifically Internet software piracy, by Chinese Internet users. Gee's (2002) discourse analysis framework is applied to produce seven recurring themes within online postings: cost, convenience, software companies, foreign developed countries, China's development, Chinese culture, and moral dilemma. The analysis on these dominant themes illustrates the cultural models held by Chinese users towards the issues of Internet software piracy: Internet as a public domain, socialist market economy, patriotism, and Chinese culture. These cultural models represent different types of resistance in Mittelman and Chin's (2005) framework. Meanwhile, these resistance positions are integrated under the notion of Chinese nationalism to constitute a complete set of counter-discourses to global software copyright enforcement.  相似文献   

18.
Abstract

In Latin America, collective remembering is shaped by stories of colonizers whose voracious ambitions left an indelible mark on the landscape and its people. This essay examines a set of narratives about a legendary colonizer, Lope de Aguirre, that continue to be invoked in the collective imagination on the island of Margarita, in Venezuela. Drawing on Bormann's Symbolic Convergence Theory and Bakhtin's work on cultural discourse, this analysis shows that on the one hand, the narratives converge to support official records of Aguirre as an archetype of colonial brutality. Yet on the other, alternate versions of the stories reveal a more discordant picture, one that complicates Aguirre's character and reevaluates his influence on the island and in the wider context of Latin America.  相似文献   

19.
Abstract

This essay discusses Nietzsche's tragic moral psychology and its significance for liberal political philosophy. In the essay, I sketch out what I view to be the basic features of Nietzsche's tragic psychology, which is strongly opposed to the Socratic and Stoic traditions, and I show how this perspective can be distinguished from the moral psychology that informs liberalism's position on issues such as personhood and political history. I conclude with a few suggestions for viewing Nietzsche's thought as a necessary corrective to a certain dogmatism that still inhabits liberal theory, in this way enabling liberal thought to conceptualise human nature and the human good in more creative and complex ways.  相似文献   

20.
Abstract

This essay revisits the question of post-Shoah responses to cataclysm in light of the now-urgent question of transmission – the shift in mourning and memory between first-generation survivors and later generations. Offering a different but complementary analysis to those in trauma or memory studies, I argue that post-Shoah witness and testimony are acts of ‘irreconcilable mourning’. This sense of mourning departs from post-Freudian approaches that focus on closure. Instead, irreconcilable mourning is a non-totalising approach to loss that resists ‘redemption’ and instead necessitates an ongoing, creative, and critical response to loss. In the course of this argument, I examine first-generation accounts such as Primo Levi's and Elie Wiesel's to highlight the necessity and contingency of transmission by interrogating concepts such as the ‘unsayable’ and the remnant. I then focus on Art Spiegelman's second-generation Maus: A Survivor's Tale, bringing cross-generational questions of witness and testimony as acts of irreconcilable mourning into the fold of Marianne Hirsch's ‘postmemory’ and Edith Wyschogrod's heterological history-telling.  相似文献   

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