Free for All Lesbians: Lesbian Cultural Production and Consumption in the United States during the 1970s

2007 ◽  
Vol 16 (2) ◽  
pp. 251-275 ◽  
Author(s):  
Heather Murray
Keyword(s):  
United States ◽  
Cultural Production ◽  
The United States ◽  
Production And Consumption

Versatile and cheap: a global history of soy in the first half of the twentieth century

2013 ◽  
Vol 8 (3) ◽  
pp. 461-482 ◽  
Author(s):  
Ines Prodöhl
Keyword(s):  
United States ◽  
Twentieth Century ◽  
The United States ◽  
Second World War ◽  
Cash Crop ◽  
The Great Depression ◽  
Production And Consumption ◽  
Transnational Actors ◽  
History Of ◽  
Second World

AbstractThis article traces the complex and shifting organization of soy's production and consumption from Northeast China to Europe and the United States. It focuses on a set of national and transnational actors with differing interests in the global and national spread of soybeans. The combination of these actors in certain spatiotemporal contexts enabled a fundamental change in soy from an Asian to an American cash crop. At the beginning of the twentieth century, soy rapidly became Northeast China's cash crop, owing to steadily increasing Western demand. However, the versatility of soy – and soy oil in particular – offered a highly successful response to the agricultural and industrial challenges that the United States faced during the Great Depression and the Second World War. By the end of the war, American farmers in the Midwest cultivated more soybeans than their Chinese counterparts.

Introduction

2005 ◽  
Vol 45 (3) ◽  
pp. 405-406 ◽  
Author(s):  
Christopher P. Loss
Keyword(s):  
United States ◽  
Historical Development ◽  
The United States ◽  
American University ◽  
Intellectual Discourse ◽  
Fortieth Anniversary ◽  
Production And Consumption ◽  
Rules Of The Game

This year marks the fortieth anniversary of the publication of Laurence R. Veysey's The Emergence of the American University. Hailed by Frederick Rudolph at the time of its release as a “major contribution … tough-minded … [and] brilliant.” Veysey's work is still widely read, taught, and cited. Every scholar who wrestles with the historical development of the modern American university must at some point come to terms with the institution as Veysey so brashly conceived of it. All disciplinary subfields have their founding text—a singular work that defines an entire intellectual discourse and lays out the “rules of the game” for all those who follow. For historians interested in tracking the organization, production, and consumption of knowledge in the United States, The Emergence of the American University is and remains that text.

Morrissey as Latina/o Literary and Cultural Icon

2018 ◽  
Author(s):  
Melissa M. Hidalgo
Keyword(s):  
United States ◽  
Los Angeles ◽  
Cultural Production ◽  
The United States ◽  
The Body ◽  
The United Kingdom ◽  
Fourth Decade ◽  
The World ◽  
United States Mexico ◽  
North And South America

Morrissey is a singer and songwriter from Manchester, England. He rose to prominence as a popular-music icon as the lead singer for the Manchester band The Smiths (1982–1987). After the breakup of The Smiths, Morrissey launched his solo career in 1988. In his fourth decade as a popular singer, Morrissey continues to tour the world and sell out shows in venues throughout Europe and the United Kingdom, Asia and Australia, and across North and South America. Although Morrissey enjoys a fiercely loyal global fan base and inspires fans all over the world, his largest and most creatively expressive fans, arguably, are Latinas/os in the United States and Latin America. He is especially popular in Mexico and with Chicanas/os from Los Angeles, California, to San Antonio, Texas. How does a white singer and pop icon from England become an important cultural figure for Latinas/os? This entry provides an overview of Morrissey’s musical and cultural importance to fans in the United States–Mexico borderlands. It introduces Morrissey, examines the rise of Latina/o Morrissey and Smiths fandom starting in the 1980s and 1990s, and offers a survey of the fan-produced literature and other cultural production that pay tribute to the indie-music star. The body of fiction, films, plays, poetry, and fans’ cultural production at the center of this entry collectively represent of Morrissey’s significance as a dynamic and iconic cultural figure for Latinas/os.

Latina/os in Media: Representation, Production, and Consumption

2019 ◽  
Author(s):  
Manuel G. Avilés-Santiago
Keyword(s):  
United States ◽  
New Media ◽  
Cultural History ◽  
The United States ◽  
Spanish Language ◽  
Production And Consumption ◽  
History Of ◽  
Streaming Services ◽  
Technological Means ◽  
Radio Industry

Developments in contemporary Latina/os media are the result not only of an exponentially growing Latina/o population in the United States but also of the synergy between transformations in the global political economy and the emergence of new media platforms for production, distribution, and consumption. To reflect upon the emergence of the industry is to consider the politics of the labeling of the Latina/o community and the eventual configuration of a market audience. It also requires a confrontation with the cultural history of representations and stereotypes of Latina/os, particularly in radio, TV, film, and the internet, and the transnational aesthetics and dynamics of media produced by and/or for Latina/os in the United States. If the notion of media revolves around a technological means of communication, it also encompasses the practices and institutions from within which the Latina/o communities are imagined, produced, and consumed. At the start of the 21st century, the idea of Latina/os in media revolved around a handful of Latina/o stars in Hollywood who often performed stereotypical representations, a racialized and marginal Spanish-language radio industry, and two Spanish television networks, Univision and Telemundo. A more complex constellation of representations has evolved in both mainstream and Spanish-language media, among them new platforms for production and resistance, including social media (e.g., Facebook, Instagram, Snapchat), radio podcasts and streaming services (e.g., Hulu and Netflix), and a more active and engaged audience that consumes media in Spanish, English, and even Spanglish.

scholarly journals Flags, Totem Bodies, and the Meanings of 9/11: A Durkheimian Tour of a September 11th Ceremony at the Flight 93 Chapel

2014 ◽  
Vol 39 (4) ◽  
Author(s):  
Alexander Riley
Keyword(s):  
United States ◽  
Cultural Production ◽  
Terrorist Attack ◽  
Religious Life ◽  
Civil Religion ◽  
The United States ◽  
September 11Th ◽  
American Civil Religion ◽  
National Hero ◽  
American Flag

Some four miles as the crow flies from the site at which United 93, which was the fourth plane involved in the 9/11/2001 terrorist attack on the United States, struck ground, there sits a small chapel dedicated to the passengers and crew. The Thunder on the Mountain Chapel is considerably less well known than the Parks Department memorial a few hundred yards from the crash site, but it is, arguably at least, equally important in the cultural production of the Flight 93 myth. This article draws from Durkheim’s The Elementary Forms of Religious Life as well as other theoretical sources to look closely at the chapel. I argue that what is going on at the Chapel contributes to a totemic myth that turns the American flag into a representation of the dead national hero and then places the totem object into the beliefs and rituals of an American civil religion.

Introduction

2018 ◽  
pp. 1-28
Author(s):  
Alberto Varon
Keyword(s):  
United States ◽  
Cultural Production ◽  
Mexican American ◽  
The United States ◽  
Multilingual Approach

This introduction reframes Mexican American cultural production within the United States away from immigration and calls for a longer historical and multilingual approach to Latinos in U.S. culture. It argues for the importance of Mexican American manhood in understanding gender in the United States and describes some of the prevailing forms that Mexican American manhood took.

Coda

2017 ◽  
Author(s):  
Jennifer Harford Vargas
Keyword(s):  
United States ◽  
Social Justice ◽  
Central America ◽  
Cultural Production ◽  
The United States ◽  
The Novel ◽  
Mission District ◽  
Day Of The Dead ◽  
The Dead ◽  
Music Film

The coda examines how cultural producers contribute to the Latina/o counter-dictatorial imaginary using non-print-based artistic forms. It focuses in depth on the murals in Balmy Alley in San Francisco’s Mission District, examining how their depiction of authoritarian repression in Central America coexists alongside representations of other forms of oppression in the United States. The murals generate linked histories of violence and are material testaments to interracial solidarity and a collective struggle for social justice. The coda’s analysis of the palimpsests of paint and the visual polyphony across the walls of Balmy Alley adds another texture and layer to the counter-dictatorial imaginary traced in the preceding chapters. It ends by suggesting that other forms of Latina/o cultural production such as music, film, and Day of the Dead altars work together with the murals and the novel to capture the afterlives of the dictatorial past and current dictatorial forms of oppression.

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