Historical borders and maps as symbolic supports to master narratives and history education

2020 ◽  
pp. 095935432096222
Author(s):  
Cristian Parellada ◽  
Mario Carretero ◽  
María Rodríguez-Moneo
Keyword(s):  
Cultural Production ◽  
History Education ◽  
Border Studies ◽  
Historical Maps ◽  
Sociocultural Perspective ◽  
Master Narratives ◽  
History Of Cartography ◽  
Production And Consumption ◽  
History Of ◽  
The Relationship

This article represents an attempt to establish a fruitful dialogue among the field of border studies, history education, sociocultural psychology, and the history of cartography. Seminal studies on borders have asserted that the historical maps included in textbooks are basically an imagined representation. This paper will consider the extent to which cultural and educational origins and uses of these maps, particularly in school settings, act as a support to historical essentialist views. Via the example of history education in Argentina, we carried out an empirical and theoretical examination of the processes of cultural production and consumption of historical maps and their relationship to historical master narratives. Results show that most laypeople largely think of national borders as possessing an essential and immutable character. We consider that closer study, from a sociocultural perspective, of the relationship between master narratives and historical maps may add an enriching element to the existing body of work produced by border studies.

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.

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.

scholarly journals Left politics and popular culture in Britain: From left-wing populism to ‘popular leftism’

Politics ◽  
2020 ◽  
pp. 026339572096066
Author(s):  
Jonathan Dean
Keyword(s):  
Popular Culture ◽  
Cultural Production ◽  
Party Leader ◽  
Left Wing ◽  
Cultural Aspects ◽  
Production And Consumption ◽  
British Labour ◽  
Classic Essay ◽  
Popular Feminism ◽  
The Relationship

This article analyses the cultural traction and media visibility yielded by left-wing ideas and people during Jeremy Corbyn’s tenure as British Labour Party leader (2015–2019), while also offering some more general reflections on the relationship between left politics and popular culture. I begin by noting that the cultural and media aspects of Corbynism have largely been neglected in the scholarly literature. I then go on to caution against the temptation of subsuming the cultural aspects of Corbyn-era left politics under the label of ‘left-wing populism’. Instead, I defend a conception of ‘popular leftism’ as distinct from ‘left-wing populism’, via an engagement with Stuart Hall’s classic essay ‘Notes on Deconstructing the Popular’, as well as Sarah Banet-Wesier’s recent work on popular feminism. The second half of the article maps key features of ‘popular leftism’ as a distinct cultural/political formation that has emerged ‘in and against’ neoliberalism. In particular, it focuses on media visibility, affective tenor, and tactical and intellectual dynamics. While popular leftism’s entanglement with neoliberalism has proved problematic for its transformative capacity, I nonetheless conclude that its emergence is testament to the importance of popular cultural production and consumption in shaping recent iterations of left politics in Britain.

The cultural production of Cabaret Voltaire: Marxism, the politics of modernism and post-punk

2021 ◽  
Vol 00 (00) ◽  
pp. 1-17
Author(s):  
Nick Stevenson
Keyword(s):  
Popular Culture ◽  
Cultural Production ◽  
Electronic Music ◽  
Critical Assessment ◽  
Aesthetic Theory ◽  
Avant Garde ◽  
History Of ◽  
Critical Understanding ◽  
Post Industrial ◽  
The Relationship

This article explores the contribution of Cabaret Voltaire to the history of industrial and electronic music in the late 1970s and early 1980s. Heavily influenced by the music of Kraftwerk, the Cabs drew upon the dystopian landscapes of William Burroughs to create a paranoid soundscape. Like Kraftwerk, Cabaret Voltaire’s music was influenced by the artistic movements of the twentieth century (most prominently Dada) and drew upon modernist techniques. Especially significant in this regard was their location within post-industrial Sheffield and the ideologies of post-punk more generally. This discussion offers a critical assessment of Cabaret Voltaire as a form of avant-garde music that sought to carefully position itself in the context of the cultural politics of the late 1970s and early 1980s. Primarily through the work of Marxist aesthetic theory, I seek to offer a critical appreciation of the relationship between Cabaret Voltaire and the influence of Dada and modernism. The aim of the discussion is to reclaim a more critical understanding of Marxism while exploring its arguments in relation to artistic forms of modernism and popular culture. Especially important at this juncture is the rejection of the cultural populism of postmodernism and the reclaiming of a more critical language of evaluation and critique. Here the argument is that whatever Cabaret Voltaire’s limitations they continue to remind us of modernism’s ongoing capacity to offer arresting forms of art and critique.

The Cultural Dynamics of Reception

2020 ◽  
Vol 50 (1) ◽  
pp. 1-12
Author(s):  
Marie-Louise Coolahan
Keyword(s):  
Cultural Production ◽  
Critical Study ◽  
Reception Studies ◽  
Cultural Dynamics ◽  
Low Countries ◽  
Geographical Regions ◽  
History Of ◽  
New Material ◽  
International Comparative ◽  
The Relationship

The cultural dynamics of reception are best understood as a reiterative process of reshaping and reframing. Reception as an object of critical study embraces first the history of how texts were read, disseminated, and consumed across media, languages, and geographical regions. But if this is the first port of call, such analysis quickly draws in questions about the relationship between reception and production, audience and agency, about contemporary and posthumous reputation. This special issue investigates the ways in which the act of reception is a reiterative process on a continuous spectrum with cultural production. Receivers — of texts, events, reputations — are mediators, creatively reconstituting that which they receive according to their own agendas and contemporary imperatives. The articles in this collection embrace international, comparative, and new material contexts for early modern reception studies as they address poetry, romance, letters, history, hagiography, autobiography, and literary reviews. The transnational perspectives that emerge lead from the Low Countries to Italy, Ireland to France and the Spanish Netherlands, Spain to England, and England to France. The introductory essay for the issue additionally examines recent digital projects concerned with the history of reading and reception, exploring in particular how digital resource design foregrounds questions of representation and our immersion, as critics, in the act of reception.

scholarly journals Undivided object: language, ethnography and sources

2011 ◽  
Vol 8 (1) ◽  
pp. 510-535
Author(s):  
Heloisa Pontes
Keyword(s):  
Social History ◽  
Cultural Production ◽  
Social Processes ◽  
Intellectual Life ◽  
Object Language ◽  
The Social ◽  
The World ◽  
History Of ◽  
Basic Argument ◽  
The Relationship

This article argues that anthropology should not avoid studying the world of art and the specialized fields of cultural production. To do this it is necessary to examine the relationship between ethnography, language and social processes, as well as the way in which we make use o four sources (written, oral and visual) in our research. While this is the basic argument of the text, it also moves into a discussion of the sources that are available for the social history of the theater and Brazilian intellectual life from 1940 to 1960: photographs, interviews, reminiscences, biographies, autobiographies as well as books and theater repertories.

Introduction: The stories of American history and why they matter

2018 ◽  
pp. 1-7
Author(s):  
Eric Avila
Keyword(s):  
Cultural History ◽  
Cultural Production ◽  
American History ◽  
Driving Force ◽  
Spatial Context ◽  
The World ◽  
History Of ◽  
National Boundaries ◽  
Political Economic ◽  
The Relationship

The book opens in explaining that this very short introduction to American cultural history emphasizes culture as a driving force in American history. Cultural history is the history of stories, their origins, transmission, and significance in time. However, no work of cultural history can disentangle the cultural from political, economic, and social processes of change. The relationship between culture and identity needs to be understood along with the spatial context of cultural production and its physical location within distinct geographies. American culture has been the sum of diverse global influences, from almost every part of the world, but it has not contained itself within national boundaries.

Introduction

2019 ◽  
pp. 1-20
Author(s):  
Fei-Hsien Wang
Keyword(s):  
Conceptual Framework ◽  
Cultural Production ◽  
Copyright Law ◽  
Modern China ◽  
Production And Consumption ◽  
History Of ◽  
The Law

This chapter provides a background on the new conceptual framework on unveiling the intertwined history of copyright and piracy in modern China that most scholars and commentators have so far neglected to see. The law that defines what constitutes copyright and piracy are never merely legal matters, but practices and concepts formed and evolved in the specific local nexus of cultural production and consumption. The chapter also talks about the potential users of copyright legislations. Authors, translators, publishers, and booksellers may not have the authority to make copyright law, but they hold dear the ownership of books and are more deeply concerned than the rest of society with the issues of piracy. This book explores how authors, translators, publishers, and booksellers received, appropriated, practiced, and contested the very concept of copyright or banquan in Chinese, literally “right to printing blocks.”

Cultural Studies in Japan

2006 ◽  
Vol 23 (7-8) ◽  
pp. 305-314 ◽  
Author(s):  
Tomoko Tamari
Keyword(s):  
Cultural Studies ◽  
Everyday Life ◽  
Cultural Production ◽  
Actual Knowledge ◽  
Political Processes ◽  
Production And Consumption ◽  
New Type ◽  
The Relationship ◽  
Cultural Movement

This interview focuses on the history and current developments of cultural studies in Japan. Shunya Yoshimi is one of the leading figures in cultural studies in Japan since its introduction in the mid-1990s. He is currently engaged in the task of developing cultural studies in Asia with younger generations of scholars and to this end has helped established a new type of cultural movement, Cultural Typhoon, as well as contributing to expand Asian cultural studies networks, such as Inter Asia Cultural Studies. He argues that cultural studies has been questioning the relationship between meaning and power in everyday life through a variety of concrete and practical fields. In fact, he argues, it is inevitable for cultural studies to ask questions about the politics, if we in cultural studies are to develop actual knowledge of cultural production and consumption today. Hence, it is essential to investigate the micro-politics of bodies in relation to macro-political processes. In the case of Japan, working on cultural studies within an existing discipline also means engaging in experiments, which ultimately could have the potential to undermine existing disciplines from within.

scholarly journals Decomposed: a political ecology of music

Popular Music ◽  
2015 ◽  
Vol 34 (3) ◽  
pp. 367-389 ◽  
Author(s):  
Kyle Devine
Keyword(s):  
Political Ecology ◽  
Economic Value ◽  
Analytical Framework ◽  
Environmental Cost ◽  
Recorded Music ◽  
Production And Consumption ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Sound Technology

AbstractThis article is about what recordings are made of, and about what happens to those recordings when they are disposed of. It inscribes a history of recorded music in three main materials: shellac, plastic and data. These materials constitute the five most prevalent recording formats since 1900: 78s, LPs, cassettes, CDs and MP3s. The goal is to forge a political ecology of the evolving relationship between popular music and sound technology, which accounts not only for human production and consumption but also material manufacture and disposal. Such an orientation is useful for developing an analytical framework that is adequate to the complexities of the global material–cultural flows in which the recorded music commodity is constituted and deconstituted. It also strives towards a more responsible way of thinking about the relationship between popular music's cultural and economic value, on the one hand, and its environmental cost, on the other.

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