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1.
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   

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3.
Over the last two decades the field of ‘Girard studies’ – the application of René Girard's theories on mimetic desire and sacrificial violence to cultural artifacts – has tended to focus increasingly on Biblical texts and theological implications of Girard's interpretation of Christianity as a ‘theory of man.’ After summarizing Girardian theory in its current form, this essay stresses the applicability of the theory to François Furet's reading of the crisis of bourgeois culture and to Pascal Bruckner's reading of the malaise of the post Cold War world and the ethnic crises associated with the break‐up of the former Yugoslavia. This essay also demonstrates how Girardian theory illuminates the recent historical and judicial crises associated with France's efforts to come to terms with the memory and legacy of the collaborationist Vichy regime during World War II. The essay concludes with a brief assessment of the advantages as well as the pitfalls of employing Girardian theory to demystify the crises of modernity.  相似文献   

4.
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   

5.
Abstract

Featuring dead celebrities in current advertisements has become a well-known practice in contemporary advertising techniques. Marilyn Monroe sells Sunsilk, John Lennon is a spokesman for One Laptop per Child, Gene Kelly and Donald O'Connor demonstrate the roominess of a Jetta's now larger backseat. To unearth the viability of re-structuring dead celebrities into new advertisements, this article analyzes how phantasms – visual and vocal recordings – speak to the living consumer through the construction of emplotment, a main element of Paul Ricoeur's narrative theory. Particularly, Ricoeur's work on mimesis, metaphors, and memories direct this inquiry for these terms shape a phenomenological understanding of temporality and connectivity with a disembodied other. The goal of such exploration aims to link dead celebrities with the construction and transmission of persuasive messages within an advertising narrative framework.  相似文献   

6.
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   

7.
ABSTRACT

This article offers a textual analysis and semiotic reading of the Rich Kids of Tehran's (RKOT’s) Instagram page. Contributing to scholarship on Iranian youth media practices, this article interrogates how the RKOT navigate urban and rural space to engage in everyday processes of resistance against global and local systemic oppression. Grounding their visual representations on Instagram in historical and cultural context, the author questions how and when quotidian actions are transformed into political transgressions when posted on social media. This article emphasizes the RKOT's agency in shaping their brand by analyzing representations of gender performance, intertextuality, and national identity on Instagram.  相似文献   

8.
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   

9.
Branding is an economic and cultural process. Branding endows goods and services with value which corporations protect as their intellectual property, enabling brands to support share prices and be traded as assets in takeovers and mergers, at the same time as they serve to differentiate products competitively in the marketplace. Yet this ‘brand value’ depends on cultural perceptions of the meaning and worth of a brand. More than the unique image or positioning of a brand being maintained relative to others of its kind, such perceptions may involve the expressive and emotional attachment of consumers, and this may be very widely shared. This paper argues that, with certain brands, such shared attachment can occur on a national basis, so that they become symbols of national belonging. Whereas consumers attribute a putative foreign national origin to some global brands – for example, Harley-Davidson is unequivocally ‘American’ – they relate to other brands as expressive of their own national origin. This identification often persists even when national brands are taken over by global corporations, since the brand's association with the nation is a major dimension of its value, or the ‘brand equity’ which the new global owner has paid for, and intends to capitalise upon. The paper examines instances in which this has happened in Australia, such as the traditional brand Vegemite, long ago acquired by Kraft, and also cases where the Australian associations of a brand have been exploited in establishing its global identity, notably Foster's Lager.  相似文献   

10.
Abstract

This article problematizes the theoretical assumption of communication-as-symbolic that delimits the way identity is theorized. I argue that deconstructing identity requires moving beyond the symbolic construction of social categories, and instead focusing on how a perceptual and embodied subject is constituted through communication. Informed by Merleau-Ponty's phenomenologically driven approach to critical inquiry, I present a multimodal approach that reveals how perceptual subjectivity and the reflexive body are constituted within, and constitutive of, the symbolic mechanisms of social construction. Utilizing various examples pertinent to intercultural communication, I theorize cultural identity through the perspective of communication-as-embodied.  相似文献   

11.
Abstract

This paper attempts to draw implications of neoliberalism for intercultural communication by critically analyzing a Japanese neoliberal nationalism discourse. In January 2000, a governmental report proposed adopting English as an official language of Japan. Utilizing the notion of representation as a methodological lens for the analysis, this essay first examines how Japanese culture and communication, which have played key roles in asserting Japanese “uniqueness” along with the Japanese language, are redefined in the report. This essay then investigates how Japan's relations with Asia and the West—two significant discursive “Others” for constructing Japan's identity—are depicted in the text and situate the representation of Japanese culture and communication in the discursive triad for further contextualizing the analysis.  相似文献   

12.
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   

13.
ABSTRACT

In this article, I discuss how changes in the economic infrastructure of mass consumption have changed the values and attitudes of consumer culture. By focusing on an online community of Israeli sex consumers and applying the theoretical framework of the prosumer economy, this article suggests its innovative potential for understanding the intersections of cyberspace, capitalism, and sex work consumption. Using the context of the dynamic cultural terrain of prosumerism, the article examines how commercial way of thinking is encouraged, understood, and adopted by sex consumers in the practice of purchasing sexual encounters and sharing them online. The main argument is that the online community of sex consumers has become a collaborative project in which consumers simultaneously produce and consume – that is, they become ‘prosumers’ and thus occupy positions of power within the capitalist market-place. They, therefore, not only responding to market rules but also producing them. I claim that the change in the nature of the community has impacted both the nature of online writing and the way clients perceive sex workers.  相似文献   

14.
This study examined the term oplakvane in Bulgarian discourse. It refers to a communication practice – similar to complaining – and a range of associated cultural meanings for ways to construct a socio-economic and political reality. Data for this study included naturally occurring talk recorded during social events, interview responses from 50 participants, and a range of media postings from newspapers and online sources. These were examined through the lens of ethnography of communication and studies of terms for talk. By examining the term's context, potency, use, messages, meanings, and enactments, a larger cultural landscape is made available, illustrating how oplakvane not only describes negative talk, but references a communication ritual that serves to: (1) release the frustrations of everyday life, (2) celebrate and reinforce feelings of fate and despair, and (3) identify and locate a national Bulgarian character.  相似文献   

15.
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   

16.
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   

17.
Abstract

This essay focuses on how immigrant mothers and second generation interracial daughters construct, perform, and negotiate racial and ethnic hybrid identities. Placing my mother's experiences in dialogue with my own experiences, I (auto)ethnographically examine how we navigate our mother-daughter relationship and intercultural and interracial identities in relation to discourses of Asian American-ness. I identify three sites for identity formation: location, language, and the dialectical tension of assimilation-preservation. I argue that the enactment of a racial self is not always a conscious part of one's identity. Rather, we each enact racialized cultural identities that are contextually performed and continuously shifting.  相似文献   

18.
ABSTRACT

This essay analyses two Singaporean graphic novels which represent the motivations and processes of creating and marketing cartoons, Sonny Liew's The Art of Charlie Chan Hock Chye (2015), a retrospective of the life and work of a fictional artist, and Troy Chin's ongoing autobiographical series, The Resident Tourist (begun in 2007). The analysis focuses on how Liew and Chin represent creative work and its relationship to Singaporean identity, focusing on how each negotiates one of the central contradictions of the creative industries in Singapore, the problem of how creativity can be conceptualised and practised within a society in which, for decades, pragmatism has been systematically valued and imagination devalued. There are three main ways in which both Liew and Chin construct, in very different ways, new creative worker and Singaporean identities which resonate with readers around the post-industrial world. The first is through subtle challenges to the Western, individualised ‘genius’ model of the creative worker. The second is through the creation of modes of address that encompass both Singaporean and non-Singaporean readers, and make all readers complicit in the project of constructing Singaporean identity. Third, both Liew and Chin reimagine the relationship between Singaporean and creative worker identities through simultaneously using and subverting the idea of national allegory.  相似文献   

19.
ABSTRACT

This special issue of the Journal of Cultural Economy focuses on the digitalization of consumption and its social, cultural, ethical, political, and gendered implications. It thus answers the call for more research on how digital devices spread from the purely personal domain to multiple sociocultural domains. Through their use, new cultural practices have emerged between consumers and these devices, and devices and markets, that lead to change, in terms of consumer demand, consumption norms, and issues of ethics, culture, and power. Closely examining the role that devices play in consumption behavior enables us to address the supposed manipulative power of hi-tech companies, infrastructures, and systems at the global level, and the view ordinary market actors hold of digital appliances as empowering tools at the local level. The papers in this volume bridge ‘actor network theory' and ‘consumer culture theory' from the perspective of market ‘agencements.’ Ruckenstein-Granroth and Beauvisage-Mellet, and Arriagada-Concha focus on the device-mediated relationship between large digital market infrastructures and consumer behavior; Petersson McIntyre and Licoppe unveil the societal and cultural underpinnings of digitalized markets. Last but not least, Sörum and Soujtis address the political dimensions and implications of our new digital consumer equipment and society.  相似文献   

20.
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   

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