Cultrual Studies

The journal "Minority Reports. Cultural Disability Studies" purports to devote the monographic issue 13 / II 2021 to the topic of school and educational inclusion of the students with disability, as it is declined, both in conceptual and operational terms, in the different European countries.

As radio shifts from analog to digital, the Hong Kong Radio Industry faces a challenge that they have not prepared for. To say the least, they have been running on deficit. In addition, it seems that they had become outdated, falling behind in terms of technology and exhibiting a lack of awareness about how online social media interaction between disk jockeys and listeners could attract more attention and increase their listener base. Significantly, Hong Kong radio is notable for not having archival systems for their sound recordings and radio content that could provide public and educational access after live radio sessions, and that might have helped maintain, if not increase their audiences who are increasingly used to accessing radio on demand via streaming services. This highlights the urgent need to set up a system for preserving Hong Kong's precious recordings. Using ethnographic approach, the researcher adopted a qualitative method where they observed and interacted with the study's participants in their real-life environment. Moreover, the paper applied a usability in a user-centered service design to help them analyze the problem, which includes the relevant domain, audience, process, goal, and context. Using an ethnographic study within a usability project enables researchers to thoroughly analyze the design problem and notice all associated issues to come up with a better solution. This paper focused on the radio industry in Hong Kong, particularly addressing crucial issues and questions that have been understudied in existing academic research.

A Salvador Mas, por su inestimable ayuda como director de esta tesis doctoral, no sólo por sus aportaciones, discusiones e indicaciones de tipo académico, que han contribuido, sin duda, a no perder de vista que el debate y el desacuerdo amistoso es parte fundamental del estudio filosófico sino, sobre todo, por el soplo de ánimo que me ha infundido estos últimos años para poder llevar a buen término este trabajo. La confianza que ha puesto en él ha sido la mejor motivación para su realización; las conversaciones en el Comercial, un motivo de inspiración imprescindible, sin olvidar las aportaciones de alto nivel intelectual a las que me acostumbró desde que lo trato como profesor en algunas de las materias más interesantes de la licenciatura y del Máster en Filosofía.

Cultural geography is a subdiscipline of human geography that explores the human organization of space and the impact of human activities and culture upon the natural environment. Human geography is one of the most active and interdisciplinary areas within the social sciences. There is a crossover in methodological and theoretical approaches with disciplines such as anthropology, sociology, and cultural studies. But cultural geography in particular retains its focus on culture and its signifying practices of self, groups, the creation of "others" and of worlds of experience while maintaining an emphasis on environment, space, and place. According to one of its most politicized proponents, its focus "includes the investigation of material culture, social practices and symbolic meanings, approached from a number of different perspectives" (McDowell 1994: 146). Broadly, the development of cultural geography arises in dynamic opposition to positivist themes in geography. We must remember that the roots of academic geography lie in colonial exploration and "discovery" (see, e.g., Driver 1992), which explains its strong predilection for "the empirical," with fieldwork across sites, of going "out there" into the "field," developing mostly descriptive accounts and seemingly hostile to theoretical innovations from outside (see Anderson et al. 2003: 8). Despiteor perhaps because of -geography's colonial heritage, there is a critical edge to cultural geography that asserts its relevance, especially in the "new" cultural geography, by being radically interdisciplinary and by being influenced by, and in turn influencing, other disciplines and subdisciplines across the humanities and the social sciences.

Global and Shakespeare have become near synonyms. Global Shakespeare performances matter because their concerns are inherently local even as they travel. In this sense, global Shakespeare is a body of traveling cultural texts and a liminal space where migrating people and ideas meet.

2 2013), and the broader public was analysed by approaching the digital memes with theories of proximity (Hall, 1956). The analysis of the 66 PGUF memes shows that ‘viewers’ and ‘subjects’ are both active agents and objects of observation. The performativity and exaggeration in the images suggests that women contributors use humour (the joke) to simultaneously acknowledge and subvert conventional ideas about feminine appearance. The concept of ‘conversation’ is used to theorise how memes help members of online communities communicate as they engage in what I describe as a ‘semeful socialibility’. The findings suggest people communicate through photographic digital memes by use of active semes (signs). Close observation of semes suggests that visual communication involves practices of looking (rather than viewing) that are active, interactive and reactive. Communities of ‘produsers’ of digital memes are involved in an interactive visual conversation. This visual social interaction al...

La presente ponencia, tiene por objetivo aproximarse a la interpretación de la obra alfarera desarrollada por Pedro Isla en la comuna de Río Ibáñez, región de Aysén, además reproducir metodológicamente los procesos artesanales diseñados por Isla.
Para este estudio, se utilizaron dos tipos de metodologías, por una parte fue la metodología propia de la disciplina del diseño, la cual permitió hacer una reconstrucción de los esquemas creativos propuestos por el artesano, por otra parte y para medir las percepciones de quienes trabajaron con él, se utilizó una metodología cualitativa enfocado en las interpretaciones con la finalidad de comprender y teorizar acerca del
caso en cuestión.
Como conclusión, se puede observar que el proceso de trabajo Isla, fue pionero en aspectos de metodología de diseño, ya que al observar, reinterpretar y resignificar a través de la creación de modelos con un objetivo proyectual claro, permitió a artesanas enfocarse en realizar piezas con una génesis en común y con un sistema de reproducción que asegurase el mantenimiento formal. Por otra parte además se determinó que el trabajo de Isla aportó al reconocimiento del sector de Puerto Ibáñez, permitiendo que sea identificada como cuna de la alfarería de la región de Aysén

Resumen: Este artículo analiza algunas de las revistas culturales más importantes del campo cultural cubano contemporáneo atendiendo a cómo el carácter del material que publican expresa y alimenta la existencia de un campo cultural cubano transnacional, que sería una de las partes constitutivas de una sociedad que no se articula exclusivamente sobre el eje del Estado nación. Nuestro análisis relacional y descriptivo demuestra cómo estas publicaciones, surgidas después del colapso soviético, interpelan a una comunidad cubana localizada en múltiples lugares y conectada por lazos de diversa índole (económicos, culturales, étnicos, etc.), estableciendo una identidad colectiva que no se define como "exiliada", sino como "diaspórica". Estas publicaciones seriadas abren así un campo cultural más inclusivo y extensivo que escapa a la dicotomía nación/exilio que había dominado en la producción cultural cubana de la segunda mitad del siglo XX.

Digital visual culture scholars have struggled to find a viewing model that suits the ways in which we communicate visually within participatory culture. Participatory culture suggests that people are visually active participants. However, traditional models of looking such as voyeurism involve a one-way looking practice that includes an active viewer who ‘looks’ at a passive subject. The recent theory of ‘the grab’ (Baym & Senft, 2016) begins to recognise visual interaction as agency and power. However, the action of grabbing remains a one-way transaction. This thesis addresses the complexities of viewing digital communication by asking: ‘How do people communicate using photographic digital memes?’ The research analyses a sample of 66 PGUF (PrettyGirlUglyFace) memes produced by women in a Reddit site community. The PGUF meme consists of a ‘pretty’ selfie juxtaposed with an ‘ugly’ selfie. The data also includes a critical review of media commentaries about selfies collected from 2012 to 2013, online conversations and comments by meme producers, and members of meme communities during selfie workshops in Australia and Canada. The data was collected within an interpretative methodology involving reflective situating (Markham, 2009). Accepting Thomas’s (2007) argument that identity online is performed by self, community and broader public, the 66 photos were analysed for these three dimensions. The aspect of self as an active looking subject was analysed by applying a social semiotic discourse method (Van Leeuwen, 2008), community was mapped with cohesive chains (Tseng, 2013), and the broader public was analysed by approaching the digital memes with theories of proximity (Hall, 1956). The analysis of the 66 PGUF memes shows that ‘viewers’ and ‘subjects’ are both active agents and objects of observation. The performativity and exaggeration in the images suggests that women contributors use humour (the joke) to simultaneously acknowledge and subvert conventional ideas about feminine appearance. The concept of ‘conversation’ is used to theorise how memes help members of online communities communicate as they engage in what I describe as a ‘semeful socialibility’. The findings suggest people communicate through photographic digital memes by use of active semes (signs). Close observation of semes suggests that visual communication involves practices of looking (rather than viewing) that are active, interactive and reactive. Communities of ‘produsers’ of digital memes are involved in an interactive visual conversation. This visual social interaction also reacts to traditional modes of looking that continue to treat certain groups of people (commonly, women) as passive subjects.
Please use this identifier to cite or link to this item:
http://hdl.handle.net/10453/120273
* find full thesis to download here at UTS library https://opus.lib.uts.edu.au/handle/10453/120273

This course explores the engendering of gender and racial differences in narrative instances in Anglo-European, African and Asian films and literary texts. Key critical idioms introduced in this course include: race, ethnicity, class, gender, sexuality, acculturation, cultural citizenship, diaspora, identity politics, globalization, imperialism and representation.

Through analytical exercises that engage an exciting range of cultural and visual materials, students will become familiar with a number of critical terms used in literary analysis and be able to recognize their preconceptions and prejudices.

The forces of globalization, war and terrorism, as well as
commodity culture place special pressures on the (re)production of dramatic works. This graduate seminar examines the transformations of drama and performance in an age of global digital culture.

Goals

1. Contextualized understanding of key theories, and debates within which they emerged.
2. Acquire critical thinking, writing, and presentational
skills to meaningfully engage performances in a global context in theory and practice.
3. Build a sustainable intellectual community.

Spaces of Imagination: Intermedilaity in Film, Archives and Exhibition, School of Fine Art, History of Art, Cultural Studies, University of Leeds. 19th November 2016.

Symposium organised by Dr Liz Watkins (University of Leeds). Funded by a  British Academy Small Research Grant.

Speakers: Elif Rongen-Kaynakçi (Curator of Silent Film at EYE Film Museum, Amsterdam), Professor Ulrich Ruedel (HTW Berlin), Dr Eirik Frisvold Hanssen (National Library of Norway), Lucy Carty (Artist in Residence, Scott Polar Research Institute), Professor Sarah Street (University of Bristol), Professor Griselda Pollock (University of Leeds), Dr Hanna Hölling (University College London).

The symposium addressed questions of intermediality and transitional media in the making and exhibition of photography, film and its archives. As a polemical statement – the death of cinema – called attention to the impact of digital media on the ways in which films are made and the cinematic archive studied. The perceived shift – from photographic images made and stored on a material base (celluloid nitrate and acetate film stocks) and susceptible to light, heat and touch – to their digital simulacra, initially incited debate around cinema and what might be lost.

This symposium examined intermediality of film media, archives and exhibition contexts as a way to consider the interconnectedness and mutability of the technologies, aesthetics, materials and forms of image-making that have and continue to be integral to the history, circulation, and exhibition of film and photographic archives.

Symposium themes included: 1) Mediation of landscapes the role of film and photography in geographical exploration: mapping and shaping understanding of a region, the use of expedition materials in public exhibition; 2) Conservation and exhibition of archival materials online: theories of digital/ analogue photography; the curiosity of access to single frames of film displaced from the context of performance and the cinematic illusion of movement; indexicality. 3) Archival lives of film and photography: theories and processes that query ideas of permanence and impermanence through transfer to a new medium..

This paper argues that subversion is a necessary tool for survival and opening up of new possibilities in the context of the 21st century where neoliberalism and its extreme market-driven ideologies and institutional practices permeate and impact all social settings public and private. Subversion is defined as subtle mechanism(s) of resisting abusive forms of power that create and/or maintain oppression and harm. At the heart of subversion and engaging in subversive acts is a hope for creation of new possibilities, imaginable and unimaginable, to facilitate attaining social justice and implementing justice-oriented practices that have moral implications. It is within the context of neoliberalism, and its ability to control power relations yet appear undetected, that we argue for a necessity of subversion and subversive acts as a form of resistance, as a tool and a grassroots action-oriented mechanism(s), to challenge abusive and immoral forms of power. The paper argues that subversion is, in many instances, the most moral and integral way to act in the face of abusive and exploitive practices that cause harm to certain social groups through policies that are normalized and perpetuated by social institutions. This paper identifies and critically challenges some common misunderstandings and popular myths about subversion in education.

From early trailblazers to contemporary ground breakers, Black Women in Dance: Stepping Out of the Barriers, is an exciting publication celebrating and exploring the impact that Black women have made on the international dance ecology. This publication explores topics from the need for institutions and infrastructure to support work from African and African-Caribbean artists, and the key role of women within these organisations, to artists’ journeys taken to develop new aesthetics and an individual choreographic voice. The contributors also reflect upon the obstacles they have had to overcome as they have progressed in their careers and some of the challenges they still have to face. Moreover, Black Women in Dance is a celebration of the tenacity, strength and creativity of the authors, their peers and their predecessors.

Featuring Adesola Akinleye, Deborah Baddoo, Hilary S. Carty, Catherine Dénécy, Pam Johnson, Mercy Nabirye, Maureen Salmon, Jessica Walker, Sharon Watson and Jawole Willa Jo Zollar with a preface by Pawlet Brookes.

Book Description in English: World Literature and World Theatre: Aesthetic Humanism in Cultural Globalization argues that the aestheticization of humanistic concerns—the act of converting the human experience to art—is a key force in cross-cultural exchange. The book investigates the relationship between the creation of enduring personal narratives and “humanism”– a secular investment in shared cultural values. Artistic humanism can counter such practices of subjugation as colonialism and cultural imperialism that have dominated the recent historical record of globalization. The phenomenon is notable in the appropriation of Shakespearean sonnets, and the satirical and humorous narratives of Lu Xun (1881-1936), Mo Yan (2012 Nobel laureate), French-Chinese poet Gao Xingjian (2000 Nobel laureate), and other writers. ::::::

Book Description in German:  Ein Grund dafür, warum der Humanismus in unserer Zeit so wichtig bleibt, liegt in seiner Fähigkeit, das menschliche Leben nachvollziehbar zu machen, indem man nach den subjektiven Gründen für menschliches Handeln anstatt den objektiven Ursachen fragt. Tatsächlich betont der Humanismus die Subjektivität der menschlichen Erfahrung. Werden Klassiker heute noch studiert, weil sie universelle Werte vermitteln und den heutigen Lesern etwas mitzuteilen haben? Oder nur, weil sie uns erlauben, einen Blick auf die Vergangenheit zu werfen? Worin besteht die Beziehung zwischen “jetzt” und “damals”? Neuere Diskussionen um die Bedeutungsproduktion betonen oft die Politisierung von Kunstwerken, ihre historische Authentizität sowie ihre ideologische Autorität. Diese Debatten beeinflussen natürlich auch die geisteswissenschaftliche Ausbildung, bei der sich die Gegenwart in der Vergangenheit spiegelt und umgekehrt. [Buch-Reihe: Der Mensch im Netz der Kulturen – Humanismus in der Epoche der Globalisierung]  :::::: 

Here is an English-language review of this book in Cahiers Élisabéthains: A Journal of English Renaissance Studies by Dr. Géraldine Fiss. Weltliteratur und Welttheater is a critical inquiry into the driving force of humanism in the process of cross-cultural exchange that engenders the globalization of literature and theatre. In the course of her analysis, Alexa Alice Joubin asks several key questions, which inform her theoretically informed, site-specific readings: What is the function of humanism as artists  create hybrid experimental forms that transcend linguistic, cultural and national boundaries? How do elements of ‘aesthetic humanism’ appear in surprising forms, particularly in literary and dramatic works that are the result of global cultural crossfertilization? And how do aesthetic humanist texts merge Chinese and Western forms to engage with, respond to and shed light upon vital themes of modernization, politics, aesthetics and art? In its broad historical conception which spans both the modern and postmodern periods, and in its foregrounding of the two related genres of world literature and world theatre, this book composed in German not only presents novel readings of iconic Chinese texts but also the multifarious interconnections between Western and Chinese expressions of humanism.  :::::

Rationale for publishing the book in German in Germany: The peer-reviewed monograph was supported by a Stiftung Mercator grant. Named after Duisburg’s famous cartographer, the Mercator Foundation is one of the largest private foundations in Germany. Mercator’s life symbolizes the significance of intercultural and interreligious tolerance.  :::::

The subject matter of the book, world literature (a concept developed by Johann Wolfgang von Goethe), is more conducive to discussions in German and within the German critical traditions.  :::::

The book appeared in the series (Buch-Reihe) Being Human: Caught in the Web of Cultures – Humanism in the Age of Globalization (Der Mensch im Netz der Kulturen – Humanismus in der Epoche der Globalisierung) whose editorial board includes early modernists such as Peter Burke (Cambridge) and comparative literature scholars such as Longxi Zhang (City University of Hong Kong). The Transcript Verlag is one of the leading academic publishers in Germany with strong lists in social, media and cultural studies.

Nombre de mots : 2148 mots Publié en ligne le 2009-08-28 Citation: Histara les comptes rendus (ISSN 2100-0700). Lien: http://histara.sorbonne.fr/cr.php?cr=743 Lien pour commander ce livre Entre 1890 et 1914, Munich est l'une des principales métropoles artistiques en Europe. La capitale bavaroise, dite « ville d'art », voit se côtoyer les tenants de la tradition et ceux de la modernité. Elle est le théâtre de confrontations et d'expériences qui en font l'un des laboratoires de la modernité les plus actifs, augurant des radicalités esthétiques du XX e siècle. De nombreux artistes et écrivains, à présent souvent méconnus, participent à la grande aventure munichoise des années où le Jugendstil contredit la peinture d'histoire, où des arts qui ne se veulent plus mineurs revendiquent une légitimité pleine et entière. Ils ouvrent la voie aux mouvements avant-gardistes, tel le Blaue Reiter, qui bouscule par la suite les définitions de l'art, en contestant picturalement et verbalement un repli sur soi au double visage, esthétique et politique. Les grandes figures historiques de la scène culturelle germanique et parfois étrangère sont nombreuses à avoir été un temps munichoises. Ainsi en est-il de Wassily Kandinsky, Gabriele Münter, August Macke, Frank Marc, Paul Klee mais aussi de Stefan George, Thomas Mann, et même de Marcel Duchamp. Retracer cette épopée est la tâche que les auteurs du livre se sont fixée, Rainer Metzger sur le mode d'une narration dont il revendique la subjectivité, Christian Brandstätter à travers une très riche iconographie, présentant des documents souvent inédits. L'ouvrage est composé de cinq grands chapitres d'importance inégale, d'une biographie des principaux acteurs constituée de courtes notices, d'une bibliographie raisonnée et d'un index des noms propres.

The MIT Global Shakespeares Video & Performance Archive is a collaborative project providing online access to performances of Shakespeare from many parts of the world as well as essays and metadata provided by scholars and educators in the field. The idea that Shakespeare is a global author has taken many forms since the building of the Globe playhouse. Our work honors the fact and demonstrates the diversity of the world-wide reception and production of Shakespeare’s plays in ways that we hope will nourish the remarkable array of new forms of cultural exchange that the digital age has made possible. MIT Global Shakespeares is a participatory multi-centric networked model that offers wide access to international performances that are changing how we understand Shakespeare’s plays and the world.

Resumen: Ensayo sobre las transformaciones contemporáneas vinculadas al cuerpo, tecnologías y subjetividad, a partir de una “autobiografía molecular” que he llamado Bio–lencia, microbiopolítica contemporánea. Intenta dar cuenta de nuevos modos de narrar la propia historia que configuran la subjetividad teniendo en cuenta la materialidad orgánica,  pensando la enfermedad como resistencia y como verdad incrustada en el cuerpo. Indaga, además,  los modos de individuación relacionadas con el pensamiento de Simondon y Spinoza releídos por Deleuze. A su vez, relee los análisis de Ricardo Esteves sobre la noción de bio-lencia y cuerpo soberano.