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Doing Cultural Studies: The Story of the Sony Walkman

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... Circuit-of-Culture becomes an important model to analyze the possible meanings and identities (Frame & Ihlen, 2018). The model originates from cultural studies by Hall et al. (1997, as cited in Curtin & Gaither, 2007 to understand the cultural significance of Sony Walkman as a cultural product. According to Hall et al. (1997, as Curtin and Gaither (2007) then expanded the model's application to international public relations, since its practices have expanded due to globalization and the need to have a guide for global public relations practice with a more culturally sensitive theoretical framework increases (Heath, 2013). ...
... The model originates from cultural studies by Hall et al. (1997, as cited in Curtin & Gaither, 2007 to understand the cultural significance of Sony Walkman as a cultural product. According to Hall et al. (1997, as Curtin and Gaither (2007) then expanded the model's application to international public relations, since its practices have expanded due to globalization and the need to have a guide for global public relations practice with a more culturally sensitive theoretical framework increases (Heath, 2013). Curtin and Gaither (2007) identify situational characteristics in the construction of a product's existing meaning, as well as the limitations placed by larger sociological contexts on the interaction of local factors. ...
... In order to answer the research question, we use the Circuit-of-Culture model as the theoretical framework. The Circuit-of-Culture model originated from cultural studies (S. Hall et al., 1997). Curtin and Gaither (2007) then expanded the model's application to international public relations. ...
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Because public relations practitioners are cultural intermediaries, it is critical that they consider cultural contexts in their strategy. They should tailor their communication strategies to the needs of local audiences while keeping in mind that diverse cultures influence their daily lives as a result of globalization. The purpose of this monograph is to examine how Taco Bell, a foreign brand in Indonesia, implements their branding strategy to create meaning through Instagram contents, and how the audience consumes them. Three major findings can be drawn from a thorough examination of Taco Bell's cross-cultural branding attempt in Indonesia. First, the Social Media Playbook, as a regulating factor, has a significant impact on the other moments of the Circuit-of-Culture. Second, Taco Bell wishes to establish an identity in which, despite being a foreign brand, they are a Mexican-inspired restaurant that is a part of Indonesia's multicultural environment rather than a complete outsider. Finally, Taco Bell uses brand personas, franchise locations, and product pricing to enforce an identity that is consistent with the representations on their visual content, which is a lifestyle brand catering to middle to upper socioeconomic class youth.
... Our primary focus is on what veterans think of the varied nature of mediated visibility of military and post-military experience in the UK media, primarily on television. Following a cultural studies approach, and specifically the 'circuit of culture' model, we are interested in how identities are constructed, regulated and consumed through cultural artefacts and symbolic systems of representation (Du Gay et al., 1997;Hall, 1997). The notion of the 'circuit of culture' foregrounds how culture is meaningfully interpreted through practices of production and consumption, and 'in the construction of identity and the marking of difference' (Hall, 1997: 4). ...
... The diversity of responses here speaks to the importance of examining moments of media consumption, and how cultural meanings are negotiated and contested alongside constructions of identity (Du Gay et al., 1997). Overall, respondents felt that documentaries offered a more positive representation than television dramas, but there was still a tendency to dramatize rather than attempting to represent the real-life experiences of veterans: ...
... We are also interested in exploring further how veterans' impressions of the media connect with the actual patterns of coverage across the media -not only news coverage (as previous research has primarily focused on), but also reality TV, documentaries, drama and other relevant media content. To fully understand the 'circuit of culture' (Du Gay et al., 1997) specific to the lived and mediated realities for veterans, we require analysis that examines the exchanges between representation, identity and popular culture, across the different 'moments' in which meanings are produced, consumed and contested. This would involve examining media content alongside perceptions, a strand of research we hope to develop in future research. ...
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Over the last two decades of long wars in Afghanistan and Iraq, the media’s attention on military veterans in the UK has been characterized by a series of shifts: from a focus on combat operations; to initiatives to support transition to civilian life; and finally to a largely invisible presence of veteran issues in the mediated public sphere. This article presents findings from an online qualitative survey conducted with British veterans in 2020. The authors’ primary focus is on how veterans express their concerns when asked about varied televised representations of military and post-military experience. How did the respondents perceive differences across television genres (drama, news, reality TV), and how did this affect their engagement? How do they see their veteran identity reflected back at them through popular media culture? There is a growing research interest in ‘veteran studies’ from a range of disciplines, but the relationship between veteran identity and perceptions of (post)-military representations remains largely under-researched, at least in the UK context. One concern is that negative or misleading stereotypes of veterans among publics could hinder their successful reintegration into society, but the authors are interested in how veterans make sense of such representations across popular media culture, how they imagine the ‘general public’ audience in their reflections, and the nature of veteran identity they project within the survey responses. This study finds that anxieties about ‘mad, bad or sad’ stereotypical representations of veterans continue, but the diversity within its findings also reaffirms the importance of not treating veterans as a homogeneous group in research.
... O trabalho de Henshaw et al. (2016) dedica-se aos cheiros das cidades e à forma como eles são usados em "city marketing". O de Canniford, Riach e Hill (2018), por sua vez, propõe a abordagem teórica da "nosenografia" (nosenography) para analisar a presença de cheiros como agregados (assemblages) de corpos, locações e experiências através de uma visada não-representacional. Já o presente trabalho, visa explorar a forma como os cheiros articulam-se simbolicamente com identidades de homens, usando uma perspectiva de representações sociais proposta por Du Gay et al. (1997) e tendo como tema central a investigação das articulações entre os significados atribuídos aos cheiros e ao consumo. ...
... Já sobre o processo de regulação, Du Gay et al. (1997) esclarecem que um texto ou artefato cultural tem efeitos sobre a vida social, mas também são afetados por ela. Segundo os autores, os costumes, as normas, as instituições em geral, ou a sociedade como um todo, exercem, de alguma forma, influência para controlar as representações criadas e o uso dos produtos, interferindo sobre a articulação dos processos de produção e consumo. ...
... Por fim, no que se refere ao processo cultural de consumo, o Circuito da Cultura (Du Gay et al., 1997) reforça a sua estreita interligação com os processos de representação e de identidade, de tal modo que se torna difícil analisá-los isoladamente. A perspectiva cultural entende o consumo como determinante no processo de reprodução social de qualquer sociedade (Barbosa, 2004). ...
... In this paper, we argue that this theoretical dilemma, which opposes consumer empowerment to marketers' control in the age of platforms, can be partly overcome by examining how algorithmic systems 'articulate' (du Gay et al. 1997) consumption and production processes within digital environments. Instead of broadly discussing the digitalization of markets (Hagberg and Kjellberg 2020), or the many applications and implications of AI technologies (Amoore and Piotukh 2016;Neyland 2019), we focus on the machine learning algorithms ordinarily encountered by digital platform users (e.g., on social media, search engines, streaming, and e-commerce services), and theorize them as non-human mediators that actively shape consumer culture (Airoldi 2022;Fourcade and Johns 2020;Morris 2015). ...
... By historically contextualizing, defining, and illustrating the algorithmic mediation of digital consumption, bridging social science and marketing literatures on the topic, our paper aims to conceptualize the rise of a new form of 'algorithmic culture' (Striphas 2015), one that dialectically embraces both platform-based marketer 'nudges' and consumer agency (Darmody and Zwick 2020). Inspired by the 'circuit' model of consumer culture (du Gay et al. 1997), we contribute to consumer and marketing research by conceptualizing algorithmic articulation as a dialectical and techno-social negotiation process, that allows us to enhance our understanding 5 of platform-based marketer control and consumer resistance. Through examples from existing literature, we then illustrate how algorithmic articulation works at the individual, collective, and market level. ...
... In what follows, we wish to consider and develop a more holistic framework, one that would enable cultural examinations to account for both the forms of control exerted by platform algorithms on consumers, and the spaces of resistance left in algorithmic consumer culture. In doing so, we take inspiration from du Gay et al. (1997), who advocate that a more comprehensive analysis of consumer culture would require the examination of 'articulations' of connections in-between consumption (including consumers' identity negotiation and representation of meanings) and production of culture (marketers' production of means and meanings of consumption). Here, 'articulation' refers to the 'form of the connections that make up a unity of two or more distinct elements, under certain conditions ' (1997, 3). ...
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This article conceptualizes algorithmic consumer culture, and offers a framework that sheds new light on two previously conflicting theorizations: that (1) digitalization tends to liquefy consumer culture and thus acts primarily as an empowering force, and that (2) digitalized marketing and big data surveillance practices tend to deprive consumers of all autonomy. By drawing on critical social theories of algorithms and AI, we define and historicize the now ubiquitous algorithmic mediation of consumption, and then illustrate how the opacity, authority, non-neutrality, and recursivity of automated systems affect consumer culture at the individual, collective, and market level. We propose conceptualizing ‘algorithmic articulation’ as a dialectical techno-social process that allows us to enhance our understanding of platform-based marketer control and consumer resistance. Key implications and future avenues for exploring algorithmic consumer culture are discussed.
... This paper contributes to the discussion. It builds on the assumption that social network sites can be considered cultural spaces where users act on and negotiate complex sets of rules and regulations ascribed to a shared ethos and way of doing things (Du Gay et al., 2013;Vincent & Haddon, 2017) and reviews current scholarship on Tumblr culture and transnational fandom (Chin & Morimoto, 2013;Morimoto, 2018bMorimoto, , 2019 to understand them as U.S.-centric. Through the thematic analysis of 19 interviews with Tumblr users of a transnational anime fandom, the paper then provides insight into their concrete experience on Tumblr as an American social network site, as well as their strategies and motivations to engage and disengage with their Englishlanguage transnational fandom on Tumblr. ...
... When considering digital platforms as cultural spaces, we assume users to be acting on and negotiating complex sets of rules and regulations, (in)formal requirements of participation that can be partially ascribed to a shared ethos and way of doing things (Du Gay et al., 2013;Vincent & Haddon, 2017). In particular, since social network sites are spaces where people come together, forge communities, or part according to shared interests, they are a privileged ground to observe transcultural fandom. ...
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This paper focuses on the American-centric, English-language dominance of Tumblr. It reviews current research on Tumblr culture, transcultural fandom, and linguistic differences in fandom to analyze the ways international fans engage and disengage with U.S.-centric Tumblr and fandom. Through the analysis of 19 interviews to members of a transnational Tumblr anime fandom, the paper addresses their perception and understanding of the platform’s cultural biases as an American corporate owned, English language dominated social network site. The paper then explores the international fans’ motivations to join their English-language Tumblr fandom. It highlights the double nature of their Tumblr transnational fandom as an American-centric but global space in virtue of the use of English as lingua franca. It then analyzes the fans’ engagement and disengagement strategies with different branches of their fandom through the use of different languages and platforms.
... Previous research on sport-related advertising and the communication of corporate brand partnerships in sport have adopted the circuit of culture as a framework to critically analyze sport-related promotion and advertising (28,29). Accordingly, the circuit of culture, which traces the "lifecycle" of a commodity in contemporary society (30), has become an important component of research related to the growth of advertising, consumption, and commercialization within society (31). It consists of five interrelated cultural processes: production, representation, consumption, and identity, the components necessary to adequately examine commodities (30). ...
... Accordingly, the circuit of culture, which traces the "lifecycle" of a commodity in contemporary society (30), has become an important component of research related to the growth of advertising, consumption, and commercialization within society (31). It consists of five interrelated cultural processes: production, representation, consumption, and identity, the components necessary to adequately examine commodities (30). As a circuit, the starting point is irrelevant, since the journey of explaining the meaning of an artifact involves analysis at each moment; cognizant that the processes are not distinct, rather each element converses with and blends into the next (30), overlapping one another and, hence, mutually defining and jointly dependent (32). ...
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Recently, sport management scholars have called for researchers to critically evaluate the ways in which research questions and resulting contributions truly disrupt what is known, how it is known, why it is important to know, and for whom. Historically, sport marketing research has adapted traditional research approaches from the parent marketing discipline to sport. Yet, sport is a constantly evolving social and cultural phenomenon and a reliance on conventional theories, concepts, and methods can serve to crystalize the discourse in sport marketing in ways that may limit knowledge production. Responding to this call, we believe that sport marketing research has much to gain from engaging with critical social science assumptions, worldviews, and perspectives to examine complex issues in sport. We position this paper as a starting point for advancing the field of sport marketing in meaningful and impactful ways by offering two research propositions, each accompanied by four actional recommendations. We employ a particular focus on the marketing campaigns that activate and promote corporate partnerships in sport to frame our two propositions, which discuss (1) consumer culture theory and (2) the circuit of culture as two important frameworks that begin to build bridges between sport marketing and critical social science.
... One implication of the now widespread availability of searchable interfaces for large, broad-content digital libraries is that it is reasonable to expect a scholar to use them. Technologies, however, do not emerge fully formed into the world; they interact with consumers at many stages of production and design (du Gay, Hall, Janes, Mackay & Negus, 1997;Storey, 1996). Nevertheless, digital libraries are now out of their infancy (Fox & Urs, 2002) and seem to be stabilising to the provision of a common set of features in different roles. ...
... However, the significance of productive caffeine boosts, relatable coffee mugs, and intimate "chatty lattes" are also related to a larger consumer culture and symbolic economy. Through these examples, girlbosses take part in the co-creation of brands and the dynamic interplay between cultures, identities, meanings, and common worlds (e.g., Arvidsson, 2006;Bookman, 2016;du Gay et al., 1997). ...
Article
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Common depictions of authentic self-presentation on social media are often interpreted through the lens of ambivalence, performance, or some kind of bind. Through the example of millennial women who call themselves girlbosses, this article explores how authenticity is articulated through three levels: productivity, ordinariness, and belonging. The study is part of a larger netnographic project in which 23 YouTube channels and related social media platforms have been observed for two years. Content analyses of observational and interview data suggest the authentic self is often represented and expressed through specific cultural repertoires (e.g., coffee) that articulate girlbosses as productive and ordinary entrepreneurs seeking belonging and meaning. Further, while digital media allows new kinds of entrepreneurship, at the same time, self-employed digital workers, influencers, and entrepreneurs are left alone to advance their careers in the midst of rising popular misogyny and lacking job security. I argue that participating in communicative practices of entrepreneurial femininity offers girlbosses a promise of happiness if they stay “authentic”; and yet, in a cruel way, this promise also prevents itself from actualising.
... As Barth (1969) describes, "culture is nothing but a way to describe human behavior". Culture is not fixed but its process is a circle connecting representation, identity, production, consumption, and regulation (Paul du Gay et al., 1997). Of the various methodologies, anthropological research conducted through long-term fieldwork has most inf luenced our understanding of the organizational nature of culture (Moeran, 2013: 2). ...
... The cultural entities recently need special form of paradigm. Gay (1997) cited that to explore the newest cultural product, we need to focused our attention to the structure, the strategy and cultural which globally developed and commercially manufactured. Culture and it's artifact, should be observed by focusing the study on the culture manifested by global world trade. ...
Conference Paper
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Sejak zaman Orde Baru, Mentawai telah menjadi sasaran program pembangunan hingga sekarang. Salah satunya program berkaitan dengan pangan. Dimana program pembukaan lahan untuk sawah yang direncanakan pada tahun 2012 seluas 600 ha harus tercapai melalui program ‘Peningkatan Keamanan Pangan Nasional’. Sagu bukan hanya sebagai pangan namun terkait dengan kehidupan sosial budaya seperti pertukaran (paroman), upacara adat (punen) dan kepercayaan arat sabulungan. Dengan berubahnya makanan orang Mentawai maka kebudayaannya juga ikut berubah bahkan hilang. Namun ada unsur-unsur kebudayaan yang mencoba bernegosiasi dan beradaptasi namun tidak sepenuhnya dan pada akhirnya menciptakan daya lenting dari perubahan sosio-kultural yang terjadi. Maka dari itu, tujuan dari penelitian ini mendeskripsikan dan menjelaskan perubahan sosial budaya yang terjadi akibat peralihan pangan. Dengan menggunakan pendekatan deskriptif-etnografi serta penyeleksian informan dengan metode purposive sampling. Dalam pengumpulan data menggunakan metode wawancara semi mendalam, observasi partisipasi dan studi literatur. Di satu sisi aspek kebudayaan dan spiritualitasnya terus dirawat namun disisi lain, unsur materilanya diguncang dan ‘dipaksa’ untuk patuh pada yang manyoritas, maju dan beradap. Disinilah terlihat dualisme yang tergambarkan dalam kehidupan orang Mentawai, antara mempertahankan atau (membiarkan) berubah. Politik ekologi yang dijalankan oleh pemerintah Indonesia, mengakibatkan ruang-ruang hidup orang Mentawai terganggu dan kian berubah. Sagu yang menjadi makanan utama kini digantikan dengan beras yang di labeli dengan maju dan modern. Namun ekosistem budaya yang menjadi nilai luhur memiliki siasat untuk menangkis perubahan tersebut.
... La "libertad" es un significante vacío (Laclau, 1985) que se llena de contenido en función de las condiciones de las culturas en las que se utiliza su significado. Para entender cómo se produce ese llenado o vaciado hay que comprender la cultura en el que ese concepto circula, es decir, el circuito cultural (Gay et al., 2013) en el que se negocian sus sentidos. No se puede comparar el significado de la palabra libertad en una comunidad en la que la colaboración es un valor supremo que en otra en la que la competencia se fomenta. ...
Article
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En este texto nos cuestionamos de modo general cómo la ficción fílmica puede plantear problemas sociales relevantes y proponer modos de agencia para resolverlos. Los filmes y los géneros a los que pertenecen confguran una realidad que implícitamente relaciona la estructura social con la agencia de los sujetos protagonistas. La interacción entre estructura y agencia ha sido analizada con grupos de discusión que negocian los signifcados sociales de los temas políticos. Se plantea en este texto cómo los protagonistas de la ficción mimetizan una lógica de la negociación sobre su propia libertad para actuar. Tomamos como estudio de caso el filme Swallow y empleamos una metodología basada en el análisis de las interacciones que se producen en el relato. Los resultados completan las evidencias encontradas en los experimentos con grupos de discusión reales.
... Este tipo de rendimiento es muy apreciado por determinados públicos o usuarios, como diseñadores, artistas, arquitectos, diseñadores de interiores y de moda e ingenieros. Du Gay et al. entienden de forma amplia el estudio de un tema cultural, un texto o un artefacto, y sugieren que es significativamente relevante el hecho de reunir una especie de circuito en torno a su representación, identidad, producción, consumo y regulación (Du Gay et al., 1997). Siguiendo esta idea, la mayoría de las imágenes y actividades que se ofrecen en esta plataforma, invitan al usuario a hacer cosas porque conoce las acciones previamente (interpretar, cortar, doblar, ficheros…), y también entiende los resultados esperados. ...
Conference Paper
Esta investigación propone desde el sustrato de la representación gráfica, una plataforma en abierto para mostrar y conocer distintas arquitecturas con rigor y creatividad. La hipótesis del proyecto ha sido la necesidad de aplicar el diseño y las tecnologías actuales de producción, a la creación de contenidos de aprendizaje para ser utilizados libremente por los usuarios, facilitando generar soportes y aplicaciones ad hok, que pueden proporcionar recursos más versátiles de interpretación y accesibilidad. Este prototipo de aprendizaje autónomo e interactivo plantea al usuario el reto de realizar representaciones de distinto tipo, con las que desarrollar y obtener (en función de sus intereses, conocimiento, visión espacial o habilidades tecnológicas) sus propios productos. Desde modelos descriptivos y explicativos, para comprender o enseñar sobre distintos aspectos y detalles de un determinado edificio, a soportes de orientación, recursos táctiles o, sencillamente, pequeños elementos de recuerdo o regalo. El público objetivo de este proyecto es amplio y diverso: público en general, aficionados a las actividades prácticas y la cultura “maker”, o puede ser de orden profesional como la enseñanza y el sector turístico, que precisan adaptar contenidos (modelos tridimensionales, constructivos, táctiles para personas invidentes, etc.) a la diversidad de usuarios.
... They are defined by social conventions specific to each society and each historical moment and thus always subjected to modifications, to "slippages" (Butler, 1990) changing the signification. We create meaning by marking similarities to and differences from other things or experiences, as it is the "difference that signifies" (Hall, 1997;Hall, Evans, Nixon, 2013, p. 17). ...
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This publication is a resource book for Social Workers engaging in the field of migration. It aims to, on the one hand, display facts about the living realities on the ground migrants and Social Workers active in the field are facing, cir- cumstances presented by experienced practitioners and researchers of this field. On the other hand, it presents methods and approaches, extracting them from these experiences and reflections insights, relevant for Social Work and consequently, also significant for Social Work educational practice. The new challenges of the 21st century ask Social Work education for a change, adapting curricula towards more experienced based teaching practices, in- tercultural, participatory learning sites and exchange, and future oriented per- sonal empowerment and resilience training. International Social Work could take on a transformational leading role, as our global security and well-being of tomorrow depends on the educational foundations laid down today.
... Where the cultural techniques perspective adopted here diverges perhaps most strikingly from that of classical cultural-studies or material-cultures approaches to sound media technologies (Bull, 2000;Du Gay et al., 2013;Manuel, 1993) is in its overt interest in what symbolization affords the users of media technologies. Theorists of cultural techniques have repeatedly drawn attention to how writing-an act that necessarily spatializes inscriptions in media-can be used to confer additional meaning to a sign by virtue of the location of marks in space. ...
... Al llegar a casa, Isabel pensó e intentó imaginar la forma cómo se podía adecuar la educación y recordó para sí misma que, la educación, como proceso de apropiación de una cultura (Du-Gay et al., 1997), para el caso, la cultura de los fisioterapeutas, soporta gran parte de sus aprendizajes y posibilidades en la escucha y el contacto, y pensó: ¿qué pasará ahora que los claustros han cerrado sus puertas? Al respecto, la Organización de las Naciones Unidas para la Educación, la Ciencia y la Cultura (UNESCO) y el Instituto Internacional para la Educación Superior en América Latina y el Caribe (IESALC) (2020) estiman que este cierre temporal afectó aproximadamente a más del 98 % de las comunidades académicas, equivalente a "23,4 millones de estudiantes y 1,4 millones de docentes de educación superior en América Latina y el Caribe" (p. ...
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¿Qué pasará mañana?, ¿cuándo terminará esto?, ¿me enfermaré?, ¿les pasará algo a mis seres queridos?, ¿podré mantener mi empleo?, ¿qué pasará con mis estudios?, ¿será éste el fin de todo?, ¿cómo debo cuidarme?, ¿cómo cuido de los que amo y aprecio? Éstas son algunas de las preguntas e inquietudes que han surgido en cada ser humano del planeta Tierra durante la pandemia por COVID-19; el coronavirus lo cambió todo y a todos. Teniendo un pensamiento muy racional del comportamiento humano y social, es entendible que, ante cualquier crisis como la que se vive actualmente, las personas respondan y actúen de diversas maneras; habrá quienes se vean afectadas negativamente, así como otras que pueden centrarse en su desarrollo individual, con una conciencia ligada a una buena actitud que puede producir resultados positivos y así, enfrentar la adversidad.
... From an urban studies aspect of SoP, this trend might be interpreted as changing the public space into a private space acoustically by removing or masking other sounds and making them available to the urban dweller through the most preferred sounds [53,54]. Furthermore, the definition and characterization of place refer to a more arguable context when sound is a part of it, particularly where sound can be easily removed from the scene. ...
Article
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This study revisits the sense of place and sound nexus in the literature. Along with that, it seeks to explore the approaches that influential urban theorists, landscape architects, and planners have recommended. How these concepts converge within the allied disciplines of urban planning, urban design, geography, and landscape architecture remains at the forefront of this investigation. This research proposes a conceptual framework by identifying sounds in three key categories—auditory experience, sound, and silence—to address the gap between sound and urban studies. The study reveals decisive patterns in urban studies’ interface between the sense of place and the sound context.
... (2) messages (What format do they take?), and (3) interpreters (How do they make sense of the messages?). Wardle and Derakshan introduce classification categories for the study of the three elements, which taken together correspond with traditional distinctions in the "circuit of culture" consisting of producers, texts, and audiences (du Gay et al., 1997). Their analytical categories pertaining to agents are level of organization, type of motivation, level of automation, and intentions to mislead/harm specific audiences (Wardle & Derakshan, 2017, p. 28). ...
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The field of disinformation studies remains relatively silent about questions of identity, motivation, labor, and morality. Drawing from a one-year ethnographic study of disinformation producers employed in digital black ops campaigns in the Philippines, this article proposes that approaches from production studies can address gaps in disinformation research. We argue that approaching disinformation as a culture of production opens inquiry into the social conditions that entice people to this work and the creative industry practices that normalize fake news as a side gig. This article critically reflects on the methodological risks and opportunities of ethnographic research that subverts expectations of the exceptionally villainous troll and instead uses narratives of creative workers’ complicity and collusion to advance holistic social critique and local-level disinformation interventions.
... Articulatie, kwesties en problemen Binnen de sociale wetenschappen wordt de term 'articulatie' gebruikt voor het leggen van nieuwe verbanden en het creëren van nieuwe betekenissen en consequenties tussen elementen die daarvoor als niet-aanelkaar-verwant werden beschouwd (Laclau & Mouffe, 1985/2001. Zo gedefinieerd is articulatie het doelgericht smeden van nieuwe verbindingen -discursieve, symbolische, maar ook fysieke -tussen sterk van elkaar verschillende elementen (Du Gay, Hall, Janes, Mackay & Negus, 1997). ...
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Middels articulatie kunnen ontwerpers en kunstenaars publieken ondersteunen in hun betrokkenheid bij bepaalde kwesties, door binnen actie-georiënteerde projecten het materiële en sociale op nieuwe manieren te vervlechten zodat nieuwe betekenissen en consequenties ontstaan. Menselijke en niet-menselijke betrokkenen kunnen op nieuwe manieren met elkaar worden verbonden zodat de onderliggende aspecten van actuele collectieve kwesties zichtbaar worden gemaakt, en het activisme met betrekking tot maatschappelijke controverses van nieuwe brandstof wordt voorzien.
... Representation is the practice of constructing meaning through signs and language (du Gay et al., 1999;Hall, 2003). From this perspective, language is not understood as a stable thing and will always be tied to the context in which it attends. ...
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In Indonesia, a folk tale is used as a medium of entertainment as well as a teaching tool for children. Parents read folktales to their children at night. Folktales are used in the text of Indonesian lessons at the elementary education level. However, Indonesian folktale is suspected of being gender-biased. Although there is research on this subject, there is still little research on Indonesian folktales originating from Eastern Indonesia. Previous research conducted is still focused on the western region of Indonesia, for example, Java and Sumatra Island. This study aims to understand how women are depicted in Eastern Indonesian folktales, especially to understand the objectification of female characters. Based on the results of our research, we argue that many female characters in Eastern Indonesian folktales are subject to objectification. The objectification of female figures is carried out in the form of women as objects of sexuality, women as a medium of exchange of power, and women being passive and working in the domestic sphere. This finding shows that the folktale of Eastern Indonesia cannot be separated from patriarchal ideology. These stories show that women in the imagination of the Indonesian people still occupy an inferior position compared to men. Furthermore, the female characters also experience objectification and inequality as in folktales from Western Indonesia. The patriarchal point of view in folktales has deep roots and spreads in Indonesia. Research proves that the ideology of folktale is not always in harmony with the ideal values ??that exist in society. It takes a critical attitude towards the selection of stories that will be conveyed to children
... Helms' (1990) stages of white identity development and asks her students to map out their progress. In Wilson's (2019) course her focus moved beyond white identity and addresses "whiteness as a hegemonic cultural system" (p. 73). In order to make whiteness visible in this way Wilson introduced students to the "circuit of culture" (DuGay et. al, 1997) as a tool for analysis. She asked students to assess cultural artifacts like films, music videos, or television shows to research and analyze on every level of the circuit of culture paying particular attention to white tropes (i.e., white innocence, white saviors etc.). Educators who directly addressed whiteness reflected that student ...
Research
Elementary art curriculum requires educators to teach about cultures they are not a part of and places they have never been, yet there is little research examining how art teachers enact this multicultural curriculum. This critical ethnographic case study asks how two white elementary art educators enact curriculum addressing cultures other than their own and how race and whiteness operate in their curriculum work. Data from this qualitative research was collected through observations, interviews, questionnaires, and artifacts. The research design involves three phases where the researcher moved from observing teachers’ multicultural curriculum work, to guiding critical reflection, and finally to collaborating on writing critical multicultural curriculum that teachers then enacted. Findings from this research suggest that teachers’ sociocultural knowledge shapes and animates their teaching philosophies often in dysconscious ways. Guiding teachers to critically reflect on how their biography, biases, and positionality influence their teaching was often uncomfortable, but necessary for deepening their multicultural curriculum work. Findings also suggest that the habitus of art education reinforced the notion of the arts as white property. This ideology was embedded in both the formal and informal curriculum and maintained by the teachers’ pre-service programs, their colleagues, and district leaders. This study also found that enacting critical multiculturalism requires intentional and flexible scaffolding to guide students to engage in sociocultural dialogue while remaining open to teachable moments. This involves organizing lessons that intentionally disrupt whiteness to forge meaningful relationships across difference. This research also found that white defenses were diffused by building relationships with the teachers, working in solidarity, and providing critical and ongoing support. These findings indicate the need for art teacher education and mentorship that prepares new teachers to engage in sociocultural dialogue and critically reflect on how their positionality and biography impact their curriculum work. This research also suggests that traditional notions of multiculturalism are harmful and proposes pathways to rethink how art teachers design and enact multicultural curriculum. The researcher suggests a framework for art teachers’ multicultural curriculum work which moves beyond including diverse artists towards decentering whiteness as the normative frame of reference.
... In this self-presentation process, platforms provide 'convergent architecture' for the youth to create a bricolage of the various disparate components (i.e. the music, scene, edited effects, titles, description, etc.) in the vlogs, to strategically unleash their creativity and shape their identities into a 'networked self' (Papacharissi 2010). Bricolage is originally referred to in cultural studies as a way of constructing identity by assembling diverse objects into a new cultural identity, especially in sub-cultures, to represent the rebelling spirits of users against mainstream culture (Gay et al. 1997). In digital media use, it influences identity construction of the youth through 'improvising, experimenting and blending genres, patching together contrasting or even contradictory elements, creating and modifying meanings' (Weber and Mitchell 2007, 43). ...
Article
Entangled with wanghong (literally: popular people on the internet) and the platform economy in China, it has become trendy for Chinese youth to present themselves as they pursue visibility and monetization as vloggers on social media platforms. In this research, we do not focus on celebrities or influencers but on the regular Chinese school vloggers who present and share their everyday lives in and around the school on Bilibili, a youth- oriented video-sharing platform in China. We explore their layered identity construction that develops, influenced by the forces of cultural motivation and financial goals. Drawing from a digital ethnography, conducted between September 2019 and March 2020, and including observations of school vlogs on Bilibili and in-depth interviews with 16 Chinese school vloggers, we theorize three kinds of engagements actively practiced on Bilibili by young school vloggers. These engagements are self- presentation bricolage, self-identified branding, and community participation. By exploring the layered identity construction of these youths, this article sheds light on youth’s interaction and engagements with the platform economy in contemporary China.
... The cultural entities recently need special form of paradigm. Gay (1997) cited that to explore the newest cultural product, we need to focused our attention to the structure, the strategy and cultural which globally developed and commercially manufactured. Culture and it's artifact, should be observed by focusing the study on the culture manifested by global world trade. ...
Conference Paper
The pandemic period encourages educators and students to carry out distance learning using network technology media. With distance learning, it creates interaction limitations that can affect student motivation in the creative process in the field of Visual Communication Design. In the learning process in group studio classes, students carry out several stages in the creative process which is designing a concept or solution visually. The Orientation, Preparation and Analysis stages contained at the beginning of the creation process had to be done online. With the limited interaction between students, how can this process be carried out and how does it affect student motivation. Based on the theory of Alex Osborne’s model of creation process, and a review of the theory of intrinsic and extrinsic learning motivation. Intrinsic motivation is motivation that comes from within to encourage learning actions, while extrinsic tends to be influenced by conditions outside the student’s learning situation. This study seeks to describe qualitatively a creative process carried out by students online during the pandemic. By conducting surveys and in-depth interviews, the research connects with student motivation in the online learning process and with some limitations of interaction, the results of the review show that there is an adjustment between the stages of the process and the digital instruments used by students in creating. By optimizing the digital media as a tool for collaboration, these activities also lead to self-directed learning. With self-directed learning, students can go through the stages of the creation process by making themselves fully autonomous in the learning process.
... Representasi adalah praktik dalam mengonstruksi makna melalui penggunana tanda-tanda dan bahasa (du Gay et al., 1999;Hall, 2003 (Nelson, 2006), yang diserang tanpa pernah tahu salah mereka. Mereka pada malam itu hanya menikmati suasana dan minuman di dua kafe populer di Kuta ketika ledakan bom secara tiba-tiba terjadi. ...
Article
Full-text available
Pada 12 Oktober 2002, dunia diguncangkan oleh peristiwa serangan teroris yang terjadi di Legian Bali. Dalam peristiwa pengeboman ini 202 orang terbunuh dan 300 orang luka-luka. Peristiwa ini merupakan salah satu aksi terorisme terbesar di Indonesia, bahkan dunia. Meskipun banyak mendapat perhatian dari peneliti, tetapi bagaimana peristiwa kelam ini diingat dalam produk budaya masyarakat belum mendapatkan perhatian. Luka Bom Bali (2017) karya Ni Komang Erviani dan Anak Agung Lea merupakan karya memoar yang berkisah mengenai pengalaman hidup korban tragedi. Karya ini menjadi teks memori yang menggambarkan bagaimana peristiwa ini diingat dalam ingatan kolektif masyarakat Indonesia. Artikel ini bertujuan mendeskripsikan representasi pengalaman traumatis dan strategi mengatasi trauma korban tragedi Bom Bali 1 yang tergambarkan dalam memoar Luka Bom Bali. Penelitian ini menggunakan pendekatan psiko-historis. Data dikumpulkan dengan teknik simak-catat dan dianalisis dengan teknik analisis isi. Hasil penelitian menunjukkan berbagai dorongan memori pasca-peristiwa pengeboman yang berada dalam alam bawah muncul dalam bentuk simbolis. Simbol-simbol ini menghantui kehidupan korban bahkan setelah 15 tahun peristiwa berlalu. Utnuk mengatasi trauma mental para korban menggunakan strategi memperkuat nilai religiusitasnya dan mengingat keluarga atau orang terdekat. Melalui analisis tersebut, kami berpendapat bahwa Luka Bom Bali merupakan state of memory kepedihan dan perjuangan korban terorisme Bom Bali 1 yang terus berjuang melawan luka fisik dan mental. Bahkan, setelah 15 tahun peristiwa berlalu para korban merasa tidak hadirnya pemerintah di tengah-tengah perjuangan mereka melawan rasa sakit. Para korban mengajak pembaca, khususnya generasi pasca-memori, untuk mengingat peristiwa ini dan belajar untuk memperoleh inspirasi dan pelajaran dari peristiwa yang terjadi. Karya ini mengajak pembaca untuk merasakan kembali trauma yang selama ini tidak tersuarakan dari perspektif korban, khususnya bagi generasi pasca-memori. On October 12, 2002, the world was shaken by the terrorist attack in Legian Bali. In this bombing incident, 202 people were killed, and 300 people were injured. This incident is one of the biggest acts of terrorism in Indonesia, even the world. Although it has received much attention from researchers, how this dark event is remembered in the cultural products of the community has not received attention. Luka Bom Bali (Bali Bombing Woundss) (2017) by Ni Komang Erviani and Anak Agung Lea is a memoir that tells about the life experiences of victims of the tragedy. This work becomes a memory text that describes how this event is remembered in the collective memory of the Indonesian people. This article describes the representation of traumatic experiences and strategies for coping with the trauma of the victims of the Bali Bombing tragedy as depicted in the memoirs of the Bali Bombing Woundss. This study uses a psycho-historical approach. The data were collected using the note-taking technique and analyzed using the content analysis technique. The results showed that various post-bombing memory impulses that were in the unconscious appeared in a symbolic form. These symbols haunt the victim's life even after 15 years of the incident. To coping mental trauma, the victims use strategies to strengthen their religious values and remember their families. Through this analysis, we argue that the Luka Bom Bali (Bali Bombing Woundss) is a state of memory of the pain and struggle of the victims who continue to struggle with physical and mental injuries. Even after 15 years of the incident, the victims felt the absence of the government during their struggle against pain. The victims invite readers, especially the post-memory generation, to remember this event and draw inspiration and lessons from the events. This work invites the reader to re-experience the trauma that has been unspoken from the victim's perspective, especially for the post-memory generation.
... For instance, in cultural studies, there has been a very strong emphasis on the process of meaning-giving in discussing media content, but also media technologies. As Du Gay et al (1997) illustrated with the case of the Sony Walkman, a very material media object was used to generate distinctions and to support their user's identity constructions. These meanings are attributed through the production process of these proto-machines, but also, the consumption process is a location of a multitude of meanings, which these authors position as part of the 'circuit of culture'. ...
... An individual Instagramming in a public space creates a contained personal space where their focus and attention become centred on their device; reducing awareness of their surroundings (Adkins et al. 2006). DuGay et al. (1997) in their pre-smart device research into Sony Walkman™ use, highlighted a similar spatial practice when they found wearing headphones was a method of creating a micro private space whilst within a public space. ...
Article
Many museum or art gallery visitors record their experience through social media platforms. Instagram is a case in point. Instagram is an application for mobile devices where people post images and comments, sharing their experiences in different places, with different people. This paper shares data from a project exploring people’s art gallery visitations and how they engage with Instagram in such spaces. The research aimed to answer the following research questions: What are the current practices of art gallery visitors using Instagram? and why do visitors use Instagram to experience the art gallery? Findings showed people use Instagram in art galleries for a range of reasons and these include to extend and evolve their aesthetic experience, to share their experience, and to mediate gallery space. The significance of these findings may influence decisions made by gallery curators to enhance visitor experience as well as people’s expressive response to artworks.
... Note that within our workshop, we do acknowledge that it can be difficult for participants to be able to analyse how certain crowdsourcing designs might be affecting Latin America and design adequate solutions, especially if these individuals are not from the region or familiar with the related culture [12,49]. For this purpose, we will include workshop activities where we help participants to adopt the "circuit of culture framework" [18]. This framework provides culture probes that can help outsiders to Latin America to understand how a particular technology is currently being interpreted and understood by people of that region. ...
... The cultural entities recently need special form of paradigm. Gay (1997) cited that to explore the newest cultural product, we need to focused our attention to the structure, the strategy and cultural which globally developed and commercially manufactured. Culture and it's artifact, should be observed by focusing the study on the culture manifested by global world trade. ...
Chapter
Raumbezogene Weltbilder und Praktiken sind in unsere Gesellschaft immer stärker von Medien beeinflusst. In dem vorliegenden Beitrag wird eine Möglichkeit aufgezeigt, mediale Geographien analytisch zu fassen und zu erforschen. Die Grundlage dafür bildet das in den cultural studies entwickelt Modell des circuit of culture. Dieses legt einerseits den Fokus auf die mediale Repräsentation von Wirklichkeit, setzt diese aber immer in konkrete Relation zu praktischen Kontexten und somit zum „alltäglichen Geographie-Machen“. Der Beitrag stellt zunächst das Modell und dessen konzeptionelle Implikationen dar, weist auf mögliche Probleme hin und gibt abschließend ein Anwendungsbeispiel. Dieses bezieht sich auf die populäre mediale Geographie von Landmagazinen wie Landlust und zeigt, wie dieses erstaunliche Phänomen im „Kreislauf der Kultur“ analysiert werden kann.
Thesis
Film bermuatan Minangkabau dapat dipandang mengandung wacana dengan tujuan tertentu. Penelitian ini menguraikan pemaknaan terhadap wacana etnik Minangkabau dalam film ini juga menunjukkan sisi lain di balik etnisitas Minangkabau. Salah satunya adalah keterbukaan Minangkabau terhadap perubahan dan pengaruh dari luar etniknya. Penelitian ini menjawab pertanyaan dan sekaligus mengisi kesenjangan antara pemahaman etnisitas dengan sifat fiksionalitas sebuah karya seni (film). Penelitian ini menggunakan kerangka analisis wacana kritis terhadap film- film bermuatan Minangkabau. Adapun sumber data penelitian adalah sembilan judul film, yaitu Harimau Tjampa (1953), Salah Asuhan (1972), Para Perintis Kemerdekaan (1977), Merantau (2009), Di Bawah Lindungan Ka’bah (2011), Tenggelamnya Kapal Van Der Wijck (2013), Tabula Rasa (2014), Surau dan Silek (2017), dan Liam dan Laila (2018). Penelitian ini memandang film sebagai proses sosial sekaligus produk proses sosial. Oleh karena itu, aspek tekstual (pemaknaan) dan aspek produksi menjadi perhatian dalam penelitian ini. Proses produksi di sini dalam artian tujuan produksi dalam kerangka analisis wacana kritis. Secara umum, analisis terhadap naratif pengisahan sembilan film Indonesia bermuatan etnik Minangkabau ini menunjukkan tiga pola representasi etnik Minangkabau. Pertama, era awal industri perfilman yang sekaligus era awal kemerdekaan (1950-an), yaitu representasi etnik Minangkabau dalam film yang menunjukkan pola dasar pencarian dan penentuan etnik Minangkabau sebagai bagian dari Indonesia. Hal ini ditunjukkan melalui keakuratan representasi etnik Minangkabau dalam film dan penggunaan bahasa Indonesia yang cukup formal. Kedua, era 1970-an hingga 1990-an yang menunjukkan representasi etnik Minangkabau sebagai bagian dari Indonesia. Problem dan masalah sosial yang bersifat general serta peran Minangkabau dalam perjuangan kemerdekaan dikemukakan secara signifikan. Di samping itu, representasi etnik Minangkabau dalam film juga turut membangun karakter “film nasional”. Ketiga, era tahun 2000-an hingga sekarang. Tanpa disadari, pada era ini Minangkabau telah menjadi sebuah komoditas industri. Kemunculannya dalam film tidak lagi murni merepresentasikan keminangkabauan. Minangkabau dalam film hanya sebatas sarana penceritaan yang sekaligus membangun wacana dalam latar belakang ekonomi dan industri. Analisis terhadap wacana etnik Minangkabau yang muncul dalam film bermuatan Minangkabau ini diperoleh dua wacana besar dalam kesembilan film tersebut. Pertama, wacana perubahan sosial yang terjadi di Minangkabau. Hal ini direpresentasikan melalui pertentangan sistem kekerabatan matrilineal dengan sistem keluarga inti, motif merantau yang cenderung ekonomis, penolakan perjodohan, peran dan kedudukan mamak dan kamanakan, serta peran dan kedudukan perempuan. Kedua, wacana kehidupan multietnik masyarakat Minangkabau baik secara internal maupun eksternal. Hal ini muncul melalui representasinya dalam sistem perkawinan dan merantau. Adapun latar belakang terbangunnya wacana etnik Minangkabau dalam film Indonesia dapat dikelompokkan menjadi dua. Pertama, dihadirkannya keminangkabauan dalam film merupakan representasi Minangkabau sebagai komoditas dalam dunia industri kreatif berbasis budaya. Kedua, Minangkabau dihadirkan sebagai wujud idealisme dan etnisitas sutradara. Hal ini dimaksudkan sebagai strategi untuk menyiasati tekanan dunia industri. Pada bagian-bagian tertentu, semangat etnisitas sutradara muncul sebagai sebuah strategi mengenalkan dan memahamkan penonton akan etnisitas Minangkabau sebagai bagian dari keragaman etnik di Indonesia. Strategi ini ditunjukkan melalui teknik-teknik sinematografi yang menunjukkan kekhasan Minangkabau. Wacana pertentangan dunia modern dengan tradisional telah membangun wacana etnik Minangkabau di dalam film sebagai “Minangkabau terbuka” yang indah, romantis, dan eksotik yang layak “dijual”. Di satu sisi, bangunan wacana etnik Minangkabau dalam film adalah hasil pengejawantahan sudut pandang dunia Barat terhadap Indonesia, terutama Minangkabau. Di sisi lain, dunia baru yang terbangun itu dapat pula dipandang sebagai wujud kesadaran akan keragaman etnik di Indonesia.
Article
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India is one of the eight ancient civilizations of the world. Harappa Civilisation was an epitome of rich cultural confluence. The National Museum, New Delhi is an autonomous organization of the Ministry of Culture, Government of India boasts of diverse cultural objects from India and abroad. NM plays a pivotal role in the promotion of India culture both inside and outside of the country by collaborating with national and international cultural organizations. Collection, Conservation and Communication (3Cs) are the cornerstone of its mission to promote the Indian culture. The focus of this paper is the last ‘C’ that is “Communication”. The present study is limited to the study of only ten artifacts belonging to the Indus Valley Civilisation which were judged on five cultural value indicators such as aesthetics, symbolic, spiritual, social, and educational. The mainstay of the study is the website content of the National Museum. The study reveals that these artifacts are well preserved. The images uploaded on the website are of good quality. But the scroll speed is slightly high and also the description does not accompany the images. Future studies may indulge on the website of analysis of other national/international museums to have wide perspective.
Article
Automation has a long history in cultural production, but the contemporary moment presents a range of new possibilities and demands for the deployment of automated and autonomous systems in the shaping of our cultural and social worlds. The cultural implications of the deployment of automated systems for producing, curating, and distributing a growing range of cultural texts and artifacts extend beyond the realm of content to encompass their pace, rhythm, and scale. Understanding the significance of these shifts remains a central task for cultural studies research that builds on the field’s historical engagement with the entwinement of cultural practices, social relations, and power. This theme issue builds on the historical and recent concerns of cultural studies to provide a range of approaches to the cultural significance of automation. Given the scope of the transformations, the coverage of possible topics is indicative rather than exhaustive. The articles in this collection range across the realms of automated news curation, credit scoring, image curation, deep fakes, data science, the gig economy, and content moderation. They engage with possible responses to the real and potential pathologies of automation in the cultural realm – while highlighting the links between culture, politics, and economics. Taken together they develop a range of critical approaches to the sometimes creeping, sometimes galloping automation of cultural production, curation, and distribution. While stressing the moments of historical continuity with earlier forms of bureaucratic and administrative rationality, they simultaneously indicate that we are, in many ways, still in the very early stages of a process that is likely to encompass an expanding range of cultural practices and texts.
Article
This paper analyses the Department of Digital, Culture, Media & Sport committee’s inquiry into the economics of music streaming. The scrutiny of the committee’s oral and written evidence, and final report is placed within the context of the music industry’s significance to UK cultural policy since the late 1990s. The perspectives of the UK’s musicians and song-writers are a focal point of the analysis of the inquiry’s published documentation, as they are when discussing the committee’s recommendations released in July 2021.
Article
Cultural heritage management has been studied in the international literature for a long time. However, it is an area that has attracted attention in our country in recent years. Heritage management naturally emphasizes the industrialization and branding of heritages. The relevant research area focuses not only on the transmission of culture, but also on the process of its use. It is important to examine the application examples in the inferential studies focused on obtaining results and application in this field. This type of analysis is helpful in model building. The basic assumption of the study is that traditional knowledge memory, which is also defined as living cultural heritage, can be transformed into a cultural-creative industry resource as a sector in the context of sustainable development. In this study, which is based on cultural heritage management and cultural economy, the Sümerbank Nazilli Print-Textile Factory, which offers a model example as a cultural-creative industry and is Turkey’s first industrial establishment in the printing field, is emphasized. The main reason why the factory was selected for review is that it has products nourished by tradition and created a unique clothing culture in the context of its period. The fact that these are still used as decorations and motifs in the 21st century is also important for the study. The study has been discussed in the perspective of the “Circuit of Culture”. This approach was developed by British cultural theorists in the late 20th century as a tool for cultural analysis. There are five elements in the approach: “representation, identity, production, consumption and regulation”. This approach reveals how a cultural text or any cultural artifact is represented and which social identities are associated with it. Furthermore, this approach examines how it is produced and consumed, and what mechanisms regulate its distribution and use. According to this, every cultural product has a meaning in social life. Cultural meanings circulate and are maintained in society with the five elements mentioned. In this context, firstly, the production role of Sümerbank Nazilli Print-Textile Factory for a certain period was examined in the study. In the second stage of the study, the social, cultural and economic outputs of the factory, both locally and nationally, were examined from a holistic perspective in the context of the Circuit of Culture. In the study, it has been determined that Sümerbank Nazilli Print-Textile Factory has a function as a cultural center and creates a culture of its own by preserving local-authentic values. In addition, in the study, it was concluded that the factory is a cultural, creative and economic sector in terms of its operation, product output and widespread impact. For this reason, it has been stated that, the factory can provides an example of a model for cultural-creative industries to achieve sustainable development and more specifically cultural heritage-based goals in Turkey’s 2023 development vision, in the context of production culture.
Article
This paper describes a study of school physical education (PE) in French Indochina to cover the existing lack of knowledge on the developmental process of PE in developing countries. The study focused specifically on how PE developed in the Indochina Union, based on “colonial experience” in each region of French Indochina. A historical overview revealed that the former colonial countries had reconstructed their own education models in response to the demands of the extrinsic development model imposed by the colonial government. However, it was suggested that individual societal values may have regulated the behavior of the colonial people, and redefined the characteristics of PE. Regarding the process by which PE had been introduced, it was found that after sporadic and uneven efforts at gymnastics education based on the “General regulation of education” in 1917, the introduction of PE in the Indochina Union had gained momentum as a result of “Instruction n°26” issued by the Superior General Commander in 1921 and the “General Regulation of Physical Education” approved by the Minister of Public Instruction and Fine Arts. Moreover, based on failures experienced in the early stages, the French-Indochina administration took measures to prepare for the introduction of full-scale PE through a series of “arrêté” in 1924, including the signing of an agreement between the University and Military, provision of special allowances to military instructors, establishment of the Regional Center for Physical Instruction (CRIP), and physiological surveys conducted by the special committee. Furthermore, it was revealed that the PE program started in French Indochina through the 1925 PE campaign included the establishment of PE classes and annual sports festivals through the PE facilities established at fullexercise schools (école de plein exercice), and a teacher training system that was organized in 1926 by adopting the teaching methods of the Joinville School, distribution of PE manuals, and establishment of several PE training courses for teachers.
Article
Bu çalışmada medyanın hâkim fikirleri yeniden üreten işlevine televizyon dizileri üzerinden odaklanılmıştır. Bu çerçevede mekânsal evreni Mardin kenti olan televizyon dizileri araştırma nesnesi olarak seçilmiş ve bu dizilerdeki temsillerin gerçeklik ile ilişkisi, belirli ön kabullerle yüklü içeriği, oryantalist ve karikatürize biçimleri sorunsallaştırılmıştır. Bütüncül bir değerlendirme yapabilmek için mekân olarak yalnızca Mardin’in kullanıldığı ve sonlanmış yapımlar evren seçilmiştir. Güdümlü örnekleme tercih edilerek dizilerin karakterlerine, mekânına, hikâyesine, ilişkiler ağına ve senaryo sistematiğine dair genel bilgilerin sunulduğu ilk iki epizotları ve anlatılarının üzerine kurulduğu paradigmatik yapılaşmaların kapandığı final epizotları örneklem belirlenmiştir. İncelenen on sekiz epizottaki kültürel temsiller eleştirel söylem çözümlemesiyle değerlendirilmiştir. Böylece i. anlatısal ölçekte paradigmatik zıtlıklar ile çözüm için sunulan sentagmatik öğeler ve özneler, ii. hem mekânın hem kültürel yapının belirleyiciliğindeki bölgesel temsiller, iii. mekanik toplumsal dayanışma biçimleri, iv. çalışan sınıflara ve kadınlara yönelik ayrımcı pratikler, bu bağlamda ataerkil ideoloji ve toplumsal cinsiyet eşitsizliği temalarına ulaşılmıştır. Sonuç olarak her ne kadar geleneksel ve mekanik dayanışma biçimlerinin yarattığı gündelik ve toplumsal ilişkilerin odağa alınması çoğulcu bir yayıncılık anlayışını ortaya koysa da; dizilerde esasında rekabetçi, mülkiyetçi, bireyci, eşitsiz ve cinsiyetçi değerlerin yeniden üretimine dönük bir söylemsel dizgenin de işlediği görülmüştür.
Conference Paper
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This paper discusses Silat Minangkabau from the West Sumatran Oral Traditions self-defense known as Silek, using movement analysis. This focus is to understand the characteristics of movement unique to traditional styles in the streams of silat schools called sasaran in the Minangkabau language. Applying movement analysis has an important role in understanding how the silat body moves in time and space. These researchers argue that using this approach will strengthen and hone the artistic skills and perspective of an animator interested in understanding the movements when creating visuals based on martial arts. A further focus of this paper is to scrutinize the traditional Minangkabau self-defense style known as the silek harimau. Although there are already creative works of animators on silat, movement analysis hones the precision of gazing upon the visual aspect of bodily movement in the context of emic views. Keywords: silek, oral traditions, Minangkabau, animators, movement analysis
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