Selection and survival in the field of cultural production: a longitudinal study of the Australian census

2021 ◽  
pp. 1-18
Author(s):  
Scott Brook ◽  
Jee Lee ◽  
Sora Park
Keyword(s):  
Longitudinal Study ◽  
Cultural Production ◽  
Australian Census ◽  
Field Of Cultural Production

“I Go Against the Grain of Your Memory”

2018 ◽  
Author(s):  
Daniel B. Sharp
Keyword(s):  
Cultural Production ◽  
Cultural Roots ◽  
Field Of Cultural Production

This chapter charts the artistic trajectory of northeastern Brazilian poet, singer, writer, playwright and actor José Paes de Lira, known as Lirinha, situating his experiments as a long-standing attempt to reject and revise the regional folklorism within which audiences and critics often received his performances. The chapter examines Lirinha’s work, both as the visionary behind the nationally acclaimed group Cordel do Fogo Encantado (1998–2010) and in his subsequent musical and theatrical efforts. It also traces Lirinha’s turn away from folklorism as a reaction against narratives of “cultural rescue” that pressured him to uphold static notions of cultural roots. Reinforcing an overarching argument within this volume, Sharp argues that Lirinha’s work is culturally transformative within its particular field of cultural production, even if it is not always audible as experimental.

Before Animal Sacrifice, A Myth of Innocence

2008 ◽  
Vol 15 (3-4) ◽  
pp. 357-374 ◽  
Author(s):  
Daniel Ullucci
Keyword(s):  
Cultural Production ◽  
Roman Religion ◽  
Animal Sacrifice ◽  
Meat Eating ◽  
Greco Roman ◽  
Interpretive Model ◽  
Field Of Cultural Production ◽  
Roman Antiquity

AbstractAnimal sacrifice was one of the most pervasive and socially significant practices of Graeco-Roman religion. Yet, numerous Greek and Latin writers tell of a golden before the advent of sacrifice and meat eating. In this idealized world, humans lived at one with the gods and animal sacrifice did not exist. Such texts are often seen as part of a wider ancient critique of Greco-Roman religion in general and animal sacrifice in particular. This interpretive model, largely sprung from Christian theologizing, sees animal sacrifice as a meaningless and base act, destined to be superseded. As a result of this 'critique model', scholars have not asked what the myth of a world without sacrifice means in a world in which sacrifice predominated. This paper seeks to correct the above view by analyzing these texts as instances of created myth. It approaches each occurrence of the myth as an instance of position-taking by a player in the field of cultural production. The paper seeks to further a redescription of Greco-Roman antiquity by revealing the variety of ancient positions on sacrifice and their strategic use by competing cultural producers.

scholarly journals The practice of parodying: YouTube as a hybrid field of cultural production

2018 ◽  
Vol 41 (1) ◽  
pp. 3-20 ◽  
Author(s):  
Lillian Boxman-Shabtai
Keyword(s):  
Cultural Production ◽  
Participatory Culture ◽  
Music Video ◽  
Central Component ◽  
Valuable Insight ◽  
Sociology Of Culture ◽  
Critical Commentary ◽  
Field Of Cultural Production ◽  
The Relationship

Parody is so pervasive in participatory culture that it is described as a central component of Internet vernacular. Valuable insight has accumulated about parodies as artifacts, however, little is known about their creators. Drawing on the sociology of culture, this article explores YouTube music video parodies as a field of cultural production. Through interviews with 22 YouTubers recruited from a sample of top-ranked parodies, it examines the relationship between practitioner characteristics and their evaluation of parody. Contrary to other studies of participatory culture, the field was predominantly male in its participation and norms. It presented a divide between ‘strategic’ and ‘passionate’ practitioners who used parody to different ends. Nevertheless, interviewees valued similar attributes of parody, often diverging from scholarly definitions of the genre as critical commentary. This dynamic and the genre’s popularity are explained by the hybrid qualities of the field, which encourage diverse uses of parody.

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