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This book develops an approach to international political economy that focuses on culture. It examines Chilean communication scholarship as it developed under shifting political regimes and changing international political economic relations. The book explains the importance of agency and culture in the political processes of building and challenging transnational hegemony, emphasizing the role of intellectuals.

This is an Accepted Manuscript of a book chapter published by Routledge in The Routledge Handbook of Language in Conflict on 12th April 2019, available online: https://www.routledge.com/Handbook-of-Language-in-Conflict-1st-Edition/Jeffries-ODriscoll-Evans/p/book/9781138643840 ; This chapter uses a typology of oppositional syntactic triggers (e.g. 'either X or Y', 'X but Y') to show how the conflicting positions of opposing political parties are reproduced and perpetuated by the UK press as simplistic mutually exclusive binaries in General Election campaigns. The premise is that political discourse is predisposed to representing complex moral positions, policies and practices as simple polarised 'stark' contrasts, often reducing them to a rudimentary choice between GOOD and EVIL, POSITIVE and NEGATIVE, US and THEM. Using a corpus of data from the daily editorial (or 'leader') columns of UK national newspapers in the 2010, 2015 and 2017 UK general election campaigns, the chapter shows how the conflict can be constructed through discourse by the artificial prising apart of more ambiguous and intricate political positions and is strongly facilitated by the very nature of the syntax available for representing alternative views, disguising any shades of grey which are likely to exist. A search for syntactic frames and triggers based on a typology developed by Davies (2012, 2013) and Jeffries (2010), show how oppositions are used to promote Conservative policies at the expense of the Labour Party by constructing 'stark contrasts' between them.

The ways that financialization has contributed to the technocratic and antipolitical management of economies have become ever more evident in the wake of the financial crisis that commenced in the autumn of 2007. This bracketing and suspension of politics occurs in various ways but significantly, it does so through the obscuring of work as a moment of economic life. If economics has been complicit in this antipolitics, can an aesthetic approach to financialization shed light on how work is rendered invisible? This article analyzes four short film clips all distributed through YouTube to show not only how their visual and narrative elements organize subjectivities for an antipolitics of finance but also to find in the popular aesthetic a different "distribution of the sensible" that permits moments of suspension or rupture that can politicize financialized subjectivity and begin to recover a politics of work.