Against negation, for a politics of cultural production: Adorno, aesthetics, the social

Screen ◽  
1993 ◽  
Vol 34 (3) ◽  
pp. 223-242 ◽  
Author(s):  
G. Born
Keyword(s):  
Cultural Production ◽  
The Social

Cultural interface

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Cultural Production ◽  
Russian Literature ◽  
Court Culture ◽  
Literary Field ◽  
Ritual Performance ◽  
Civic Spaces ◽  
The Social ◽  
Cultural Interface ◽  
New Vision ◽  
The Church

The chapter contextualizes the literary developments of the second half of the seventeenth century, including the changes in education and print culture. A new vision of court culture, expanding administration, and ecclesiastical reforms provided new contexts for writing, as well as innovations in the theater and in poetry. The spaces represented in Russian literature were, as previously, the monastery and the church. The court moved into the limelight as a center of cultural production. The social reality of the period did not entirely foster the creation of civic spaces or an autonomous literary field, and writing had to adapt to the control of the authorities. Opportunities for the ritual performance of the liturgy and at court expanded considerably during the last decades of the seventeenth under the aegis of Tsar Aleksei. Orthodox proponents of neo-humanist culture who worked in Moscow succeeded in transforming the uses of rhetoric during ceremonial occasions.

Collaboration and Concepts of Authorship

PMLA ◽  
2001 ◽  
Vol 116 (2) ◽  
pp. 370-379
Author(s):  
Robert L. Carringer
Keyword(s):  
Cultural Production ◽  
Continental Philosophy ◽  
Free Form ◽  
Degree Zero ◽  
New Wave ◽  
Political Commitment ◽  
The Social ◽  
French Culture ◽  
History Of ◽  
Written Word

It was not long ago that one prefecture of french culture was reinventing the idea of authorship while another one was trying to kill it off. The New Wave movement and post-structuralism, fundamental opposites in almost every respect, emerged at the same cultural moment. Roland Barthcs's Writing Degree Zero (1953) and François Truffaut's seminal essay in Cahiers du cinéma that instated auteur criticism (the first phase of the New Wave) appeared less than a year apart; the appearance of Michel Foucault's Madness and Civilization (1961) coincided with the triumph of New Wave filmmaking; and in the interval between 1966 and 1970, which saw the publication of The Order of Things, Of Grammatology, and S/Z, Jean-Luc Godard, the most iconoclastic of the New Wave critic-directors, released fourteen feature films, including four masterworks. In its classic phase poststructuralism was fixated on the written word, involved disciplined thought inflected by mainstream Continental philosophy, took on itself the burden of refashioning modern European history along Marxist lines, and could be uncompromisingly rectitudinous. The New Wave spoke the language of images, involved a loose and—except for its radical stylistics—rather tame avant-gardism, valued an aleatory, free-form aesthetic over political commitment, assailed mainstream French culture, and championed alternative forms of cultural production such as American popular movies. Yet the teleologies were similar: to inscribe a unique place in the history of authorship. To supplant the biographical author from the textual site, one of the primary motives of poststructuralism, was to make the collective space available for a higher entity, the philosopher-critic who is the author not of individual texts but of textuality, the social meaning of texts. In the same way, in claiming the textual site for a film author—a radical conception for the time—the auteur critics scripted a role for themselves that they would subsequently occupy as film directors.

Neoliberalism in Mexican Cultural Theory

ARTMargins ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 86-87
Author(s):  
Ignacio M. Sánchez Prado
Keyword(s):  
Visual Culture ◽  
Cultural Production ◽  
Common Sense ◽  
Global Economy ◽  
Shadow Economy ◽  
Cultural Theory ◽  
War On Drugs ◽  
The Social ◽  
Theoretical Frame ◽  
Mexican Politics

This essay reviews two theoretical books on neoliberalism written by Mexican cultural critics: Capitalismo gore (Gore Capitalism), by Sayak Valencia, published originally in Spanish in 2010 and translated into English in 2018, and La tiranía del sentido común ( The Tyranny of Common Sense) by Irmgard Emmelhainz, published in Spanish in 2016 and yet to be translated into English. These works are pioneering in their discussion of the correlation between neoliberalism, subjectivity, and culture in Mexico, and they have become widely influential in broader discussions of art, visual culture, literature, and cultural production. They add to the work of economic and political historians, such as Fernando Escalante Gonzalbo and María Eugenia Romero Sotelo, by connecting landmark moments in neoliberalization (from the financialization of the global economy in the 1970s to the War on Drugs in the 2000s) to changing paradigms in art. Author Ignacio M. Sánchez Prado contextualizes both books within larger discussions of Mexican cultural neoliberalism and describes the theoretical frame works through which both authors read Mexican politics, art, and popular culture. In Valencia's case, Sánchez Prado discusses her idea of “gore capitalism”: a framework for understanding how neoliberalism relies on dynamics of the shadow economy and on the subjectification of gore (what Valencia calls endriago subjectivity) to function at the social and artistic levels. In the case of Emmelhainz, Sánchez Prado engages with the author's idea of semiocapitalism, a term borrowed from theorist Franco “Bifo” Berardi, which Emmelhainz deploys to account for the interrelation between culture and capital in the era of neoliberalism. As such, Sánchez Prado argues, Emmelhainz and Valencia provide ways of reading artistic and visual production, including museum curatorship and narcocultura, in ways that show their organic relationship to neoliberal economic and political reforms. Find the complete article at artmargins.com .

scholarly journals TO THE DEFINITION OF THE CONCEPT "CULTURAL INDUSTRY": DESCRIPTION OF SYMPTOMS AND ANALYSIS OF TRENDS

2017 ◽  
pp. 39-47 ◽  
Author(s):  
O. Y. Pavlova
Keyword(s):  
Cultural Production ◽  
Industrial Production ◽  
University Education ◽  
Industrial Society ◽  
Cultural Industry ◽  
Cultural Objects ◽  
Material Component ◽  
The Social ◽  
Definition Of ◽  
The Cost

The article is devoted to the analysis of such extensively studied phenomenon of modernity as cultural industry, which includestwo opposite tendencies: the industrialization of cultural objects production and the "culturification" of industry. The former presupposes the presence of such symptoms of modernity as: a modernist version of the commodification of cultural objects (works of art, university education, etc.) as well as their massive reproduction. In addition, this tendency includes the following positions: the commodification of consumption, the lossof cultural objects of their regulatory and critical functions, the projectivity of cultural production. The reverse tendency – "culturification" of industry – contains the following aspects: the reduction of commercial goals of industrial production, the "economy of signs": an increase in the role of cultural competence in the process of actual industrial production, a reduction in the cost of the material component of the production. The proposed classification of tendencies and symptoms of the cultural industry does not claim for exhaustiveness and completedsystematicity. It is designed to clarify the logic of the formation of this phenomenon of culture, not only as a form of de-differentiation of cultural (in the sense of high culture) and industrial (as a historical form of social),but also as the de-differentiation of cultural and social ones in general. The industrial society, whose existence is the basis for the absolutization of the industry autonomy, is one of the historical forms of the social itself. In this type of society, cultural autonomyis realized as the closure of an elitist social structure. Withdrawal from an industrial society implies "Reassembling the social", a synthetic unity of social and cultural. In the logic of "liquidity of Modern" (opposite to solidity) and of the subject-object opposition, this process manifests itself in the process of human and things synthesis (as a "Making things public"), that is, in the de-differentiation of material and spiritual production and consumption, is therefore in social and cultural. The definition of the cultural industry clarifies the meaning of culture as a way of being a human in the perspective of the sustainability of his efforts, the kind of their institutionalization and signification.

scholarly journals EXTENSIÓN Y DINAMIZACIÓN DE LA CONDICIÓN JUVENIL EN LOS ÑÖÑHO DE SAN ILDEFONSO TULTEPEC: vínculos con la educación superior intercultural

2020 ◽  
Vol 7 (13) ◽  
Author(s):  
Alejandro Mira
Keyword(s):  
Higher Education ◽  
Cultural Production ◽  
Urban Youth ◽  
Population Based ◽  
Work And Family ◽  
Educación Superior ◽  
Indigenous Youth ◽  
Educacion Superior ◽  
The Social ◽  
Education In Mexico

Insertar una perspectiva sociocultural sobre las juventudes indígenas contemporáneas en el campo de relaciones entre juventud, escuela y socialización, permite establecer nuevas vetas de análisis para comprender cuál es el vínculo que se teje entre la expansión aún activa de sistemas en educación superior en regiones históricamente relegadas de esta infraestructura escolar en México, y la producción social y cultural de nuevas y diferenciadas formas de ser joven indígena. Partiendo del reconocimiento de que al día de hoy las llamadas nuevas ruralidades están experimentando un proceso de desvinculación paulatina de las estructuras sociales del mundo agrario y tradicional, y se perfilan como una generación culturalmente más próxima a las prácticas sociales de las juventudes urbanas, el presente trabajo analiza las interacciones que mantiene la juventud otomí o ñöñho de San Ildefonso Tultepec en Querétaro, frente a una de la de las instituciones de mayor perdurabilidad histórica en la construcción de las identidades juveniles: la escuela. Específicamente se explora a partir de datos etnográficos, cómo la entrada de la educación superior de corte intercultural a esta zona indígena en Querétaro, contribuye a extender y dinamizar los atributos juveniles de este sector de la población ñöñho a partir de su condición estudiantil, al otorgarles nuevas cuotas de organización del tiempo individual - que postergan sus compromisos laborales y familiares -, oportunidades de construir nuevos lazos afectivos juveniles dentro y fuera del espacio comunitario, de ampliar sus gustos y capitales culturales, y de constituirse como un profesionista emergente con perspectivas diferenciales sobre su entorno comunitario.EXTENSION AND NEW DINAMICS OF THE YOUTH CONDITION IN THE ÑÖÑHO OF SAN ILDEFONSO TULTEPEC: links of indigenous youth to intercultural higher education in Mexico  ABSTRACTInserting a sociocultural perspective on contemporary indigenous youth in the field of youth relations, school and socialization, allows to establish new veins of analysis to understand the link that is woven between the still active expansion of systems in higher education in historically relegated regions of this school infrastructure in Mexico, and the social and cultural production of new and differentiated ways of being indigenous young. Based on the recognition that to this day the so-called new ruralities are experiencing a process of gradual disengagement from the social structures of the agrarian and traditional world, and are emerging as a generation culturally closer to the social practices of urban youth, this work analyzes the interactions maintained by the otomí o ñöñho youth of San Ildefonso Tultepec in Querétaro, compared to one of the institutions with the greatest historical durability in the construction of youth identities: the school.Specifically it is explored from ethnographic data, how the entry of intercultural higher education to this indigenous area in Querétaro, contributes to extend and energize the youth attributes of this sector of the ñöñho population based on their student status, by granting them new quotas of organization of individual time -that defer their work and family commitments- , opportunities to build new youthful affective bonds within and outside the community space, to expand their social tastes and cultural capitals, and to establish themselves as an emerging professional with differential perspectives on their community environment.KeyWords: Youth condition. Indigenous young. Intercultural higher education. New rurality. Otomíes.

scholarly journals Books as social currency: Robert Coupland Harding and the field of book collecting in New Zealand 1880-1920

2021 ◽  
Author(s):  
◽  
M.A. Hughes
Keyword(s):  
New Zealand ◽  
Cultural Production ◽  
Social Practice ◽  
Trade Journal ◽  
Jean Baudrillard ◽  
Highly Active ◽  
The Social ◽  
Book Collecting ◽  
Social Currency ◽  
Book Collectors

<p>“Here, indeed, lies the whole miracle of collecting,” Jean Baudrillard asserted, “it is invariably oneself that one collects” (“Systems of Collecting” 12). If Baudrillard's premise that a collection is itself a representation of the collector, then how can we read a person through his/her private library? There have been several large and important studies produced on the three preeminent figures in New Zealand book collecting: Sir George Grey, Dr Thomas Hocken and Alexander Turnbull. However, to understand book collecting as a whole during the highly active period at the turn of the twentieth century, it is vital that we investigate 'minor' book collectors alongside our esteemed 'major three'.  This thesis explores the private library of Robert Coupland Harding (1849-1916), an internationally recognised expert on printing and typography, whose trade journal Typo: A Monthly Newspaper and Literary Review (1887-1897) was celebrated as a remarkable achievement. Very little documentation of Harding's life exists. However, one tantalising artefact discovered in a Wellington antiquarian bookshop is the basis for this research: the auction catalogue of Harding's extensive private library. Focusing on the New Zealand-related section of the catalogue, this thesis examines the book collecting field in New Zealand 1880-1920. Applying Bourdieu's theories of capital, habitus and the field of cultural production, the thesis examines the social practice of book collecting during this period. Three case studies from Harding's library illustrate some key trends in the book collecting market, and help to build a picture of Harding's social networks and the influence this had on his collecting habits. The thesis also describes the collecting identity of Robert Coupland Harding, placing him in his circle of fellow book collectors. Describing a model of book collecting practise and presenting a method for categorising book collectors, this thesis argues for the recognition of lesser known book collectors and the contribution that they made to the field of New Zealand book collecting.</p>

scholarly journals The City in the Age of Remix

Media-N ◽  
2021 ◽  
Vol 17 (1) ◽  
Author(s):  
Alina Nazmeeva
Keyword(s):  
Social Media ◽  
Urban Space ◽  
Cultural Production ◽  
Social Space ◽  
Architectural Practice ◽  
Contemporary World ◽  
Spatial Production ◽  
The Social ◽  
Space Dynamics ◽  
Web Social

As a method of cultural production and communication, remix has permeated the way the social space is perceived, conceived of and lived. Physical social space is captured, constructed and mediated with digital tools and by a multitude of users. The explosive use of cultural software and social media is actively shaping the experience of architectural and urban space. Smart city movement proponents advocate for a kind of participatory decision-making in cities that is akin to digital social space dynamics. Within the architectural practice, the space is first produced as a digital remix. The social space, both online or offline, physical or digital, crowdsourced or expert-designed, is socially produced as a collective assemblage of the fragments of digital images.  This essay aims to outline four trajectories by which physical (architectural and urban) social space is intertwined and remixed with digital (social media and the web) social space, and the broader implications of such cross-hatchings. Additionally, this paper aims to bring this term to architectural and urban discourse. Positing that remix has become the dominant model of spatial production in the contemporary world, what are the implications of it for the social space and for the public? 

American Magazines and the Cultural Production of Blackness

2021 ◽  
Author(s):  
John K Young
Keyword(s):  
Social Networks ◽  
Cultural Production ◽  
Review Essay ◽  
Jim Crow ◽  
Periodical Studies ◽  
Temporal Dimension ◽  
Deep Dive ◽  
The Social ◽  
Different Types ◽  
Dominant Individual

Abstract Eurie Dahn’s Jim Crow Networks (2021) and E. James West’s Ebony Magazine and Lerone Bennett Jr. (2020) offer compelling examples of the two main literary historical approaches to periodical studies: A survey of several different types of magazines in relation to the social networks through which they were produced, distributed, and read, and a deep dive into the editorial orientation of a particular magazine, as shaped by a dominant individual presence. Both studies present detailed accounts of how these periodicals’ publics and counterpublics resisted (and sometimes reinforced) prevailing conceptions of racialized identity at important points in the twentieth century. But the material circumstances of those productions risk being misrepresented by the model of the network, so this review essay argues for the Bakhtinian chronotope as a more expressive metaphor for the temporal dimension of the magazine experience. This approach enables a more fully historicist understanding of how the various important literary figures represented here were perceived by their original periodical readers.

Framing The Fosters: jokes, racism and Black and Asian voices in British comedy television

2017 ◽  
Author(s):  
Gavin Schaffer
Keyword(s):  
Social History ◽  
Cultural Production ◽  
Racial Politics ◽  
Black British ◽  
Stand Up Comedy ◽  
The Social ◽  
History Of ◽  
Post War ◽  
Cultural Leaders ◽  
The Relationship

This chapter interrogates the relationship between television comedy, power and racial politics in post-war Britain. In a period where Black and Asian Britons were forced to negotiate racism as a day-to-day reality, the essay questions the role played by television comedy in reflecting and shaping British multicultural society. Specifically, this chapter probes Black and Asian agency in comedy production, questioning who the joke makers were and what impact this had on the development of comedy and its reception. The work of scholars of Black and Asian comedy television such as Sarita Malik, and of Black stand-up comedy such as Stephen Small, has helped us to understand that Black- and Asian-led British comedy emerged belatedly in the 1980s and 1990s, hindered by the historical underrepresentation of these communities in British cultural production and the disinclination of British cultural leaders to address this problem. This chapter uses these scholarly frames of reference, alongside research that addresses the social and political functions of comedy, to re-open the social history of Black British communities in post-war Britain through the story of sitcom.

African Art Students and Digital Learning

2011 ◽  
pp. 222-239
Author(s):  
Paula Uimonen
Keyword(s):  
Social Context ◽  
Digital Media ◽  
Cultural Production ◽  
Digital Learning ◽  
Learning Tool ◽  
African Art ◽  
Art Students ◽  
Ict Skills ◽  
Cultural Aspects ◽  
The Social

Imagine 120 students sharing 5 computers, yet feeling that they are part of an interconnected world. This is the social context framing digital learning for African art students, the material limitations and cultural imaginations of which this chapter is concerned with. Based on extensive ethnographic engagements at TaSUBa, a national institute for arts and culture in Tanzania, this chapter investigates the development of digital media skills. Using the concept of digital learning to cover the acquisition of ICT skills as well as the use of ICT as a learning tool, the analysis spans from early expectations of connectivity to current forms of media engagement. Focusing on the social and cultural aspects of digital learning, the concept hybrid media engagement is introduced to capture the creative ways in which African art students overcome limitations in infrastructure, while exploring new forms of cultural production.

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