Suchergebnisse

Despite the unprecedented freedoms that decolonization has brought for many Black1people – especially in specific regions of the African Diaspora – freedom and its fulfilment, adequate signs and contested meanings remain a preoccupation within Black cultural discourses and practices. At the same time, while political and cultural nationalisms have led to greater political and civil rights, racism has not been eradicated. Furthermore, the new postcolonial globalizations of capital, people and cultures have destabilized the collective identities that framed twentieth-century struggles for national sovereignty and equal citizenship, without necessarily erasing them. Instead, they remain, no longer securely anchored in their old homogenous appearances, but re-configured through the inner differences and contradictions of gender, sexuality, ethnicity and religion. This article addresses these internal differences and the ways in which they produce new contestations over race, the meaning of Black representation and postcolonial freedom, negotiations that are increasingly traced on the intimate contours of the body and the self, through practices of personal consumption, erotic hedonism and style as key performances of freedom. It achieves this through examining two localized moments in the transnational and diasporic circulation of Jamaican dancehall culture, understood as a privileged public space for the performance of Black identifications and personal freedom. It argues that the eroticized discourses of ethnicity, race and gender found in dancehall culture articulate the dominance of neo-liberal conceptions of freedom at the same time as they express, resist and comment on new cultural hegemonies not reducible to racism or the power of the West; that is how dancehall expresses the new problematizations of postcoloniality.1 Except when quoting other writers, I will capitalise the word Black, in order to recognise Black identity as a historically and politically constituted experience and representational category, and not solely denoting skin colour.

Social-injustice dilemmas such as poverty, unemployment, and racism are subjects of continuing debate in European societies and in Germany in particular, as solutions are difficult and progress often comes slowly. Such discussions are not limited to opposing newspaper editorials, position papers, or legislative forums, however; creative works expound on these topics as well, but their contributions to the debate are often marginalized.This collection of new essays explores how contemporary German-language literary, dramatic, filmic, musical, and street artists are grappling with social-justice issues that affect Germany and the wider world, surveying more than a decade's worth of works of German literature and art in light of the recent paradigm shift in cultural criticism called the "ethical turn." Central themes include the legacy of the politically engaged 1968 generation, eastern Germany and the process of unification, widening economic disparity as a result of political policies and recession, and problems of integration and inclusivity for ethnic and religious minorities as migration to Germany has increased.Contributors: Monika Albrecht, Olaf Berwald, Robert Blankenship, Laurel Cohen-Pfister, Jack Davis, Bastian Heinsohn, Axel Hildebrandt, Deborah Janson, Karolin Machtans, Ralf Remshardt, Alexandra Simon-López, Patricia Anne Simpson, Maria Stehle, Jill E. Twark.Jill E. Twark is Associate Professor of German at East Carolina University. Axel Hildebrandt is Associate Professor of German at Moravian College.

"I See Foundations Shaking" explores how African-American, Native American, Chicano/a, and working-class writers and filmmakers during the Great Depression engaged in transnational modernist movement that stretched from the late 1920s to the start of the Cold War. My dissertation suggests that the 1930s witnessed an alternative internationalist moment, replacing an aesthetic of expatriation that focused on Europe with a southward- looking transnational vision of multiethnic solidarity. Writers who embraced this "transnational modernism" viewed the Americas as a new source of inspiration, with Mexico City and Havana as centers of intellectual production and experimentation. As a project of cultural recovery, I rely extensively on archival material, including unpublished work by Clifford Odets; farm labor and literary journals from California such as UCAPAWA News, The Agricultural Worker, Lucha Obrera ; Carlos Bulosan's The New Tide ; and D'Arcy McNickle's papers at the Newberry Center. Posing Depression-era culture as a transnational modernism frames the decade within a larger debate about modernism, rethinking the way basic aesthetic and political categories are implicated within discourses of nationalism. As Langston Hughes wrote in 1938 looking from Republican Spain to the shores of Africa, "foundations were shaking" all over the world at the possibilities of socialism and de-colonization. Considering that transnational moment - an African-American poet reporting on the International Brigades in Spain while metaphorically gazing off to Africa - needs to be reclaimed as a key "foundation" in the history of U.S. cultural and modernist practice

"Antonio Gramsci and the Ancient World explores the relationship between the work of the Italian Marxist thinker Antonio Gramsci and the study of classical antiquity. The collection of essays engages with Greek and Roman history, literature, society and culture, offering a range of perspectives and approaches building on Gramsci's theoretical insights, especially from his Prison Notebooks. The volume investigates both Gramsci's understanding and reception of the ancient world, including his use of ancient sources and modern historiography, and the viability of applying some of his key theoretical insights to the study of Greek and Roman history and literature. The chapters deal with the ideas of hegemony, passive revolution, Caesarism, and the role of intellectuals in society, offering a complex and diverse exploration of this intersection. With its fascinating mixture of topics, this volume will be of great interest to students and scholars of classics, ancient history, classical reception studies, Marxism and history, and those studying Antonio Gramsci's works in particular"--

Trade is the main driver of development carried out to advance the general welfare as the goal of the country. The state as the executor of economic sovereignty is required to regulate the implementation of trade with due regard for human rights, including the right to obtain welfare. Law No. 7 of 2014 concerning Trade in force currently contains immoral material, namely provisions regarding the standardization of goods and services, as well as provisions concerning criminal acts related to the standardization. For this reason, it is necessary for the politics of legal development to amend trade laws by not including norms of standardization obligations, and to eliminate criminal threats for trading activities.

"With contributions from 30 leading media scholars, this collection provides a comprehensive overview of the main methodologies of critical media studies. Chapters address various methods of textual analysis, as well as reception studies, policy, production studies, and contextual, multi-method approaches, like intertextuality and cultural geography. Film and television are at the heart of the collection, which also addresses emergent technologies and new research tools in such areas as software studies, gaming, and digital humanities. Each chapter includes an intellectual history of a particular method or approach, a discussion of why and how it was used to study a particular medium or media, relevant examples of influential work in the area, and an in-depth review of a case study drawn from the author's own research. Together, the chapters in this collection give media critics a complete toolbox of essential critical media studies methodologies"--