scholarly journals Fleabag’s Pedagogy of the Gimmick

2021 ◽  
Vol 5 (1) ◽  
pp. 90-104
Author(s):  
Ada S. Jaarsma
Keyword(s):  
Capitalist Society ◽  
The Political ◽  
Work Of Art

Abstract As a work of art, the show Fleabag prompts differing kinds of judgements by critics. But as a project that reflects life in capitalist society, its gimmickry models the existentially fraught dynamics of despair. Informed by Sianne Ngai’s Theory of the Gimmick, this article explores three sets of gimmicks in relation to despair, where each holds differing pedagogical stakes for viewers: being alone; being a bad feminist; being smitten with a priest. Gimmickry, as a technique within the show, puts viewers on the hook for judging gimmicks as wonders or tricks. Gimmickry as an object of criticism, in turn, brings into view the political and existential significance of Fleabag for viewers.

scholarly journals Exhibiting an Unapologetic Fascist: Mario Sironi

Perceptions ◽  
2018 ◽  
Vol 4 (2) ◽  
pp. 20
Author(s):  
Fiona Fackler
Keyword(s):  
Public Perceptions ◽  
The Political ◽  
Contemporary Culture ◽  
National History ◽  
Work Of Art ◽  
The Public ◽  
Public Displays ◽  
Contemporary Politics ◽  
The World ◽  
Primary Focus

Benito Mussolini's Fascist dictatorship over Italy in the period between world wars remains a troubling element of the nation's history. It has heavily affected the contemporary politics and public displays of in addition to scholarship about the thriving artistic scene of that time, yet, the weight of Italy's Fascist legacy has either comprised the primary focus of or been entirely absent from studies on art in the 1920s-1930s until a recent academic interest in reinvestigating the political and cultural atmosphere of the period. This paper underlines the importance of such renewed critical interests in chapters of painful history and how those interests can influence public perceptions of national history and its outreach into contemporary culture. Specifically, I will examine the written and exhibited discrepancies between the life of the painter Mario Sironi under the regime and the life of selected paintings that perpetuate his existence in contemporary Italy. By comparing La Famiglia del Pastore in "Roma Anni Trenta: La Galleria d'Arte Moderna e Le Quadriennali (1931 - 1935 - 1939)" at the Galleria d'Arte Moderna and La Solitudine in "Time is Out of Joint" at the Galleria Nazionale I will analyze how exhibitions of art shape the Italian public's reception of this period. I contend that certain exhibiting styles can either deepen public reception and consideration for a work of art and the time from which it stems or can reduce understanding to that inspired by instantaneous connections, dependent on the institution's or curator's approach to context. For, no trip to a museum is simply a trip to a museum – whether actively or passively, museums shape how the public approaches the works in its halls and through these works, how the public approaches themselves and the world surrounding them.

scholarly journals A questão agrária na prática pedagógica dos/as professores/as egressos/as da LEC/UFBA: o desafio de efetivar o projeto de escolarização da classe trabalhadora

2021 ◽  
pp. 1-27 ◽  
Author(s):  
Janeide Bispo dos Santos
Keyword(s):  
Rural Education ◽  
Working Class ◽  
Capitalist Society ◽  
The Political ◽  
Pedagogical Practice ◽  
Research Subjects ◽  
Cultural Goods ◽  
Bourgeois Society ◽  
Agrarian Question ◽  
Pedagogical Treatment

This article presents the results of a research that analyzed the pedagogical work carried out by teachers graduated from the Course in Rural Education (LEC) at the Federal University of Bahia (UFBA). The contradictions of capitalist society are problematized to explain the repercussions on the working class in terms of exclusion and limitations in the access to material and cultural goods. The agrarian question is raised as a fundamental question of the capitalist society and its unfoldings on the working class. Rural Education is presented as a project of the working class whose aim is to face the structural order posed by bourgeois society. The pedagogical work of the research subjects is analyzed in the light of the four pillars that founded the Political Project of the Course (PPC), namely: consistent theoretical basis, political formation, class awareness, and revolutionary organization with insertion in class struggles with a look towards the pedagogical treatment given to the agrarian issue category, bearing in mind to confront the conception of the training and the teachers' practice in regards to the implementation of a revolutionary pedagogical practice. The research data reveals that not all teachers incorporated the conception of the content and method of the training to their respective practices.

Teaching to Learn, Learning to Teach

2021 ◽  
Vol 55 ◽  
pp. 288-298
Author(s):  
Katherine Davies ◽  
Keyword(s):  
World War Ii ◽  
Teaching And Learning ◽  
Learning To Teach ◽  
The Political ◽  
World War ◽  
Work Of Art ◽  
Teaching Role ◽  
Affective Dimensions

Heidegger’s three Country Path Conversations have generated much scholarly interest for their elaboration on Heidegger’s thinking of Gelassenheit, scientific and technological thinking, the work of art, evil, and the political aftermath of World War II. In this paper, I argue that these texts also, upon closer analysis, contain a Heideggerian pedagogical philosophy. In each text, I will show, a dynamic of teaching and learning is at play, most especially when it seems to be absent. Further, I will show how only when these three texts are read together does a fuller account of Heidegger’s pedagogy emerge. In the “Triadic Conversation,” I draw out the affective dimensions according to which the Guide’s teaches the Scientist to contest his own worldview. In the “Tower Conversation,” I show how the Teacher must practice what he himself teaches, choosing to tarry with that which causes him discomfort and anxiety. Finally, I read the “Evening Conversation” as an example of students assuming the teaching role themselves when the teacher is nowhere to be found, fulfilling the hopes any teacher would have for her students.

Re-Engaging Critical Communication Studies With Social Classes

2020 ◽  
pp. 78-97
Author(s):  
Gökhan Bulut
Keyword(s):  
Political Economy ◽  
Class Struggle ◽  
Capitalist Society ◽  
Social Classes ◽  
Homogeneous Structure ◽  
The Political ◽  
Class Relations ◽  
The Media ◽  
Communication Practices ◽  
The Relationship

This article is an attempt to reestablish the linkage of the political economy of communication with the field of social classes and class relations. Studies in the field of political economy of communication are mostly shaped within the scope of instrumentalist explanation: Social communication institutions such as communication and media are perceived as a very homogeneous structure and these institutions are directly considered as the apparatus of capital and capitalists. However, in this study, it is argued that in capitalist societies, communication, and media should be understood as a field and medium of class struggle loaded with contradictions. Another point is that the political economy of communication is mostly limited to media studies. However, in today's capitalist societies, the media is not the only structure and actor in which communication forms. In this study, communication practices in capitalist society are discussed in the context of class discussions and the relationship between class struggle, culture and communication is discussed.

scholarly journals POPULAR MAGAZINES, NEW LIBERAL DISCOURSE AND AMERICAN DEMOCRACY, 1890s–1914

2017 ◽  
Vol 16 (2) ◽  
pp. 121-142
Author(s):  
Matthew Schneirov
Keyword(s):  
Political Economy ◽  
Middle Class ◽  
Mass Culture ◽  
Free Market ◽  
Capitalist Society ◽  
The Political ◽  
New Middle Class ◽  
Corporate Capitalism ◽  
Popular Magazines ◽  
Mass Circulation

The study of the mass circulation “popular magazine” during the Gilded Age and Progressive Era was revived during the 1990s as part of the emerging fields of gender studies, consumer studies, and the study of the new middle class. Richard Ohmann's seminal work viewed these magazines through the lens of the political economy and class relations of an emerging corporate capitalist society and explored the relationship between mass culture and the political economy of capitalism. This paper reexamines the connection between a national mass culture, the new middle class, and an emerging corporate capitalist society through the lens of post-structuralist discourse theory. Corporate capitalism is conceptualized as in part a discourse, the new liberalism, which incorporated or rearticulated populist and socialist discourses and in doing so temporarily won the consent of the capitalist class, middle classes, and segments of the working class. Through the pages of popular magazines readers were offered pieces of a new discourse that embraced corporations rather than the “free market,” women's entry into public life, and new constructions of the self. During the muckraking era, elements of socialism and populism were integrated into mainstream American culture. Overall, the essay argues that a discourse perspective on popular magazines can open up new perspectives on corporate capitalism and the new liberalism. While corporate capitalism marked the decline of the producer–republican tradition, it also marked the emergence of an American social democratic tradition, a mixture of capitalist and socialist social formations.

scholarly journals From Traces of Communism to Islets of Communism: Revisiting Althusser’s Metaphors

2020 ◽  
Vol 41 (1) ◽  
Author(s):  
Panagiotis Sotiris
Keyword(s):  
Social Transformation ◽  
Social Dynamics ◽  
Capitalist Society ◽  
The Political ◽  
Social Forms ◽  
Open Questions ◽  
Political Project ◽  
Political Design

Promises of communism, traces of communism, outlines of communism, islets of communism: Althusser’s metaphors for communism emerging at the margins of existing social forms point towards important open questions for any rethinking of a strategy for communism: Is communism just a political project or a political design for a post-capitalist society or is the projection, elaboration, and expansion of social forms already appearing within contemporary capitalist society as a result of collective struggles, resistances, and experimentations that bring out the collective ingenuity of the subaltern classes and groups? Can a political project for radical social transformation simply be a generalisation of the dynamics emerging within contemporary social dynamics? How can we think the political and organisational labour needed to turn these elements into new social forms? The aim of this paper is to attempt to revisit and rethink the tensions of Althusser’s thinking of communism emerging at the margins or interstices of capitalist society.

scholarly journals La politización de la estética y la dialéctica del arte moderno en el pensamiento de Walter Benjamin

2015 ◽  
pp. 49-69
Author(s):  
Mijael Jiménez
Keyword(s):  
Walter Benjamin ◽  
Social Function ◽  
Political Organization ◽  
The Political ◽  
Experimental Production ◽  
Work Of Art ◽  
Avant Garde ◽  
Critical Action ◽  
Industrial Societies ◽  
Critical Project

The purpose of this paper is to understand the place of the theses of Walter Benjamin on the mechanically reproducible work of art in his critical project of politicizing aesthetics. We analyse the characteristics of art produced in industrial societies in order to comprehend its social function during the processes of political organization in totalitarian States and in the critical or revolutionary thought. We propose a particular interpretation of Benjamin’s theory of aura to identify a form of experience that remains in the reception of modern artwork, which help us explain the political organization through the figure of a distracted examiner. We also present two ways critical action could be shaped in: the project of politicizing aesthetics and the experimental production of the avant-garde work of art. The former is the possibility of philosophical thought, while the latter represents the revolutionary action into the process of production and the experience of the artwork.

scholarly journals ‘Who Is’t can Read a Woman?’: Representation of Queen Elizabeth I in Cymbeline

MANUSYA ◽  
2005 ◽  
Vol 8 (4) ◽  
pp. 1-23
Author(s):  
Thanomnual Hiranyatheb
Keyword(s):  
The Political ◽  
Elizabeth I ◽  
Political Climate ◽  
Work Of Art ◽  
James I ◽  
Queen Elizabeth I ◽  
Cultural Forces ◽  
King James I ◽  
Cultural Responses ◽  
A Site

This article is an attempt to read Cymbeline (1608-1610), one of Shakespeare’s so-called ‘final plays’ or ‘romances’ as a site of cultural responses to the remaining ‘presence’ of the late Queen Elizabeth I and her cultural associations in the context of the reign of her gender-different successor, King James I. It argues that these responses can be seen in the play’s portrayal of two characters in the play, namely the Wicked Queen and to a lesser extent, Imogen, in which the figure of the late queen is played out and marginalized, and proposes that these representations are ways in which the Jacobean culture deals with and exorcises its anxieties about the late monarch’s sometimes contradictory (self-appointed) role as a militant, powerful and inscrutable ‘woman-on-top’, which disrupted ‘natural’ gender distinction in the political climate of James I’s reign, during which pacifism, transparency and patriarchalism were highly advocated, especially by the king himself and other writers. It is hoped that this article can offer a reading of the play, not by interpreting it as a complete-in-itself and truth-reflecting work of art by a literary genius according to the romantic-humanistic conception of the ‘author’ and ‘literature,’ but rather by taking into accounts political, social and cultural forces that were circulated during the time of composition and reception of the play and with which it interacted.

Fragilität der Macht

2016 ◽  
Vol 64 (2) ◽  
Author(s):  
Christoph Hennig
Keyword(s):  
Political Philosophy ◽  
Thomas Hobbes ◽  
Social Recognition ◽  
Capitalist Society ◽  
The Political ◽  
The Future ◽  
Historical Dramas ◽  
Abstract Level ◽  
The Mind

AbstractIn the political philosophy of Thomas Hobbes – as in William Shakespeare’s historical dramas – even the most powerful individuals can never be sure of their power. Fundamentally, power is grounded in imagination. It refers to the future, not to the present time; but the future is, in Hobbes’ own words, “a fiction of the mind”. Moreover, in a circular process, power rests on the “reputation of power”; it is based on social recognition. For both reasons, individual power is fragile, bringing about an undercurrent of fear. Following Hobbes’ approach, these characteristics may consistently be applied to the concept of money. This paper argues that by conceiving power on a very abstract level, Hobbes might have unintentionally developed the fundamentals of a theory of money as the dominant power in the emerging capitalist society.

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