Suchergebnisse

1. Chapter 1: Linking Heritage to Resistance -- 2. Chapter 2: Exercising our rights to the past: Emergent heritage activism in Istanbul -- 3. Chapter 3: Acting Out the Future of the Albanian National Theatre: New Heritage at the Intersection of Resistance and New Media -- 4. Chapter 4: Mapping more-than-nostalgia of the 'pits': co-production as creative resistance to the flattening of coal-mining communities -- 5. Chapter 5: Authenticity and struggle: historicising skateboarding as 'action art' on London's South Bank -- 6. Chapter 6: Imagining Heritage Beyond Proprietorship, Contesting Dispossession Beyond the Power Resistance Binary: Occupy-style Protests in Turkey, 2013-14 -- 7. Chapter 7: Fighting denial of the right to the past: heritage-backed bodily resistance and performance of refugeeism and return -- 8. Chapter 8: Reproductions, Excavations and Replicas: New Materialities in Response to Destruction -- 9. Chapter 9: Ethnoscaping Green Resistance: Heritage and the fight against fracking -- 10. Chapter 10: The epistemic work of decolonisation and restitution: a conversation with Ciraj Rassool -- 11. Chapter 11: Methodological approaches and challenges of conducting research on heritage and resistance.

Currently, in Canada and elsewhere in the West, government spending, media, and health activities focus heavily on "lifestyles" and the "obesity epidemic." In the last decade, many health and education professionals in Canada have adopted policies to improve health and fitness among youth, seeing them particularly "at risk" for engaging in unhealthy practices. Canada's Vitality message of learning how to eat well, be active, and feel good about one's self serves as the health promotion framework guiding our analysis of children's constructions of health. Adults and youth readily identify with dominant health messages related to eating and being physically active but only rarely acknowledge any sense of embodiment or feeling good. Research with adults, embodiment, and health suggests that feeling good about one's health and body is an impossible proposition as learning to care for the body is a constant and obligatory individual responsibility with limited possibilities of contentment. Health must be consistently and continuously worked at, making body-related projects a health imperative. We argue that learning how youth feel and experience health in relation to feeling good and pleasure is also imperative given the complex and contested relationships individuals have with health. Based on focus groups with 123 Grade 2 and Grade 4 students in Newfoundland, we use a feminist poststructuralist approach to examine how children understand healthy practices and messages about the ideal "healthy" body. A thematic and performance analysis combining talk, drawings, and talking about the artistic productions reveals children's complicated relation to health and the body, where pleasure figures centrally and opens up possibilities for alternative conceptions of self and embodiment. We propose a serious investigation of children's sense of pleasure and "having fun" as a fruitful avenue of research for critical scholars who aim to challenge dominant discourses of health and the body.

"Understanding It: Affective Authenticity, Space, and the Phish Scene" is an ethnographic study of "scene identity" around the contemporary rock band Phish. Utilizing data generated from six years of ethnographic fieldwork, including over one hundred and fifty interviews with Phish scene participants, this project explores how the production of space at Phish shows works to form a Phish scene identity. I contend that the identity of the Phish scene, what the band members and fans refer to as "it" and I call a spatial articulation of affective authenticity, is produced and formed by scene members themselves, drawing from the interrelations between the production of space (practices that create a specific environment) at shows and a white, middle and upper-middle class cultural memory of the Grateful Dead scene. I situate this process amidst a cultural backdrop of 1980s and 1990s identity politics and in particular, multiculturalism and suggest that Phish scene identity be analyzed as a middle class performance of resistance that achieves community and meaning without resisting class privilege. Following many American, cultural, and performance studies scholars as well as numerous anthropologists, sociologists, and both musicologists and ethnomusicologists, I treat performance as a ritual and posit Phish scene participants can be seen to achieve a social efficacy in their performance of resistance that although heightened from everyday life ultimately serves to replicate the structures of such life. Research regarding the affective nature of "it" and its relationship to the process of cultural memory, collective remembering and forgetting, can be seen as an insightful and powerful theoretical and methodological tool in cultural studies, for it exposes information pertaining not only to subject identity, but also to the discourses and contexts which help articulate such identities. This dissertation begins to examine what interdisciplinary scholars are to make of textual and spatial connections. How does one work ...

Jordanian cultural space has been dominated by the abstract figure of thenashmi, an Arabic word of obscure origin denoting chivalry, generosity, hospitality and courage. It has become indelibly associated with East-Banker Jordanian masculinity, specifically with national emblems including army, police, and civil defence officers, and national sports teams. Palestinian-Jordanian masculinities owe their cultural constructs to a different set of socio-economic and political contingencies that situate them in the much-poorer refugee camps of East Amman. This article aims to explore how the Jordanian channel Roya TV has afforded a platform to comedy productions that entrench the figure of the fringe masculinity of thedawanji(trouble-makers) as an antidote to the mainstream masculinity of thenashmiwho dominates state-owned television and radio stations, and virtually all cultural media of representation. Adopting an affective-discursive approach through a quantitative and qualitative analysis of the top 200 episodes of the most viewed comedy shows on Roya TV, the article will argue that the emphasis on the figure of thedawanjihas resulted in high levels of physical and verbal aggression and extremely negative portrayals of female characters on these comedy shows which are widely watched by both adults and children.

The essay argues that the dynamic conjunction of neo-liberal globalization and the information technology revolution has created not only a new relationship with time – which itself is having an immensely consequential (if under-theorized) effect – but also a transformed
relationship with the written word. Today reading and writing are increasingly conducted through liquid crystal display – a new technological form of the ancient technology of the printed word. The printed word has become liquid. This essay argues that liquid and accelerated and burgeoning
volumes of words that are overwhelmingly oriented towards market-driven instrumentalized ends are creating a deficit in the accumulation and tradition of critical knowledge production and its dissemination. The negative effects of the knowledge deficit are manifold, but the most salient is
in the realm of politics, where questions of power, agency and the democratic process become increasingly problematic.

This paper explores the discourse of cultural nationalism and its recent articulation in historical TV dramas (Lishi ju): TV serials set in the Chinese imperial past and depicting court politics and the private lives of imperial families. First, I briefly survey the recent resurgence of historical drama on the TV screen, especially comparing two different ways of representing history: "history light" (xishuo) and "history orthodox" (zhengju). While history light, a new genre strongly influenced by the costume dramas imported from Hong Kong and Taiwan, emphasizes the entertainment values of popular culture and adopts a postmodern attitude towards history, history orthodox renews the pedagogical tradition and the moralistic narrative of historical drama in modern China since the May Fourth enlightenment movement. I then focus on TV dramas in the history orthodox mode and their ideological messages, examining two representative works by Hu Mei: Yongzheng Dynasty (Yongzheng wangchao, 1999) and The Great Emperor Wu of Han (Hanwu dadi, 2005). While drawing attention to the various narrative strategies, intertextualities and audio-visual styles employed in these dramas to represent the glorious national history and portray a strong leader (the emperor) as national hero, I also provide a contextual analysis of the production and circulation of these two dramas as well as the critical and media response to them, to reveal the social agencies and social formation of these dramas behind the screen. I suggest that the revisionist reframing of the past in historical TV drama reflects a new nationalist historical consciousness and cultural identity borne out of China's rapid rise and aspirations to become an economic and political superpower.

Drawing worldwide acclaim from critics and audiences alike, programmes like The Killing, Borgen, The Bridge and The Legacy demonstrate widespread fascination with Danish style, aesthetics and culture as seen through television narratives. This book uses familiar, alongside lesser known, case studies of drama series to demonstrate how the particular features of Danish production - from work cultures, to storytelling techniques and trans-national cooperation - have enhanced contemporary Danish drama's appeal both at home and abroad. The era of globalisation has blurred national and international television cultures and promoted regular cross-fertilisation between film and television industries. Important questions have emerged from this context surrounding, for example, the 'Americanisation' of foreign television formats, the meaning and practice behind the term 'quality television', and the purpose and efficacy of public service broadcasting. Beyond the Bridge tackles these issues in relation to Danish television, by examining the so-called 'scaffolded production processes' behind the making of quality serials and their thought-provoking content. Drawing on popular motifs from these celebrated dramas such as foreign politics, organised crime, global warming, and the impact of multinational corporations, this timely book provides crucial insight into the Danish dramas at the forefront of sophisticated, forward-thinking, fictional television

In his commentary on what he calls Althusser's dramaturgy, Étienne Balibar notes the importance of theater as a metaphor and in its literal, material existence as an organized space in which both visibility and invisibility are staged. This essay attempts to explore the importance of the figure of machinery in Althusser's work: stage machinery but also the machinery and apparatuses by which the world of subjection is simultaneously staged and disrupted. This theater is also a theater of war and as such is an authorless theater, a production in the double sense of the term of absent or metonymic causes.

ABSTRACT OF THE DISSERTATIONU.S. Dance Makers:A Declaration of InterdependencebySarah Marie WilburDoctor of Philosophy in Culture and Performance StudiesUniversity of California, Los Angeles, 2016Professor Susan Leigh Foster, Committee ChairWho makes a dance?While no method of studying cultural production can possibly include all the people, practices, and procedures that "make" artistic works possible, dance scholars have yet to centralize dance's infrastructural politics as a topic of research in its own right. My dissertation project looks at dance "making" -- the resourcing, staging, and legitimization of dance performance -- as the product of multiple agents and agencies. To flesh out how dance is practically produced through a dynamic network of intermediaries, I combine archival accounts of federal arts policy production at the US National Endowment for the Arts (NEA) with ethnographic research and interviews with lifelong dance "makers," a large group that includes NEA senior leadership, administrators, citizen advisors, and NEA funded dance presenters, managers, booking agents, artists, and organizers. This emphasis on dance's many authorial agents protests modernist understandings of the choreographer-as-autonomous producer of dance "texts" through a situated review of how people collectively fashion authorizing rhetorics, programs, and procedures at the NEA and in local, NEA supported dance contexts. I trade close interpretive analysis of dance texts for a processual account of infrastructural "norms" and local translations across the agency's fifty-year lifespan. By studying dance policy and production enactments together in their cultural situatedness, we can start to notice how institutions function as living infrastructures, shaped by people with differential investments in dance practice and performance. Such an embodied epistemology of infrastructure offers a new topic and frontier of research, driven squarely from the domain of dance studies, with implications across dance, arts, humanities and policy discourse. My project is organized across the NEA's fifty year history of arts resourcing, regulation, and research by way of three infrastructural movements that I define here in italics. Chapter One addresses how early policy "makers" proceeded to negotiate an influx of economic resourcing through an agency-wide strategy of expansion by partition during the NEA's first fifteen years of policy production (1965-1980). Chapter Two analyzes the agency's most massive period of regulation and defunding, known in conventional histories as the so-called "Arts Wars" (1980-1996) to detail infrastructural pressures and regulations that instituted a support system rooted in redistribution and artist estrangement. Chapter Three details efforts to champion art and artists as tools for achieving non-arts policy goals from the turn of the 21st century to the present as a hyper-instrumental turn strongly influenced by governmental rationalism and capital development as political endgames of US federal government writ large. In each chapter I also weigh how NEA funded dance grantees negotiate these changes, in practice. What results is a theory of infrastructure as a living social exercise animated by people with differential investments in the production and distribution of dance.

The cultural analysis of economics that draws from European Ethnology is still clearly underemphasized. This article highlights its potential and explores possible approaches. It begins with a search for traces of the previous disciplinary preoccupation with economy and economics (economic theorizing). Then, using examples from the author's own research (studies on business cycle research and on the phenomenon of economy museums), ways of approaching and their potential for knowledge production are concretised. Based on this, further-reaching perspectives are presented. Basically, it is not enough to limit the European-ethnological study of economy and academic economic activities to everyday actors and practices. It is also indispensable to look at economic expertise, its efficacy in economic processes and the "fabrication" of this expertise – in the academic sphere and beyond.

Consumers develop their own logics in order to solve or at least to be able to withstand tensions between knowledge and everyday activities. This article therefore explores the question of how empirical cultural studies can approach this production of coherence at the subject level. With "everyday logics", a conceptual approach is designed that makes it possible to approximate intellectual conclusions in different fields which bring existing knowledge and realities of life into harmony. Using seven key assumptions, everyday logics are conceptualised and exemplified on the basis of narrative interviews. The article argues that everyday logics are of great relevance because they form that essential part of consumer practice that is geared towards integrating knowledge situationally into everyday contexts and developing individual calls to action from it.

This thesis studies the literary production of Estercilia Simanca Pushaina and Miguelángel López Hernández authors published in Colombia who self-identify as wayuu. During the years 1970-1980, the transcription in conventional alphabetic writing and the translation into Spanish of the wayuu palabra de origen contained in the traditional songs or jayeechis and in the pictographic writing of the indigenous people took place. Our objectiv is to demonstrate that the contemporary literature that follows is a vector of expression of the structures of knowledge carried by the palabra de origen at the same time as it seeks to assert the fundamental rights of the Wayuu by transforming national and international spaces it invests. Thus, the literature of Simanca and López Hernández expresses the agency of the members of the community, despite a desire for the appropriation of indigenous cultural productions by the multicultural state in its search for political legitimacy. It is by emphasizing the agency of Simanca and López Hernández that we can think of the emancipatory character of their literary work, that is to say its conquest of spaces of political and epistemological autonomy by the intermediary of intercultural dialogue. This emancipatory action should be read in connection with the history of the community and with the demands of the indigenous social movements of the twentieth century. Contacts and negotiations in which commercial smuggling plays a central role characterized the history of the Wayuu. Similarly, contemporary literary production sets up circuits of literary smuggling with majoritarian societies in the Americas that challenge their cultural homogeneity by the eruption of indigenous knowledge systems at their centre. ; : Cette thèse étudie la production littéraire d'Estercilia Simanca Pushaina et de Miguelángel López Hernández auteur.e.s publiés en Colombie qui s'auto-identifient comme wayuu. Pendant les années 1970-1980, se produit la transcription en écriture alphabétique conventionnelle et la traduction en espagnol de la parole d'origine wayuu contenue dans les chants traditionnels ou jayeechis et dans l'écriture pictographique du peuple autochtone. Notre objectif est de démontrer que la littérature contemporaine qui s'ensuit est un vecteur d'expression des structures de connaissance portées par la parole d'origine au même temps qu'elle cherche à affirmer les droits fondamentaux des Wayuu en transformant les espaces nationaux et internationaux qu'elle investit. Ainsi, la littérature de Simanca et de López Hernández exprime la capacité d'action des membres de la communauté et ce malgré une volonté d'appropriation des productions culturelles autochtones par l'État multiculturel en vue de sa recherche de légitimité politique. C'est en mettant l'accent sur l'agir de Simanca et de López Hernández que nous pouvons penser le caractère émancipateur de leur œuvre littéraire, c'est-à-dire sa conquête d'espaces d'autonomie politique et épistémologique par l'intermédiaire du dialogue interculturel. Cette action émancipatrice est à lire en lien avec l'histoire de la communauté et en consonance avec les revendications des mouvements sociaux autochtones du XXe siècle. L'histoire des Wayuu est caractérisée par des contacts et des négociations où la contrebande commerciale joue un rôle central. De manière similaire, la production littéraire contemporaine met en place des circuits de contrebande littéraire avec les sociétés majoritaires des Amériques qui remettent en cause leur homogénéité culturelle par l'irruption en leur centre des systèmes de savoir autochtones.

This thesis studies the literary production of Estercilia Simanca Pushaina and Miguelángel López Hernández authors published in Colombia who self-identify as wayuu. During the years 1970-1980, the transcription in conventional alphabetic writing and the translation into Spanish of the wayuu palabra de origen contained in the traditional songs or jayeechis and in the pictographic writing of the indigenous people took place. Our objectiv is to demonstrate that the contemporary literature that follows is a vector of expression of the structures of knowledge carried by the palabra de origen at the same time as it seeks to assert the fundamental rights of the Wayuu by transforming national and international spaces it invests. Thus, the literature of Simanca and López Hernández expresses the agency of the members of the community, despite a desire for the appropriation of indigenous cultural productions by the multicultural state in its search for political legitimacy. It is by emphasizing the agency of Simanca and López Hernández that we can think of the emancipatory character of their literary work, that is to say its conquest of spaces of political and epistemological autonomy by the intermediary of intercultural dialogue. This emancipatory action should be read in connection with the history of the community and with the demands of the indigenous social movements of the twentieth century. Contacts and negotiations in which commercial smuggling plays a central role characterized the history of the Wayuu. Similarly, contemporary literary production sets up circuits of literary smuggling with majoritarian societies in the Americas that challenge their cultural homogeneity by the eruption of indigenous knowledge systems at their centre. ; : Cette thèse étudie la production littéraire d'Estercilia Simanca Pushaina et de Miguelángel López Hernández auteur.e.s publiés en Colombie qui s'auto-identifient comme wayuu. Pendant les années 1970-1980, se produit la transcription en écriture alphabétique conventionnelle et la traduction en espagnol de la parole d'origine wayuu contenue dans les chants traditionnels ou jayeechis et dans l'écriture pictographique du peuple autochtone. Notre objectif est de démontrer que la littérature contemporaine qui s'ensuit est un vecteur d'expression des structures de connaissance portées par la parole d'origine au même temps qu'elle cherche à affirmer les droits fondamentaux des Wayuu en transformant les espaces nationaux et internationaux qu'elle investit. Ainsi, la littérature de Simanca et de López Hernández exprime la capacité d'action des membres de la communauté et ce malgré une volonté d'appropriation des productions culturelles autochtones par l'État multiculturel en vue de sa recherche de légitimité politique. C'est en mettant l'accent sur l'agir de Simanca et de López Hernández que nous pouvons penser le caractère émancipateur de leur œuvre littéraire, c'est-à-dire sa conquête d'espaces d'autonomie politique et épistémologique par l'intermédiaire du dialogue interculturel. Cette action émancipatrice est à lire en lien avec l'histoire de la communauté et en consonance avec les revendications des mouvements sociaux autochtones du XXe siècle. L'histoire des Wayuu est caractérisée par des contacts et des négociations où la contrebande commerciale joue un rôle central. De manière similaire, la production littéraire contemporaine met en place des circuits de contrebande littéraire avec les sociétés majoritaires des Amériques qui remettent en cause leur homogénéité culturelle par l'irruption en leur centre des systèmes de savoir autochtones.

In today's globalized society, information is an important factor that has a significant impact on the political, economic, cultural situation of the state. The article is devoted to the integration degree of the main spheres of domestic culture into the world information space. The study reveals the issues of key areas integration processes from the beginning of Ukraine's independence to the present and highlights the role of information in these processes. The key objective and subjective factors of the low level of Ukrainian information products integration in the global information space are identified. Among them are Russian mass culture influence, a holistic strategy lacking for the domestic information space development, westernization processes. The article mentions (emphasizes) that Ukraine's membership in the Soviet Union has left its information imprint in the minds of Ukrainians and Ukrainian political elites. The key indicators of Ukraine's cultural product distribution abroad are analyzed. The position of the main spheres of information production in the domestic space and abroad is studied. The need to actualize Ukrainian culture participation in the global discourse in large-scale globalization processes is justified. It has been proved that Ukraine is not a subject but a globalization object, and the domestic product is poorly integrated into the world information space. It is concluded that domestic culture, due to its transitional nature and the real lack of state support, is an open ground for assimilation and cultural influences from foreign countries. Based on the provided information, a conclusion is made about the need to develop a holistic paradigm of Ukraine's cultural policy. ; У сучасному глобалізованому суспільстві інформація є тим важливим чинником, який має суттєвий вплив на політичне, економічне, культурне становище держави. Стаття присвячена розгляду міри інтеграції основних сфер української культури до світового інфопростору. У дослідженні розкриваються питання ключових напрямів інтеграційних процесів від початків незалежності України до сьогодення й висвітлюється роль інформації в цих процесах. Визначено ключові об'єктивні та суб'єктивні чинники низького рівня інтегрованості української інформаційної продукції в глобальному інфопросторі. Серед яких виокремлено: вплив із боку російської масової культури; відсутність цілісної стратегії розвитку українського інформаційного простору; процеси вестернізації. У статті наголошується, що перебування України в складі Радянського Союзу залишило свій інформаційний відбиток у свідомості українців і українських політичних еліт. Проаналізовано ключові показники поширення культурного продукту України за кордоном. Досліджено становище основних сфер інформаційного виробництва в Україні та за кордоном. Стаття розкриває причини низького рівня популярності української видавничої продукції всередині та за межами національного ринку. Обґрунтовано необхідність актуалізації участі української культури в глобальному дискурсі в умовах масштабних глобалізаційних процесів. Доведено, що Україна виступає не суб'єктом, а об'єктом глобалізації, а національний продукт є малоінтегрованим до світового інформаційного простору. Отже, що українська культура, через її перехідний характер і фактичну відсутність державної підтримки, виступає відкритим полігоном для асиміляційних і культурних впливів з боку іноземних держав. На основі поданої інформації зроблено висновок про необхідність розробки цілісної парадигми культурної політики України.