You can't really trust anyone anymore": Trust, moral identity and the social production of coming to terms with the past

2011 ◽  
Author(s):  
Cristian Tileaga
Keyword(s):  
Moral Identity ◽  
Social Production ◽  
The Past ◽  
The Social

Ecology and Aging: A Critical Review

1988 ◽  
Vol 7 (4) ◽  
pp. 458-471
Author(s):  
Verena Bernardin-Haldemann
Keyword(s):  
Old Age ◽  
Critical Review ◽  
The Elderly ◽  
Ecological Models ◽  
Social Production ◽  
The Public ◽  
The Past ◽  
The Social ◽  
Public Sectors

AbstractFor the past two decades the issue of housing for the aged has caught the attention of many in the private as well as in the public sectors, and attempts have been made to improve the situation. If the problem persists today, gerontologists, among others, should be called to account, since they were instrumental in the formulation of many of the interventions. The problem has been approached generally in terms of adaptation to aging and adaptation to the environment. The ecological models currently used agree that happiness can be found at different states of equilibrium between the person and the environment and that the elderly arrive at this state of equilibrium through a special “docility” towards the environment; a “docility” which would be linked to aging. However, this docility would appear to be historically and socially contingent rather than being “natural”. It is thus important to explain the social production of old age and the docility which is tied to it.

Introduction

2005 ◽  
Vol 48 (2) ◽  
pp. 1-9 ◽  
Author(s):  
Bogumil Jewsiewicki ◽  
Bob W. White
Keyword(s):  
Primary Objective ◽  
Careful Examination ◽  
Social Production ◽  
Authoritarian Rule ◽  
The Past ◽  
The Social ◽  
The Status ◽  
To Come ◽  
The Moment ◽  
Horizon Of Expectations

In many societies, especially those where individual and collective memory are marked by the trauma that can accompany authoritarian rule, people attempt to come to terms with the past by finding ways of making it relevant to the present. One way to understand this complex relationship with history is through a careful examination of the practice of mourning. Mourning constitutes, above all, a framework from which the deceased's relationship with the living is collectively inventoried, evaluated, and debated so that the social work of memory may graft the experiences of yesterday onto a horizon of expectations. Defining the status of the deceased means making important decisions about how to “move on,” since the moment of mourning is not only a moment for weighing the acts and deeds of the deceased, but also a way of testing more generally the criteria for becoming recognized as an ancestor. As death seems increasingly present in the lives of people in many parts of Africa, emerging forms of social mourning echo the need for new political futures, and mourning shows itself as an important terrain for the social production of meaning. The primary objective of this collection of articles is to look at how the process of mourning mediates between the past and the future, and how the practices and perceptions of mourning are linked to real and imagined divisions in political time. Mourning, in other words, is a way of rethinking time.

Isabella Paoletti, Being an older woman: A study in the social production of identity. Mahwah, NJ: Erlbaum, 1998. Pp. xiv, 94. Hb $36.00, pb $19.95.

2000 ◽  
Vol 29 (4) ◽  
pp. 597-600
Author(s):  
Howard Giles
Keyword(s):  
Case Studies ◽  
Older Woman ◽  
Social Production ◽  
The Past ◽  
The Social ◽  
Everyday Communication

In the past fifteen years, there has been an upsurge of interest in matters social-gerontological within both sociolinguistics and communication science. This is manifest in an abundance of books, and particularly special journal issues, in an international series of conferences (at its fifth venue in Vancouver, 2001), and in a handbook on the topic (Nussbaum & Coupland 1995). Paoletti's concise paperback – the eighth in a series, “Everyday communication: Case studies of behavior in context,” edited by Wendy Leeds-Hurwitz and Stuart J. Sigman – contributes to this growing literature in important ways, not least of which are its focus on the active elderly and its recourse to Italian data.

The Icon Project

2017 ◽  
Author(s):  
Leslie Sklair
Keyword(s):  
Global Capitalism ◽  
Shopping Malls ◽  
Social Production ◽  
Monumental Architecture ◽  
Quarter Century ◽  
The Past ◽  
Private Interests ◽  
The Social ◽  
The World ◽  
Capitalist Control

In the last quarter century, a new form of iconic architecture has appeared throughout the world's major cities. Typically designed by globe-trotting "starchitects" or by a few large transnational architectural firms, these projects are almost always funded by the private sector in the service of private interests. Whereas in the past monumental architecture often had a strong public component, the urban ziggurats of today are emblems and conduits of capitalist globalization. In The Icon Project, Leslie Sklair focuses on ways in which capitalist globalization is produced and represented all over the world, especially in globalizing cities. Sklair traces how the iconic buildings of our era-elaborate shopping malls, spectacular museums, and vast urban megaprojects--constitute the triumphal "Icon Project" of contemporary global capitalism, promoting increasing inequality and hyperconsumerism. Two of the most significant strains of iconic architecture--unique icons recognized as works of art, designed by the likes of Gehry, Foster, Koolhaas, and Hadid, as well as successful, derivative icons that copy elements of the starchitects' work--speak to the centrality of hyperconsumerism within contemporary capitalism. Along with explaining how the architecture industry organizes the social production and marketing of iconic structures, he also shows how corporations increasingly dominate the built environment and promote the trend towards globalizing, consumerist cities. The Icon Project, Sklair argues, is a weapon in the struggle to solidify capitalist hegemony as well as reinforce transnational capitalist control of where we live, what we consume, and how we think.

Dowagers, Debs, Nuns and Babies: The Politics of Nostalgia and the Older Woman in the British Sunday Night Television Serial

2013 ◽  
Vol 10 (4) ◽  
pp. 769-784 ◽  
Author(s):  
Estella Tincknell
Keyword(s):  
Older Women ◽  
Social Role ◽  
Mature Female ◽  
Older Woman ◽  
Distinctive Features ◽  
The Past ◽  
Political Position ◽  
The Social ◽  
The Uk ◽  
Popular Television

The extensive commercial success of two well-made popular television drama serials screened in the UK at prime time on Sunday evenings during the winter of 2011–12, Downton Abbey (ITV, 2010–) and Call the Midwife (BBC, 2012–), has appeared to consolidate the recent resurgence of the period drama during the 1990s and 2000s, as well as reassembling something like a mass audience for woman-centred realist narratives at a time when the fracturing and disassembling of such audiences seemed axiomatic. While ostensibly different in content, style and focus, the two programmes share a number of distinctive features, including a range of mature female characters who are sufficiently well drawn and socially diverse as to offer a profoundly pleasurable experience for the female viewer seeking representations of aging femininity that go beyond the sexualised body of the ‘successful ager’. Equally importantly, these two programmes present compelling examples of the ‘conjunctural text’, which appears at a moment of intense political polarisation, marking struggles over consent to a contemporary political position by re-presenting the past. Because both programmes foreground older women as crucial figures in their respective communities, but offer very different versions of the social role and ideological positioning that this entails, the underlying politics of such nostalgia becomes apparent. A critical analysis of these two versions of Britain's past thus highlights the ideological investments involved in period drama and the extent to which this ‘cosy’ genre may legitimate or challenge contemporary political claims.

Disciplining Polenta: A Parody on the Politics of Saving Food

2020 ◽  
Vol 20 (2) ◽  
pp. 1-11
Author(s):  
Zachary Nowak ◽  
Bradley M. Jones ◽  
Elisa Ascione
Keyword(s):  
Food Products ◽  
Social Value ◽  
Traditional Food ◽  
Traditional Foods ◽  
Time And Space ◽  
Historical Sources ◽  
Scholarly Literature ◽  
Identity Creation ◽  
The Past ◽  
The Social

This article begins with a parody, a fictitious set of regulations for the production of “traditional” Italian polenta. Through analysis of primary and secondary historical sources we then discuss the various meanings of which polenta has been the bearer through time and space in order to emphasize the mutability of the modes of preparation, ingredients, and the social value of traditional food products. Finally, we situate polenta within its broader cultural, political, and economic contexts, underlining the uses and abuses of rendering foods as traditional—a process always incomplete, often contested, never organic. In stirring up the past and present of polenta and placing it within both the projects of Italian identity creation and the broader scholarly literature on culinary tradition and taste, we emphasize that for so-called traditional foods to be saved, they must be continually reinvented.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Sign in / Sign up

Export Citation Format

Share Document