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Postmodernism, or cultural logic of late capitalism
... The latter refers to a historical period (Eagleton 1996, p. vii, Ribeiro 2023b) that started somewhat after World War II and is far from being over. It is closely associated with the economic movements of late capitalism (Jameson 1991, Ribeiro 2023b and with the world's globalization and digitization (Lyotard 1979, Baudrillard 1981. In contrast, postmodernism is a term that describes a dominant trend in arts and culture of the late 20th century. ...
... Though sometimes it relates to historical, economic, or social features of time when describing the hallmarks of the last decades, the primary attention is paid to cultural aspects. To grasp and present them coherently, I employ the concept of the 'structure of feeling,' introduced by Raymond Williams in 1954 (for further reference see Williams 2015) and popularized by Frederic Jameson's (1991) conceptualization of late capitalism. ...
... The first complex assessment of postmodernism as the cultural logic of late capitalism has been provided by Jameson (1991). He described postmodernism as being closely connected to globalization and the spinning wheel of capitalism, which rapidly occupied all aspects of human routine and was paired with a culture of consumerism. ...
As of today, archaeological theory is represented by numerous simultaneously developing approaches. Some of them feature the ways archaeological theory conceptualizes the past. Others are self-reflexive and explore the political and social dimensions of contemporary archaeological practice. However, these different ways to discuss today’s archaeology rarely approach it in a holistic way, while recent advances in the studies of arts and culture , namely metamodern studies, suggest another perspective and foster looking at archaeology as a whole, drawing connections between the philosophical aspects of archaeological knowledge and the social and cultural features of archaeology as practiced by 21st-century scholars.
This paper tests metamodernism as a theory capable of structuring and coherently describing contemporary archaeological practice. After outlining the most prominent structures of feeling of the 20th century – modernism and postmodernism, – it introduces metamodernism as a theoretical framework that describes the culture and society of 21st century. While this framework does not present any novel paradigm or suggest any new way of conducting archaeology, it aims to structure the existing practices more clearly. The paper explores the capacity of metamodern concepts to bridge posthumanism, actor-network theory, and epistemic scaffolding and reveals their logical connection to the structure of today’s archaeological research.
Keywords: metamodernism; oscillation; glocalization; posthumanism; capitalism; postmodernity; scaffolding.
... Fredric Jameson has described the kind of intertextuality that characterises postmodern texts and forms of representation as a homoeopathic method of critique. In short, to critique the image requires doubling down on the image to deconstruct its meaning, a strategy that Jameson speculates may be the only one that remains in our postmodern era of image saturation (Jameson 1991). Many music videos using Los Angeles as a locale seemed to have intuitively adopted this strategy by entering into a discursive domain that represents Los Angeles in terms of a text constructed for fantasy-laden entertainment purposes. ...
... Aside from the politically charged incursions from hip-hop, even Jonze's 'Weapon of Choice' offers an alternative perspective on contemporary spatial dynamics. As a simple and joyous celebration of the most banal Los Angeles spaces, it also serves as a companion text to Fredric Jameson's (1991) famous treatise on postmodern space. In describing the Bonaventure Hotel, Jameson proclaimed: "I am tempted to say that such space makes it impossible for us to use the language of volume or volumes any longer since these are impossible to seize…. ...
This book focuses on the relationships between underground urban music cultures in Los Angeles and specific urban imaginaries related to music practices, far away and sometimes in stark opposition to the commodified image of the city crafted by urban planners and associated urban stakeholders. Rather than this commodified city, and the ‘imaginary city’ of the mind, it examines the accidental, tangential life of a mirage. The city that appears in the distance is one that is formed by songs and music-making. The book shows how counter urban imaginaries emerge and are performed through diverse underground music making practices, giving rise to alternative ways of seeing the city.
... They epitomise this deterritorialised cultural habitus, where choreographic and visual excess, mediated by technology and global market logics, blur the boundaries between cultural artefact and commodity. This shift, reflective of Jameson's (1991) pastiche, reveals how cultural forms are repurposed, cannibalised and commodified for mass consumption, subsuming their historicity into the simulacra of entertainment. Leveraging Foucault's (1977) concept of the "body politic", the female body, curated within this lexicon, becomes a mutable signifier-oscillating between the experiential-subjective and the objectified spectacle, engineered to gratify the scopophilic pleasure of an omnipresent gaze that is irreparably male, irreducibly objectifying and reinforce patriarchal imperatives. ...
... They reconfigure "habitus"-once tied to specific cultural contexts-into dislocated, commodified forms. As Jameson (1991) argues, postmodernity's dissolution of coherent narratives gives rise to fragmented subjectivities, defined not by emotion or embodied affect but by a commodified system of signs detached from their cultural origins. Mazzarella (2003) extends this argument, emphasising that as culture becomes commodified, its departure from its original context is restructured into exchangeable tokens within a globalised, digitally mediated system. ...
Bollywood music videos, as dynamic spectacles of desire, sexuality and gendered anxieties, subtly construct and reinforce hegemonic structures of patriarchy by framing female bodies as both sites and objects of male desire. This article critically dissects these videos as cultural artefacts, examining how they underpin scopic regimes while interrogating the subtle yet insidious ways in which they encourage troubling attitudes toward sexual objectification and undermining of consent and agency. Informed by postmodernist and psychoanalytical frameworks, the study navigates the complexities of digitally mediated desire that commodifies and polices female bodies within the confines of male-dominated fantasies. It argues that these contemporary expressive ecologies, far from innocent entertainments, emerge as ideological battlegrounds where hypersexualised performances celebrate yet scopophilic voyeurism, thereby exposing the mainstream media's complicity in reinforcing societal inequalities and perpetuating rape culture.
... This paper critically examines the commodification of religious and cultural symbols in consumer spaces such as bus depots, airport lounges, and railway stations, where shacks of gods and goddesses are sold alongside popular media icons like anime characters and superheroes. Drawing on theories from contemporary cultural studies-including commodification Jameson, 1991), cultural hegemony , hyperreality (Baudrillard, 1994), and postcolonial critique (Said, 1978;Bhabha, 1994)-the study explores how capitalism transforms sacred symbols into marketable commodities. The analysis highlights the tension between the spiritual significance of religious icons and their reduction to consumer goods, as well as the broader implications for cultural identity, consumer behavior, and the preservation of sacred traditions. ...
... o This process aligns with what Jameson describes as the "cultural logic of late capitalism," where even spirituality and religion are absorbed into the market economy (Jameson, 1991). ...
This paper critically examines the commodification of religious and cultural symbols in consumer spaces such as bus depots, airport lounges, and railway stations, where shacks of gods and goddesses are sold alongside popular media icons like anime characters and superheroes. Drawing on theories from contemporary cultural studies-including commodification (Marx, 1867; Jameson, 1991), cultural hegemony (Gramsci, 1971), hyperreality (Baudrillard, 1994), and postcolonial critique (Said, 1978; Bhabha, 1994)-the study explores how capitalism transforms sacred symbols into marketable commodities. The analysis highlights the tension between the spiritual significance of religious icons and their reduction to consumer goods, as well as the broader implications for cultural identity, consumer behavior, and the preservation of sacred traditions. By interrogating this phenomenon, the paper underscores the pervasive reach of capitalism into the spiritual realm and calls for a critical reflection on the consequences of commodifying both the sacred and the secular in a globalized consumer culture.
... The emergence of nostalgia, which was ascribed to the influence of modernity, was often explained as an inevitable consequence of societal progress (Boym 2001), and the overall crisis of temporality. Frederic Jameson (1991) coined the concept of "nostalgia mode," explaining it as another consequence of the crisis in historicity, a crisis that has colonized the present age of postmodernism, leaving behind our capacity to experience history in more active ways. In Jameson's view, nostalgia has a commodified and esthetic style, in a "desperate attempt to appropriate a missing past" (Jameson 1991: 66). ...
... The "nostalgia mode" (Jameson 1991) found its prominent place in neoliberal capitalism. The commodification of nostalgia, sometimes simply called "retromania" (Reynolds 2011), emanates in the kitschy relics of the past, mostly intended for foreigners and tourists; for certain authors, this serves as the final confirmation of the supremacy of capitalism and market logic, a reassurance that socialism is indeed dead (Nadkarni and Shevchenko 2004: 500). ...
Initially comprehended as a spatial longing, the understanding of nostalgia soon expanded from homesickness into temporal longing. Even if undoubtedly extant from the earliest times, described in poems and novels, nostalgia emerged as a field of interest to scholars only in the seventeenth century. Originally, it was considered to be a medical condition, with possibly fatal consequences; later, with the advent of Romanticism, it became one of the human conditions for humanities and social sciences to explore. Ever since, nostalgia has been continuously perceived as a phenomenon on the rise, appearing due to the uncertainties of (post-)modernity and the impossibility of establishing continuity or an imaginable future. It is depicted as a lingering bittersweet emotion which awakens our senses, like the Proustian Madeleine, brings our memories to the fore, and instigates narratives and discussions about the past, the present, and the future, yet incapacitates us for imaginative action. In media and public discourse, it is either commercialized or considered a negative phenomenon of regressive political and social forces. In the political field, it has been assigned most often to the Other; in political terms, to far-right voters rather than far-left, and to populist propaganda; and in identitarian terms, to the postsocialist subject, Homo (post)Sovieticus. However, recent research in psychology has established nostalgia as a positive phenomenon, improving sociability and lowering stress. In parallel, while it remains elusive and diversely defined, a number of scholars in social sciences and humanities have identified it as a subversive phenomenon with a potential to inspire progressive narratives, through a fierce critique of the present and a turn toward the future, with potentially impactful action.
... This passage presents a vivid tableau of American consumer culture, with its mix of kitsch, mass-produced souvenirs, and idealized advertising imagery. The juxtaposition of these elements creates a sense of sensory overload that is characteristic of postmodern aesthetics (Jameson, 1991). ...
This study examines the postmodern features in Vladimir Nabokov's Lolita, challenging its traditional classification as a modernist novel. The research question explores how Lolita exhibits significant postmodern characteristics, positioning it as a transitional work between modernism and postmodernism. Using a methodology that combines close textual analysis with the application of postmodern literary theory, the study identifies and analyzes two key postmodern aspects of the novel: its representation of postmodern American culture and its questioning of authenticity and reliability. Key findings reveal that Lolita anticipates many postmodern concerns and techniques. The novel's portrayal of popular culture and the automobile industry embodies postmodern concepts such as consumerism, hyperreality, and the commodification of experience. Nabokov's depiction of 1950s America presciently captures the emerging postmodern landscape, blurring distinctions between high and low culture and critiquing the media-saturated consumer society. Furthermore, Lolita's use of an unreliable narrator, its problematization of memory and identity, and its metafictional elements align closely with postmodern literary practices. The novel challenges traditional notions of narrative authority and authenticity, inviting multiple interpretations and resisting closure. The significance of this study lies in its potential to reshape our understanding of both Lolita and the development of postmodern literature. By recognizing the novel's postmodern elements, we gain a deeper appreciation of its complexity and its influence on subsequent literary developments. This analysis contributes to ongoing debates about the relationship between modernism and postmodernism, suggesting that the boundaries between these movements may be more fluid than previously thought. The study opens new avenues for research in Nabokov studies and postmodern literature, inviting a reconsideration of Lolita's place in the literary canon and its role in the evolution of 20th-century fiction.
... The contemporary academic landscape exemplifies this dynamic through identity politics and cancel culture, restricting ideological plurality (Chasmar 2021; Mitchell 2020). Jameson (1991) and Davis (1981) argue that education can enforce ideological conformity or serve as a site for resistance. ...
... In the recent past, videogames have changed a lot and their development has been affected by such important factors as the introduction of digital distribution, casual revolution, social gaming, and the rise of indie games. All these factors have contributed to the videogame evolution and resulted in the growth of the retro design movementa trend that is visible not only in games but has been analyzed for some time in many branches of art (Jameson 1991, Guffey 2006, Reynolds 2011. ...
I distinguish between two kinds of nostalgia in retro game design – restorative and reflective. The former manifests itself in ‘total restoration of monuments of the past’, while the latter ‘lingers in the dreams of another place and another time’. Restorative nostalgia is visible in the retrogaming practices, such as creation of emulators, appreciation of classic titles and remaking them for new platforms. Reflective nostalgia is more detached from the past and sees history of the medium as a set of styles, it serves creativity and artistic erudition. In the article I elaborate on the nostalgic gestures of independent game designers in games such as Hotline Miami, Fez, FTL: Faster than light and McPixel. I argue that retro games are an exceedingly heterogeneous group with different authors having different objectives and motivations.
... In some sources consulted, the founder is referred to as a maker (Dinheiro Vivo, 2013). The praise of the virtues of the entrepreneurial, maker action of the founder is associated with an emancipatory, quasi-prophetic vision of his action, presenting him as a new man, a socio-cultural expression proper and appropriate in a context of late capitalism (Jameson, 1991), which fosters the recomposition of individual subjectivities. ...
This paper has as starting point the questioning of the meaning and implications, of an institutional, socioeconomic, and organizational nature, of the growth and visibility of tech entrepreneurship processes in Portugal. It aims to provide a distinct, alternative perspective, in addition to the ones commonly conveyed in political and media spheres, often uncritical and laudatory, tendent to present these phenomena as homogeneous, seductive realities with unequivocal effects and virtues. This praise has left little room for questioning, presenting tech entrepreneurship and start-up organizations as vague universes, with diffuse contours, for the purpose of empirical analyses. The goal of this paper is, therefore, to shed (more) light into the rising Portuguese start-up phenomenon, based on the analysis of a set of exploratory interviews made with key entrepreneurial agents, and statistical and documentary sources. Six substantive directions for further exploring the Portuguese tech entrepreneurship on an empirical level are suggested.
... Secondo il filosofo e politologo marxiano Frederic Jameson, primo autore a definire in maniera puntuale ed organica i caratteri della società Postmoderna, quest'ultima si caratterizzerebbe per: 1. nuovi modelli di vita sociale (consumer society), 2. società dei media e dello spettacolo; 3. capitalismo multinazionale. La consumer society, inol-tre, sarebbe caratterizzata dall'avvento del consumatore, dalla schizofrenia lacaniana che pervade questa società e dal sentimento della nostalgia come stato d'animo predominante (Jameson, 1991). Come è ben emerso dalla rassegna, Slow Food è parte integrante della consumer society, per alcuni in termini positivi per altri in termini negativi. ...
The Slow Food movement was born in 1986 as a protest movement against the macdonaldization of the agri-food system, then has progressively expanded in a new model of life: the slow-life. Starting from agriculture, the slow-life has established in many fields as an antagonist to the capitalist fast-life. It has been the subject of numerous criticisms which highlighted the existent contradictions. The worldwide growth of this movement has attracted the attention of scholars over the years. In the period 1992-2018 we found 641 papers dealing with the different aspects of Slow Food. At present, there is a lack of literature reviews on this scientific production. In this paper we have focused our attention on 47 papers that specifically analyse the Slow Food Movement to explain: 1) what kind of movement is Slow Food; 2) which impact had on the global agricultural system; and 3) how does it fit within the postmodern paradigm.This narrative review has highlighted how the Slow Food Movement is interpreted both as an Anti-globalizationand an Eco-gastronomic movement. The impact it has had on the agri-food system is certainly high but there is not a wide consensus about it. Finally, the Slow Food Movement appears clearly as a prominent expression of the postmodern paradigm.
... Following Michel Foucault's prediction, Henry Lefebvre's engagement with the discourse of space in La Production d' Espace (1991), and the geographer Edward Soja's exhortation to contest the "established assumptions of time" (1989), 1980s witnessed "the Spatial turn" (the term first used by Edward Soja). Contributions of the humanistic geographers such as David Harvey (1973;1982;, Derek Gregory (1981Gregory ( , 1994Gregory ( , 2001, Nigel Thrift (1996), Yi-Fu Tuan (1977, 1979, Edward Relph (1976Relph ( , 1981, D. C. D. Pocock (1981)), Tim Cresswell (2017), philosophers like Gaston Bachelard (1958), György Lukács (1971), and literary critics like Homi K. Bhabha (1994), Fredric Jameson (1991), J. Hillis Miller (1995) among others, proved to be phenomenal in redefining 'space'. Yi-Fu Tuan (1977), Doreen Massey (1994), Altman and Low (1992), Eric Prieto (2012), Lucy Lippard (1997) among others reconceived 'place'. ...
Considering the fact that the poetry of Kamala Das, one of the canonical poets of the postcolonial times to have arrested the scrutiny of a greater number of critics than probably any other Indian English poet, has been subjected to some recognizable readings, this paper, based on qualitative research, purports to engage with the questions of space in her poetry, an area of study mostly unexplored. An analysis of the spatial dimensions of her poems reveals some ‘anxieties’ and ‘disorientations’ which are usually glossed over in the discussions of her poetry. While Das was writing, ‘space’, ‘place’ and ‘geography’ assumed importance in the global context. As a writer Das was impacted by that phenomenon, and her attempts to create a ‘room’ of her own were informed by the “spatial turn” in literature. Das rebelled against the socially and politically prescribed dictates of time, and used her poetry to ‘map’ the claustrophobic and disorienting social space women belonged to. A study of such aspects of spatiality studies in her poetry as cognitive mapping, deterritorialization, chronotope, the ‘real-imagined’ space, the ‘primary-secondary’ spaces, the shared spaces etc. lays bare the structure of her creative mind and offers fresh perspectives on her poetry.
... The criteria of economic «rationality» require increase in production and sales of everything that can make a profit. Moreover, such «rationality» pushes to inflate false, simulated needs in order to increase sales on account of production of simulacra goods that create the illusion of satisfying these needs imposed on the buyer [Baudrillard, 1972;Baudrillard, 1981;Jameson, 1991;Buzgalin, Kolganov, 2012]. And this leads to the development of data collection systems containing information about each consumer in order to manipulate their behavior. ...
The author raises the issue of the growing crisis of modern civilization. The existing socio-economic system, having ensured significant technological progress, was unable to cope with the consequences of using the latest technologies. For a long time, the ecological crisis has been escalating, the problem of social inequality has been increasing, the pace of economic development has been slowing down, and international conflicts keep flaring up. Due to the financialization of the economy, the interests of production development become subordinate to the interests of the expansion of the financial market. At the same time, it is the latest technologies that contain the potential to overcome the crisis phenomena. The core of these technological capabilities is shaped by the industrial sector of the economy, which remains the driver of economic development. The technologies of current technological orders are characterized by the increasing role of knowledge in production with a corresponding decreasing role of material costs.At the same time,the production of knowledge does not replace material production but transfers it to a new stage of development - the stage of knowledge-intensive material production. This allows for a significantly higher level of satisfaction of people’s needs with relatively lower costs. However, to realize this potential, it is necessary to move away from today’s economic rationality, which often leads to the inflation of simulated needs in pursuit of a large sales volume, and thus to the aggravation of thoughtless waste of natural resources, which has already brought the world to the brink of an ecological crisis. It is necessary to move from economy to noonomy, a social system based on the gradual displacement of humans from direct production, the transition of people to predominantly creative activity and a change in social priorities and values. In such a production system, the issues of meeting people’s needs are resolved by a relatively autonomously functioning technosphere, and people are connected not so much by relations in the system of direct production as by interaction in the process of creative activity. The requirements of the old economic production rationality and consumer behavior are replaced by the requirements of knowledge and culture. The pursuit of the volume of consumed goods is replaced by ensuring the growth of people’s abilities, determined by the level of their cultural development.
... Nostalgia often still suffers from a reputation for being superficial. The works by Jameson (1991) on contemporary forms of nostalgia as a product of both consumer society and of late modernity, as well as those by Davis (1979) are but two examples of this kind of pejorative assessment. Without denying that nostalgia is often a tool of economic and political expropriation, its status as a dialectical, Western, postcolonial construction which is inevitably retrogressive to modernity has shifted somewhat. ...
This article addresses the lack of analysis of the specific ways in which the online environment configures the relationship between the processual dynamics of nostalgia which allow for both creative and conservative modes of identification and the commercial exploitation and commodification of the nostalgia produced and articulated in online communities. We introduce an empirical case study of one of the companies operating on Facebook as a nostalgia maker: DoYouRemember.com and consider analytical frameworks for future work on the (online) ‘nostalgia business’ and its economic and political dimensions.
... Similarly, in "One Widow's Healing, " technology is used by those in power to exert omnipresent control over the population, leading to economic and biopolitical repression. The future society depicted in "One Widow's Healing" is an intensified reflection of the characteristics of late capitalism as described by Frederic Jameson, that is, the proliferation of new forms of transnational organizations and the affiliation of government and big business [8]. This late capitalist society is characterized by an unprecedented level of mass production, resulting in ever-greater profit margins for multinational corporations and a frantic economic urgency to produce fresh waves of novel goods for the capitalist takeover of human lives. ...
Background
Critical medical humanities critique the traditional medical humanities’ focus on producing humane doctors, arguing that it plays only a supplementary role in medical education, and advocate for understanding health, disease, and humanity from a biocultural perspective. Essentially, they emphasize structural inequalities in modern medicine.
Methods
This study analyzes Sally Wiener Grotta’s “One Widow’s Healing” from the perspective of critical medical humanities. In line with this critical perspective, this study highlights the human alienation and oppression caused by biopower and technology-driven medicine in “One Widow’s Healing.”
Results
This story presents a dystopian vision of future healthcare systems in the highly technologically advanced and hyper-connected societies of 2100 and advocates for a reorientation of medicine toward a holistic, culturally informed practice that prioritizes human well-being and empathy.
Conclusions
By analyzing the literary response to the dystopian future, this study explores the potential dangers at the intersection of capitalism and technocentric healthcare, reflecting on the future direction of humanistic medicine.
... Dicho aún más llanamente, ¿es el posmodernismo un fenómeno progresivo o reaccionario? Lo que está claro, como muestran diversos autores, por ejemplo, Bauman (1993), Jameson (1991) o Harvey (1989), es que el posmodernismo es un fenómeno complejo y bifaz. ...
In this work we seek to collect some of the latest trends within the broad field known as critical theory. This is a task that is necessary to go after with certain frequency, and, specially, a task that is urgent today, when we are facing a global and generalized crisis. Thus, we will organize those tendencies, with debates from the last decades, and from a panoramic standpoint, according to four axes: 1) topics of social criticism, 2) theoretical issues, 3) the linguistic dimension and 4) the epistemological dimension. Each of these four axes will, in turn, have a series of vectors that will allow us to analyze its internal structure, as well as the different inheritances of thought that influence each of them. Specifically: 1a) ethical dimension, 1b) aesthetical dimension, 1c) political dimension; 2a) authorship and authority, 2b) multidimensional perspectivism, 2c) theory as instrument, 2d) tipologies; 3a) narrative turn, 3b) polisemy and grammar, 3c) hermeneutical ethics; 4a) pragmatism, deconstruction and feminism, 4b) critical metatheory, 4c) critical rationalism, 4d) counterargumentation, 4e) reasoning and racionality, 4f) judgment and dialectics.
... The commodification of status symbols has permeated broader consumer segments, prioritizing perceived rather than actual value and further reinforcing the dominance of simulated consumption. Capital seeks to manipulate the entire mass of consumers by fostering simulated needs and effectively simulating their fulfilment [Baudrillard, 1972;1981;Jameson, 1991;Buzgalin, Kolganov, 2012]. ...
The author raises fundamental questions related to the escalation of crisis phenomena in the economic, social and environmental spheres, which is the case for the entire modern human civilization. A social system based on the criteria of economic rationality, on the one hand, provides significant technological progress, but, on the other,fails to deal with the negative consequences of said progress using the latest technologies contrary to the interests of human development. The currently dominant neoliberal economy subjects production to the criterion of economic benefit, and in pursuit of profit growth and expansion of sales markets it leads to a mindless increase in production volumes and the exploitation of irreplaceable natural resources. Moreover, relying on the latest technologies, it develops the most sophisticated methods of manipulating and imposing simulated needs on the consumer, wasting the Earth’s resources to provide the consumer with illusory benefits that supposedly would satisfy these needs. With such a background, social contradictions and global economic conflicts are growing, escalating the threat of the use of mass destruction weapons. At the same time, modern knowledge-intensive technologies create an opportunity to overcome these issues. They ensure the satisfaction of human needs with decreasing costs of material resources. A high level of production knowledge-intensivity suggests an extended need for creative work, while forming a “cultural man,” turning consumer goods from the purpose of production only into means of providing conditions for the development of human creative abilities. However, the consistent implementation of these options requires abandoning the neoliberal paradigm of economic growth. The transition to other non-economic criteria of development, and, ultimately, the transition to noonomy – a non-economic way of ensuring human needs – requires a consistent, step-by-step development strategy. For our country the first stages of implementation of this strategy may be reflected in the achievement of technological sovereignty based on the reindustrialization of the economy based on the latest technologies. The means to achieving this stage are an active industrial policy and the use of methods of planned regulation of the market economy.
... Згідно Ф.Джеймсону, соціальна реальність, котра розуміється ним як постсучасність, може бути описана наступним чином: по-перше, постсучасність -це бездонний, поверхневий світ, світ імітації; по-друге, це світ, який відчуває нестачу в афектах і емоціях [Jameson 1984]. ...
The relevance of the topic of the article is due to the need for philosophical research into the nature of information as a factor that significantly affects the development of modern society. Understanding the nature of information is important for the study of processes, mechanisms, and technologies in any sphere of social life.The study is based on a semiotic approach, the relationship between information and reality is considered based on the semantic and pragmatic aspects of this problem. The concept of semantic information by Luciano Floridi and the views on the nature of information by Yuval Noah Harari are analyzed. The semantic aspect is understood not only in terms of the “truthfulness” of data, but also in terms of the perception and interpretation of this data by the consumer of information. Information appears as a model of reality, and at the same time information models reality, creating a second, illusory reality. A person exists in a situation of “two realities” (ontological and semiotic). This situation of “two realities” creates numerous philosophical and semiotic problems.Information not only reflects and constructs reality but is also used as a means of influencing consciousness, as a means of control. The modern information society is built on technologies of manipulation of consciousness. This is associated with the peculiarities of the functioning of information in society. In modern culture, information increasingly replaces reality, simulates reality. These are fakes and disinformation, rumors and conspiracy theories, as well as literature and art that exist as an imitation of reality. The media record events less and less often, and more and more often direct them. This is what describes the state of post-truth, when information flows themselves determine what is true and what is not. Information loses touch with reality, information and reality do not intersect or intersect rarely. People are increasingly immersed in this artificial reality, being in the information, virtual world.
... Similarly, involution via commoning to produce cost-effective art draws on complex social relationships to include more creative labour in a project or through the fine-grained trimming of creatives to mitigate financial limitations. Furthermore, there is the involution of cultural forms that re-makes, assembles, remixes and blends symbolic texts, idioms, styles and genres, and which remain a key art world feature identified by cultural theorists (Fisher, 2022;Jameson, 2016). Or, in Geertz's terms, a type of cultural 'hair-splitting' to create new forms within established conventions. ...
... Primarily used to support or to highlight qualitative findings. (Jameson, 2014;Taylor and Winquist, 2002) Questions the stability of the social world and denies a single, unifying reality. Skeptical of grand narratives; reality is fragmented and pluralistic. ...
This article builds on the highly cited 2009 article authored by Professor Emerita Margarete Sandelowski and her colleagues by critically reevaluating the process of quantitizing—transforming qualitative data into quantitative forms—a technique that has surprisingly not proliferated in academic research, presumably due to a shortage of methodological exploration in this area. This article responds to this shortfall by proposing a comprehensive meta-framework using the 5W1H approach, which outlines why, when, what, where, how, and who should engage in quantitizing, thereby integrating several frameworks and models across both mixed and multiple methods research. Central to this framework is the DIME-Driven Model of Quantitizing, which categorizes quantitizing into Descriptive, Inferential, Measurement, and Exploratory types, each enhancing the utility and precision of quantitizing. This innovative model supports the article's broader advocacy for quantitizing as a crucial methodological tool across diverse research traditions. This article explores the application and value of quantitizing across qualitative, quantitative, and mixed methods research traditions, demonstrating its broad relevance and transformative potential. It discusses the variable adoption of quantitizing based on differing philosophical perspectives related to ontology, epistemology, axiology, and methodology. Despite these differences, only a few research philosophies completely reject quantitizing. The article advocates for a balanced use of quantitizing to complement qualitative analyses and to enhance research clarity and applicability without compromising the richness of qualitative data. It serves as a comprehensive resource for understanding the complexities and utility of quantitizing, aiming to inspire researchers to consider this approach to enrich their analytical tools and to enhance the depth and applicability of their research findings.
Drawing on insights from the spatial turn, this analysis examines the role of spirituality in religious experience, particularly focusing on how the body becomes central to transcendent experience in relation to spatial structural changes. It investigates how the emergence of hybrid social spaces contributes to the decline of institutionalised religiosity and how new forms of religiosity amplify the role of individual meaning-making. The paper focuses on how changes in the spatial structure of religious spaces are transforming the perception of the body among religious persons and how body-centred spiritualism is becoming central to religious experience. In this context, the paper discusses both the secular sources of spiritual bodily experience and the new features of sacred experience associated with the changed spatial structure. The analysis interprets this complex phenomenon in terms of body-focused spiritualism. The theoretical novelty of the analysis lies in the fact that, while interpreting spirituality and embodied transcendental experience, it not only relies on classical authors of spatial theory, but also draws on insights from phenomenological analysis in its interpretation of social spaces, the conceptual (spatial) domains of reality, and the body.
This article takes the online subculture Gaylor (theories speculating that pop star Taylor Swift is queer and encodes queer themes in her music and persona) as a case study to argue that the style, tropes, and aesthetic vernaculars of conspiracy theorizing have dispersed into other social arenas without maintaining the wide-ranging scale of conspiracy theorizing proper, creating what I term “microconspiracies.” By engaging in non-participant observation of a Gaylor community on the social forum platform Reddit, I demonstrate how digital microconspiracy spaces engage with conspiracy aesthetics, yet deploy them on a minor scale and toward minor ends. Understanding microconspiracy opens up new ways of thinking about conspiracy thinking and cultures, while also charting the extension of conspiracy's style beyond the domains it is conventionally imagined to inhabit. By pointing to conspiracy theorizing's ability to work across axes of macro/micro and scale/scope, I offer a revised understanding of conspiracy theories and conspiracy-thinking, and their roles in contemporary culture.
In this paper I argue that there is a need for game studies to look beyond nostalgia as a period style or form of remediation, and to more carefully consider the role of nostalgia as an affective state experienced by players. Specifically, I argue that nostalgia is a positive emotional response that can be elicited in players without the need to embed period or historical referents in games. Extending this, I argue that the experience of nostalgia might enhance player motivation to explore game spaces, which has repercussions for game design. This paper makes use of existing literature on the psychology and aesthetic qualities of nostalgia to develop an initial theoretical basis for the study. To explore the implications of affective nostalgia, a case study analysis of two recent games is presented. Both of these games are dependent upon player motivation to explore their game worlds.
In terms of speculative affect, the potential for thinking (and feeling) otherwise, counter to the status quo, is prismatic and expansive. Can this kind of phenomenological experience create, in turn, a form of revolt? This chapter considers the roll of the dice involved in surrealist thought, and surrealism’s quest for social and personal liberty, alongside the idea that thought is ontogenetic. Despite an emphasis on personal experience, the surrealist “marvellous” obliterates hierarchies between object and subject, bringing them into mutual correspondence, while often removing the contextual, habitual, coordinates of everyday routine. Observing the deliberately disobedient objects characteristic of Belgian surrealist René Magritte’s oeuvre, and their subsequent interpretation in French writer and filmmaker Alain Robbe-Grillet’s La Belle Captive (a picto-roman (1975) and film (1983)), the chapter is interested in the ways in which illogic, violence, shock, and incongruity disrupt narrative conclusion.
The strength of connective resilience lies in its shared narratives. In pursuit of a digital decolonialism, Southeast Asian societies must reconsider the dynamics of power and space, focusing on the socio-political implications of evolving digital ecosystems. This chapter analyses how digital spaces serve as platforms for governance, resistance, and participatory culture, while reflecting on the dualities and fragmentations inherent in these processes. By exploring symbolic disruptions and community-led initiatives, the chapter reveals both the challenges and potential of collaborative governance in contexts shaped by structural and historical complexities. This analysis is guided by a critical framework that interrogates the intersections of digital infrastructures, colonial legacies, and (creative) participatory practices and calls for approaches that resist digital orientalism. Drawing from a dataset of 2306 digital artefacts, including memes, videos, and user-generated content, it highlights the role of shared narratives and cultural resilience that are crucial to understanding identity formation that drives participatory culture in this region. This chapter recontextualises the notion of ‘becoming’, not as ‘us versus them’ but ‘us with them’, thus moving the interaction beyond reaction to engagement in a process. Finally, it explores a possible regenerative intervention of the Metaverse combined with a unique AI-model to shape inclusive and equitable digital futures.
When analysing recurrent global social problems, new theories and concepts often emerge. This is the outcome of not only needing a vocabulary to identify and document problems as they unfold, but to label the specific problem as one in need of solving. Once a term is developed and popularised it allows scholars, lawyers and human rights advocates to demand answers or redress from those responsible for generating such societal ills. Examples of this include the development of scholarly and legal concepts like genocide, ecocide and scholasticide. This article proposes we establish a new concept: medelacide . Medelacide describes the intentional and systematic destruction of healthcare infrastructure. After outlining a clear sociological and legal rationale for why developing this concept is necessary, I show how other concepts that address widespread human rights issues should inform our development of medelacide as an identifiable act. After providing a preliminary way to conceptualise medelacide, I offer a demonstrative case study. The case study illustrates how the act of medelacide may be identified during the first year of the Israeli government’s genocide in Gaza, Palestine. It documents how the Israeli military’s mode of assault demonstrated a pattern of intentional and systematic targeting of Gaza’s healthcare infrastructure, from October 2023 to October 2024. I conclude by offering comments on why medelacide is worth considering as a stand-alone concept, as well as one that can inform studies and analyses of structural and long-term social problems.
This paper discusses the transdisciplinary approach and its importance to be discussed and applied in the world of higher education research to understand and address the complexity of socio-cultural problems. Gillez Deleuze and Felix Guattari through a famous book, A Thousand Plateaus proposed two terms "arborescent" and "rhizome" as a metaphor for two paradigms and scientific approach in teaching and research. The concept “aborrescent” in many respects considered inadequate applied in the scientific world that tends to see reality is atomistic, but complex and mutually overlap (networking). Giles Deleuze and Felix Guattari proposed the concept of the rhizome as a metaphor for the paradigm and post-disciplinary scientific approach. UNESCO, CIRET and many scientific institutions and university in developed countries have done symposium, seminars and carry out research with a trans-disciplinary approach. The development of science-technology and complex and fast-changing cultural reality, requires colleges to understand and apply the trans-disciplinary approach.
Music videos are an audio-visual form that rose to prominence in the 1980s with the advent of the cable channel, MTV. They are unique representations of places and spaces spanning over four decades. Los Angeles has provided the location and background to music videos in every musical genre. Insights from Lefebvre’s spatial theory and social production of space are aligned with Baudrillard’s concept of hyperreality. An examination of prominent hip-hop music videos is employed to trace the social and cultural tensions that configure lived experience in Los Angeles against notions of L.A. as a global entertainment capital. Music videos constitute vibrant urban renderings of Los Angeles at key inflexion points in its recent history.
In The Question Concerning Technology (1954), Heidegger expresses profound concern that humanity has fallen into a technological mode of being, reducing the world and human beings to mere resources in the pursuit of efficiency. He warns that technology’s dominance alienates us from our true essence and from the world itself. Heidegger often stated that the philosopher who could think with him, through him, and beyond him had not yet arrived. Ridley Scott, through his film Blade Runner, provides a compelling answer to this challenge. Scott’s depiction of a dystopian future mirrors Heidegger’s concerns, presenting a “technological ghetto” where only replicants find a sense of belonging, while humans are alienated and disconnected from the world. In this article, I aim to demonstrate that Scott goes beyond merely reflecting Heidegger’s philosophy; he actively engages with it, proposing a path toward liberation within a technology-dominated society. Through Blade Runner, Scott illustrates that even in a world increasingly shaped by technology, there is still room for art and truth. By juxtaposing Heidegger’s early philosophy in Being and Time with the destructive force of his later ideas in The Question Concerning Technology, Scott suggests a possible escape from the technological ghetto and the possibility of authentic existence through the recognition of death and the embrace of art. I contend that Scott, through Blade Runner, presents a vision of liberation and a way to live authentically alongside technology.
This chapter focuses primarily upon three adaptations of Hamlet created and performed online during the COVID-19 pandemic: an episode of Elliot Barnes-Worrell’s Instagram series Thinking Out Loud: Quarantine Shakespeare, released in April 2020; an episode of the web series Shakespeare Republic: #AllTheWebsAStage (The Lockdown Chronicles) directed by Sally McLean, released in September 2020; and a production by The Show Must Go Online directed by Rob Myles, performed live via Zoom and streamed to YouTube in August 2020. All three adaptations are infused with the cultural moment of lockdown: performed at home by isolated individuals using domestically sourced props and costumes, and streamed or recorded using smartphones, laptops and video conferencing software. I propose that digital performances and adaptations of Shakespeare created during the pandemic regularly offer examples of metamodernism, which has been put forward as the dominant cultural logic of the opening decades of the twenty-first century, succeeding late twentieth-century postmodernism. Cultural theorist Timotheus Vermeulen argues that a key feature of the metamodern sensibility is a ‘new depthiness’, in contrast to the ‘new depthlessness’ which characterised postmodern works. Hamlet is a character who has regularly been depthlessly (de)constructed in modern popular culture through caricatured tropes and memetic afterlives. This chapter places the productions of Barnes-Worrell, McLean and Myles in conversation with the postmodern Hamlets of the late twentieth and early twenty-first century; performed during the pandemic, Hamlet and its title character gained a metamodern ‘depthiness’, as creatives explored the character’s affective potential anew.
Individualization is one of the significant characteristics of modernization. She greatly influenced the formation of the modern self. This chapter discusses the structuring of individualization in the modern age, the separation of the individual from the group in the processes of accelerated economic integration of society and the advancement of the free market economy. The connection of individualization, identity and self in the time of modernization is analyzed through the views of authors such as Georg Simmel, Emile Durkheim and Max Weber. The chapter concludes with an analysis of the relationship between possessive individualism and the self on the one hand and methodological individualism and the self on the other.
In this study, the author shows the limited application of the theory of human capital. She concludes that to move towards a new society and noonomy, one of the priority goals of social progress should be the comprehensive development of the Human and his potential. For this purpose, both in theory and in practice, it is necessary to abandon the market-centred model of social relations, as well as to form a human-centred model, which includes, first of all, decommmercialization and socialization of the socio-humanitarian sphere (education, health care, science, culture [in the broad sense]).
The concept of the shadow embodies an inherent ambivalence, encompassing both darkness and light, a duality mirrored in 1990s-a decade marked by hope and disillusionment, anxiety and carefreeness. These contrasting elements, particularly in the U.S., shaped and were shaped, by the shadows cast by two defining traumatic events: the fall of the Berlin Wall on November 9, 1989, and the attacks on September 11, 2001. As Philip E. Wegner terms it, the 1990s represented "life between two deaths", a period marked by the emergence of reenchanted imaginaries and new cultures and narratives of un/belief that were more complex and nuanced-more umbratile-than any one-way interpretation. The article will employ Derrida's and Fisher's complementary concepts of hauntology to analyze the cultural landscape of the 1990s, delineating a profile of a decade in American culture. This profile can only be fully understood when viewed through the liminal spaces between its opposing trends, perpetually caught in contrasting and shadowy imaginaries and narratives.
The paper aims to investigate the relationship between creative writing and the literary canon. The main question is whether the Western canon can be a source of knowledge and an occasion for experimentation. It is vital today that Creative Writing emerges as a public discourse that intervenes in the public sphere on severe political and social issues concerning contemporary societies. It is also important to turn his gaze to the work itself, its poetics, and its ideology. Its new role presupposes workshop poetics, which will collide with the established discourse of mass literature and reshape the ways of assimilating the cultural values of the past (knowledge) and the present (experience and reflection). In the paper, we propose a new inclusive pedagogic model of creative writing, which not only systematizes older models and links criticism, criticism on canonical works, genre theory, and creative writing to lead to experimental projects but also invites diverse perspectives and voices offering a promising future for the field. ResumenEste artículo tiene como objetivo investigar la relación entre la escritura creativa y el canon literario. La cuestión principal es si el canon occidental puede ser una fuente de conocimiento y una oportunidad para la experimentación. Hoy en día, es fundamental que la escritura creativa emerja como un discurso público que intervenga en la esfera pública sobre cuestiones políticas y sociales graves que afectan a las sociedades contemporáneas. También es importante dirigir la mirada hacia la obra en sí, su poética y su ideología. Su nuevo papel presupone una poética de taller que entrará en conflicto con el discurso establecido de la literatura de masas y redefinirá las formas de asimilar los valores culturales del pasado (conocimiento) y del presente (experiencia y reflexión). En este artículo, proponemos un nuevo modelo pedagógico inclusivo de escritura creativa que no solo sistematiza modelos anteriores y vincula crítica, crítica de obras canónicas, teoría de géneros y escritura creativa para dar lugar a proyectos experimentales, sino que también invita a perspectivas y voces diversas, ofreciendo un futuro prometedor para el campo. ResumAquest article té com a objectiu investigar la relació entre l'escriptura creativa i el cànon literari. La qüestió principal és si el cànon occidental pot ser una font de coneixement i una oportunitat per a l’experimentació. És fonamental avui dia que l’escriptura creativa emergisca com un discurs públic que intervinga en l’esfera pública sobre qüestions polítiques i socials greus que afecten les societats contemporànies. També és important dirigir la mirada cap a l’obra mateixa, la seua poètica i la seua ideologia. El seu nou paper pressuposa una poètica de taller que entrarà en conflicte amb el discurs establert de la literatura de masses i redefinirà les formes d’assimilar els valors culturals del passat (coneixement) i del present (experiència i reflexió). En aquest article, proposem un nou model pedagògic inclusiu d’escriptura creativa que no sols sistematitza models anteriors i vincula crítica, crítica sobre obres canòniques, teoria de gèneres i escriptura creativa per donar lloc a projectes experimentals, sinó que també convida perspectives i veus diverses, oferint un futur prometedor per al camp.
This Element reconsiders what the focus of digital literary mapping should be for a subject like English Literature, what digital tools should be employed and to what interpretative ends. How we can harness the digital to find new ways of understanding spatial meaning in the Humanities? Section 1 provides a brief overview of the relationship between literature, geography and cartography and the emergence of literary mapping, providing a critique of current digital methods and making the case for new approaches. The second section turns to Russian theorist Mikhail Bakhtin and explores the potential of the 'chronotope' for literature as a way of structuring digital literary maps that provides a solution to the complexities of mapping time as well as space. Sections 3 and 4 then exemplify the method by applying it first to realist novels by Dickens and Hardy then the multiple states of J. M. Barrie's Peter Pan. This title is also available as Open Access on Cambridge Core.
Throughout history, human understanding has undergone profound transformations, often driven by the need to deconstruct and reconstruct established paradigms. Dispensationalism, Cubism, and Quantum Realism, though arising in vastly different fields—theology, art, and physics—share a common methodological structure: fragmentation as a means of deeper insight. Dispensationalism fragments sacred history into divine epochs, Cubism dismantles perspective to reveal multiple simultaneous viewpoints, and Quantum Realism shatters classical determinism by introducing a probabilistic reality shaped by observation. While each movement challenges traditional notions of time, space, and existence, they do not merely deconstruct—they reassemble meaning in new, profound ways. This interdisciplinary study explores how fragmentation serves as both an intellectual disruption and a pathway to greater understanding, reshaping how we perceive history, reality, and the act of observation itself. By examining these movements together, we uncover a shared narrative of discovery through disassembly, where breaking apart established frameworks becomes essential for uncovering new dimensions of meaning and truth.
Keywords: Dispensationalism, Cubism, Quantum Realism, fragmentation, paradigm shift, theology, modern art, quantum mechanics, observer effect, perspective, history, probabilistic reality, deconstruction, reconstruction, nonlinear time, perception, epistemology, paradigm reconstruction, interdisciplinary analysis.
Contemporary generations of youth are undertaking their “transitions” to adulthood in a period marked by considerable temporal precarity and anxiety. A range of intersecting socio-structural changes and crises have not only made it more difficult for contemporary young people to achieve historically conventional markers of adulthood but have also undermined the previously taken-for-granted sense of continuity between the present and future. Youth studies have been alert to how these shifts have reshaped young people’s lives in the present and their dispositions towards uncertain futures. Significantly less attention has been paid to how this temporal uncertainty evokes the past, present and future in young people’s own perceptions and navigations of the contemporary context. Using the concept of hauntology and drawing on the narratives of 11 working-class young people as they reflect on their transitions to adulthood, this paper provides insights into how young people’s experiences and dispositions in the present are powerfully haunted by losses from both the past and the future.
Мета статті полягає у всебічному дослідженні сучасного архітектурного кічу як феномена масової культури в період постмодернізму. Основні завдання передбачають аналіз витоків та еволюції поняття кічу, вивчення впливу постмодерністської естетики на розвиток архітектурного кічу, дослідження соціокультурних факторів, що сприяли його поширенню, а також критичний огляд прикладів архітектурного кічу кінця ХХ – початку ХХІ століття. Особливу увагу буде приділено оцінці ролі масової культури у формуванні естетичних ідеалів, які призвели до виникнення та популяризації кічу в архітектурі. Методи дослідження: історико-культурний та порівняльний аналіз, контент-аналіз, критичний аналіз, кейс-стаді, соціологічний метод та візуальний аналіз. Такі методи уможливлять всебічне вивчення феномена архітектурного кічу та його впливу на сучасне суспільство. Результати. Дослідження дасть змогу виявити нові взаємозв’язки між архітектурним кічем і масовою культурою постмодернізму, а також його соціокультурні чинники. Визначено нові естетичні характеристики сучасного архітектурного кічу та його вплив на формування архітектурного середовища. Ці результати мають значущість для науки, освіти та суспільства, сприяючи глибшому розумінню культурних і архітектурних тенденцій кінця ХХ – початку ХХІ століття. Висновки. Дослідження показало, що сучасний архітектурний кіч є важливим феноменом масової культури постмодернізму, сформований під впливом соціокультурних чинників. Визначено нові естетичні характеристики та взаємозв’язки між кічем і архітектурним середовищем. Ці висновки сприяють глибшому розумінню сучасних культурних тенденцій та їхньому впливу на архітектуру, надаючи цінні факти для науки та освіти.
İletişim Sosyolojisinde Temel Kavramlar ve Yaklaşımlar Aykut SIĞIN Kitle İletişimi ve Toplum Kemal ER İletişim Teorileri Ercan ŞAHBUDAK İletişim Sosyolojisinde Güncel Konular Hakan ARIKAN Basının Dönüşümü ve Toplumsal Etkileri Merve YALÇINKAYA Matbaa’dan Metaverse’e Evrilen Toplum Hakan ARIKAN Yapay Zekâ, Toplum ve İletişim Yavuz BELENDİR Emel YİĞİTTÜRK EKİYOR Çoğul Sesler, Biriciklik ve Çeşitlilik Özlem AYDOĞMUŞ ÖRDEM “İnsanın Ölümü”nden Sonra İletişim: Posthümanist Çağda İletişim ve İletişim Çalışmalarının İmkanlarına Dair Bir Derkenar Sibel EZGİN AĞILLI
Марксистська інтерпретація постмодернізму критично розглядає культурні та ідеологічні зміни, пов’язані з постмодернізмом, крізь призму марксистської теорії. Цей підхід стверджує, що постмодернізм відображає останній етап капіталістичного розвитку, який характеризується фрагментацією та комерціфікацією культурних форм і соціальних ідентичностей. Марксисти стверджують, що наголос постмодернізму на релятивізмі, скептицизм до великих наративів і вихваляння множинності та відмінності слугують затемненню матеріальних реалій класової боротьби та економічної експлуатації. З точки зору марксистів, постмодернізм можна розглядати як продукт і інструмент пізнього капіталізму. Він виникає в результаті економічних перетворень, які призвели до занепаду традиційної індустріальної економіки та піднесення глобалізованої економіки, заснованої на інформації. Цей перехід фрагментував соціальне та культурне життя, створюючи відчуття нестабільності та невизначеності, яке постмодернізм одночасно відображає та підсилює. Зосереджуючись на поверхні, а не на глибині, і віддаючи перевагу ефемерному та випадковому, постмодернізм відволікає увагу від стійких структур економічної влади та класових відносин. Крім того, марксисти стверджують, що постмодерністське оспівування споживчої культури та її фіксація на знаках і симулякрах сприяє перетворенню повсякденного життя на товар. Культурні продукти та ідентичності стають взаємозамінними, позбавлені історичного та соціального контексту та зведені до ринкової вартості. Цей процес комодифікації підтримує інтереси капіталу, сприяючи культурі споживання та відволікання, що підриває колективні політичні дії та солідарність. Підсумовуючи, марксистська інтерпретація постмодернізму розглядає його як культурну логіку, яка відображає та увічнює умови пізнього капіталізму. Він критикує постмодернізм за його роль у приховуванні класових поділів і за внесок у комерціалізацію культури, таким чином перешкоджаючи потенціалу революційних соціальних змін. Цей підхід прагне відновити потенціал революційних змін шляхом поєднання культурної критики з ширшою боротьбою проти капіталістичної експлуатації та за соціальну справедливість.
In recent years, the UK screen industries have exhibited a renewed interest in racial difference that can be understood as the outcome of policy interventions into the unequal labour practices within film production and film culture. This has emerged with new modes of Black cultural visibility that have accompanied the increased presence of mainstream, publicly funded feature films. Here, the increasing body of Black filmic practitioners who have now occupied the creative status of writer-director is an outcome of not just the expanded and strategic racial equality agenda within the UK film industry, nor the intrinsic need to extend the representation of Black identities and related themes and characterisations within the screen industrial landscape. In identifying a conjunctural shift in Black cultural politics and the production of Blackness as a cultural value through film as a linear social and political phenomenon that has produced a heightened moment of cultural visibility, this article identifies how the presence of industrial actors as creative practice within Black film production and presentation has inaugurated a glacial but no less significant period of industrial reconfiguration and subsequently, new forms of cultural meaning being ascribed to the cultural image of the Black writer-director. As Black Britishness comes into a greater industrial visibility in the film sector, its entanglements with neoliberalist logics of the marketed individual frame the Black cultural intermediary as the inevitable outcome of Black cultural identity’s continued trajectory into the popular.
The painting cycle Warhol dedicated to Marilyn Monroe in 1962 is not only one of the highest moments of Pop Art, but one of the most complex meditations on the identity of the twentieth-century subject. Focusing exclusively on the dimension of the media mask, Warhol elaborates an aesthetic of artifice in which the “I” can only survive in its mimetic projections: constructability of beauty, affirmation of the universe of photoreproduction, marginalization of nature, virtuality of the subject and its social expendability.
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