Review: Move on Up: Chicago Soul Music and Black Cultural Power, by Aaron Cohen

2020 ◽  
Vol 32 (3) ◽  
pp. 145-148
Author(s):  
Jeffrey Melnick
Keyword(s):  
2005 ◽  
Author(s):  
Christine L. Stanek ◽  
Lisa M. Perez ◽  
Scott M. Brooks ◽  
Jack W. Wiley

The Oxford Handbook of American Women’s and Gender History boldly interprets the history of diverse women and how ideas about gender shaped their access to political and cultural power in North America over six centuries. In twenty-nine chapters, the Handbook showcases women’s and gender history as an integrated field with its own interpretation of the past, focused on how gender influenced people’s lives as they participated in migration, colonialism, trade, warfare, artistic production, and community building. Organized chronologically and thematically, the Handbook’s six sections allow readers to consider historical continuities of gendered power as well as individual innovations and ruptures in gender systems. Theoretically cutting edge, each chapter bursts with fascinating historical characters, from young Chicanas transforming urban culture, to free women of color forging abolitionist doctrines, to Asian migrant women defending the legitimacy of their marriages, to working-class activists mobilizing international movements, to transwomen fleeing incarceration. Together, their lives constitute the history of a continent. Leading scholars from multiple generations demonstrate the power of innovative research to excavate a history hidden in plain sight. Scrutinizing silences in the historical record, from the inattention to enslaved women’s opinions to the suppression of Indian women’s involvement in border diplomacy, the authors challenge the nature of historical evidence and remap what counts in our interpretation of the past. They demonstrate a way to extend this more capacious vision of history forward, setting an intellectual agenda informed by intersectionality and transnationalism, and new understandings of sexuality.


Author(s):  
Margaret Deli

Abstract This article reveals Henry James’s commitment to professional connoisseurship as a means of asserting control over a mass reading public. Focusing on The Outcry (1911), James’s last published novel, it demonstrates the author’s deployment of connoisseurial strategies to produce a text that, perhaps surprisingly, turns away from the performance of authorial nuance. A related strand of analysis situates The Outcry within the cultural and social context of the Edwardian art drain, the period of time when a significant number of British-owned art objects were sold to museums and private collectors, most often in the United States. I argue that in this text, James seizes upon the figure of the professional connoisseur as a cultural hero and proxy for the novelist author. At the same time, he makes a point of celebrating and promoting the autocratic power exercised by this figure. Although The Outcry is often disregarded as a simple, even superficial work, these moves articulate a complex manifestation of class conflict, aesthetic training, and cultural power. They simultaneously reflect James’s late-in-life conviction that connoisseurship might itself serve as a literary strategy for seeing and shaping meaning.


2021 ◽  
pp. 136754942199457
Author(s):  
Amanda Lotz

Although Internet-distributed television bears much in common with the television long studied and theorized using cultural studies-based approaches to analysis, several of its features profoundly deviate from earlier television norms and require reassessment and adaptation of theoretical frames. This article focuses on the issue of textual popularity in relation to these services and identifies key challenges to using the same frames of cultural power that have been used for studying television in the past. The underlying problem of audience fragmentation does not originate with streaming services, but this profound contextual change, in concert with industrial aspects that further distinguish internet-distributed television from television’s past norms, must be addressed. The article concludes by identifying several ways the cultural power of streaming services can be investigated despite the challenges that emerging norms of Internet-distributed video provide.


2009 ◽  
Vol 37 ◽  
pp. 63-68
Author(s):  
Ho Kun Yi
Keyword(s):  

2021 ◽  
pp. 095715582110217
Author(s):  
Marion Dalibert

By questioning the media coverage of the seven feminist movements that have received most publicity in the French mainstream media since the 2000s, this article shows that the media narrative regarding feminism perpetuates the national metanarrative produced in generalist newspapers. This metanarrative reinforces the power of majority groups by portraying them as inherently egalitarian, while those with the least economic, social, political and cultural power, such as Muslim men, are portrayed as the most sexist. It also highlights that racialised collectives are still socially invisible or limited to a visibility that is framed by representations rooted in a (post) colonial imaginary. Non-white women are in fact presented as fundamentally submissive, while (upper)-middle-class white women are the only ones associated with emancipation, which is significant of white and bourgeois hegemony at work in the French news media.


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