Histories of the Present: Tar Sands Photography and Colonial Cultural Production

2020 ◽  
pp. 127-148
Author(s):  
Samantha Spady ◽  
Siobhan Angus
Keyword(s):  
Cultural Production ◽  
Tar Sands

Balancing Act: Identity and Otherness among Latin American Immigrants and their Food Practices

2016 ◽  
Vol 4 (2) ◽  
pp. 72-83
Author(s):  
Paulette Kershenovich Schuster
Keyword(s):  
Latin American ◽  
Cultural Production ◽  
Communication Systems ◽  
Social Contexts ◽  
Cultural Perceptions ◽  
Cultural Elements ◽  
Food Practices ◽  
Food Research ◽  
Private And Public ◽  
Latin American Immigrants

This article deals with the identity construction of Latin American immigrants in Israel through their food practices. Food is a basic symbolic element connecting cultural perceptions and experiences. For immigrants, food is also an important element in the maintenance of personal ties with their home countries and a cohesive factor in the construction of a new identity in Israel, their adopted homeland. Food practices encode tacit information and non-verbal cues that are integral parts of an individual’s relationship with different social groups. In this case, I recruited participants from an online group formed within social media platforms of Latin American women living in Israel. The basic assumption of this study posits that certain communication systems are set in motion around food events in various social contexts pertaining to different national or local cuisines and culinary customs. Their meaning, significance and modifications and how they are framed. This article focuses on the adaptation and acculturation processes because it is at that point that immigrants are faced with an interesting duality of reconstructing their unique cultural perceptions to either fit the existing national collective ethos or create a new reality. In this study, the main objective is to compare two different immigrant groups: Jewish and non-Jewish women from Latin America who came to Israel during the last ten years. The comparative nature of the research revealed marked differences between ethnic, religious and cultural elements that reflect coping strategies manifested in the cultural production of food and its representation in two distinct domains: private and public. In the former, it is illustrated within the family and home and how they connect or clash with the latter in the form of consumption in public. Combining cultural studies and discourse analysis, this article offers fresh insight into new models of food practices and reproductions. The article’s contribution to new food research lies in its ability to shed light on how inter-generational and inter-religious discourses are melded while food practices and traditions are embedded in a new Israeli identity.

Edward Said, Postcolonialism and Palestine's Contested Spaces

2017 ◽  
Vol 16 (1) ◽  
pp. 7-25 ◽  
Author(s):  
Tahrir Hamdi
Keyword(s):  
Cultural Production ◽  
Edward Said ◽  
Contested Spaces ◽  
Olive Trees ◽  
Call To Prayer

Postcolonialism, profoundly influenced by the Palestinian scholar Edward Said, has until recently been oddly silent on Palestine, a topic that not only preoccupied Said's thinking and writing, but also inspired his theoretical ideas on imperialism, anti-colonial struggle and the worldliness and affiliations of the text and the critic. This theoretical silence on Palestine was, in fact, preceded by a historical, political, geographical, social and cultural contestation of all forms of Palestinian spaces that include not only dispossessing Palestinians of their land, but also building apartheid walls, destroying hundreds of thousands of olive trees, appropriating/stealing traditional Palestinian dishes and clothes, silencing Palestinian narratives and the Muslim call to prayer. This paper will argue that these contested spaces necessarily become sites of Palestinian cultural production, struggle and sumud.

World-Ecological Satire: Peat, Brian O'Nolan, and the Irish Free State's Energy Regime

2019 ◽  
Vol 49 (1) ◽  
pp. 90-104
Author(s):  
Robert Kiely
Keyword(s):  
Cultural Production ◽  
Ecological Perspective ◽  
Energy Regime ◽  
Energy History ◽  
History Of ◽  
External Site ◽  
Ecological Relations ◽  
Nature And Society ◽  
Human Actors ◽  
The Relationship

A world-ecological perspective of cultural production refuses a dualist conception of nature and society – which imagines nature as an external site of static outputs  – and instead foregrounds the fact that human and extra-human natures are completely intertwined. This essay seeks to reinterpret the satirical writing of a canonical figure within the Irish literary tradition, Brian O'Nolan, in light of the energy history of Ireland, understood as co-produced by both human actors and biophysical nature. How does the energy imaginary of O'Nolan's work refract and mediate the Irish environment and the socio-ecological relations shaping the fuel supply-chains that power the Irish energy regime dominant under the Irish Free State? I discuss the relationship between peat as fuel and Brian O'Nolan's pseudonymous newspaper columns, and indicate how questions about energy regimes and ecology can lead us to read his Irish language novel An Béal Bocht [The Poor Mouth] (1941) in a new light. The moments I select and analyze from O'Nolan's output feature a kind of satire that exposes the folly of separating society from nature, by presenting an exaggerated form of the myth of nature as an infinite resource.

Apartheid Aesthetics and Insignificant Art

2016 ◽  
Vol 33 (1) ◽  
pp. 45-69
Author(s):  
Stephanus Muller
Keyword(s):  
South Africa ◽  
Secondary School ◽  
South African ◽  
Cultural Production ◽  
Art Songs ◽  
Cultural Significance ◽  
European Culture ◽  
Small House ◽  
The Rich ◽  
Selection Of

Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were famously sung all over the world by the soprano Mimi Coertse. The role his ouevre played in the construction of a so-called European culture in Africa is uncontested. Yet surprisingly little attention has been paid to the rich evocations of landscape encountered in Marais’s work. Contextualized by a selection of Marais’s paintings, this article glosses the index of landscape in this body of cultural production. The prevalence of landscape in Marais’s work and the range of its expression contribute novel perspectives to understanding colonial constructions of the twentieth-century South African landscape. Like the vast, empty, and ancient landscape of the Karoo, where Marais lived during the last decades of his life, his music assumes specificity not through efforts to prioritize individual expression, but through the distinct absence of such efforts. Listening for landscape in Marais’s songs, one encounters the embrace of generic musical conventions as a condition for the construction of a particular national identity. Colonial white landscape, Marais’s work seems to suggest, is deprived of a compelling musical aesthetic by its very embrace and desired possession of that landscape.

Hacking Diversity

2019 ◽  
Author(s):  
Christina Dunbar-Hester
Keyword(s):  
Open Source ◽  
Human Resource ◽  
Open Source Software ◽  
Cultural Production ◽  
Equal Opportunity ◽  
Economic Power ◽  
Underrepresented Groups ◽  
Technical Production ◽  
Preferred Solutions

Hacking, as a mode of technical and cultural production, is commonly celebrated for its extraordinary freedoms of creation and circulation. Yet surprisingly few women participate in it: rates of involvement by technologically skilled women are drastically lower in hacking communities than in industry and academia. This book investigates the activists engaged in free and open-source software to understand why, despite their efforts, they fail to achieve the diversity that their ideals support. The book shows that within this well-meaning volunteer world, beyond the sway of human resource departments and equal opportunity legislation, members of underrepresented groups face unique challenges. The book explores who participates in voluntaristic technology cultures, to what ends, and with what consequences. Digging deep into the fundamental assumptions underpinning STEM-oriented societies, the book demonstrates that while the preferred solutions of tech enthusiasts—their “hacks” of projects and cultures—can ameliorate some of the “bugs” within their own communities, these methods come up short for issues of unequal social and economic power. Distributing “diversity” in technical production is not equal to generating justice. The book reframes questions of diversity advocacy to consider what interventions might appropriately broaden inclusion and participation in the hacking world and beyond.

Rotten Tomatoes in the Field of Popular Cultural Production

2009 ◽  
Vol 18 (2) ◽  
pp. 26-44 ◽  
Author(s):  
Tamara Shepherd
Keyword(s):  
Cultural Production

Changing Theorizations of Cultural Production in Canada and Quebec: A Review of Some Recent Literature on the Cultural IndustriesLA SOCIETE DE L’INFORMATION: DU FORDISME AU GATESISME. Gaetan Tremblay. Montreal: Southam Conference, Canadian Communication Association/GRICIS.UQAM, 1995.L’ETAT DE CULTURE: GENEALOGIE DISCURSIVE DES POLITIQUES CULTURELLES QUEBECOISES. Martin AUor and Michelle Gagnon Montreal: GRECC/Concordia University, 1994.MISSED OPPORTUNITIES: THE STORY OF CANADA’S BROADCASTING POLICY. Marc Raboy. Montreal & Kingston: McGill-Queen’s University Press, 1990.THE MEDIUM AND THE MUSE: CULTURE, TELECOMMUNICATIONS AND THE INFORMATION HIGHWAY. Charles Sirois and Claude E. Forget. Montreal: The Institute for Research on Public Policy, 1995.HOLLYWOOD’S OVERSEAS CAMPAIGN: THE NORTH ATLANTIC MOVIE TRADE, 1920-1950. Ian Jarvie. Cambridge: Cambridge University Press, 1992.A CANADIAN JOURNEY: CONVERSATIONS WITH TIME. Peter Harcourt,Toronto 1994: Oberon Press.CANADA’S HOLLYWOOD: THE CANADIAN STATE AND FEATURE FILMS. Ted Madger, Toronto 1993: University of Toronto Press.

1997 ◽  
Vol 31 (4) ◽  
pp. 178-194 ◽  
Author(s):  
Michael Dorland
Keyword(s):  
North Atlantic ◽  
Cultural Production ◽  
Recent Literature ◽  
Missed Opportunities ◽  
Cambridge University ◽  
University Of Toronto ◽  
The North ◽  
Feature Films ◽  
Concordia University ◽  
The North Atlantic
Sign in / Sign up

Export Citation Format

Share Document