scholarly journals ‘Gaijin Mangaka’: The boundary-violating impulse of Japanized “art comics”

2019 ◽  
pp. 3-26
Author(s):  
Ana Matilde de Sousa
Keyword(s):  
Coming Of Age ◽  
Pop Culture ◽  
First Century ◽  
Cultural Appropriation ◽  
Visual Artists ◽  
Culture Industries ◽  
Avant Garde ◽  
Graphic Narratives ◽  
Negative Identity

This paper investigates the artistic strategies of Japanised visual artists by examining the emerging movement of manga-influenced international “art comics”—an umbrella term for avant-garde/experimental graphic narratives. As a case study, I take the special issue of the anthology š! #25 ‘Gaijin Mangaka’ (July 2016), published by Latvian comics publisher kuš! and co-edited by Berliac, an Argentinian neo-gekiga comics artist. I begin by analysing four contributions in ‘Gaijin Mangaka’ to exemplify the diversity of approaches in the book, influenced by a variety of manga genres like gekiga, shōjo, and josei manga. This analysis serves as a primer for a more general discussion regarding the Japanisation of twenty-first-century art, resulting from the coming of age of millennials who grew up consuming pop culture “made in Japan”. I address the issue of cultural appropriation regarding Japanised art, which comes up even on the margins of hegemonic culture industries, as well as Berliac’s view of ‘Gaijin Mangaka’ as a transcultural phenomenon. I also insert ‘Gaijin Mangaka’ within a broader contemporary tendency for using “mangaesque” elements in Western “high art”, starting with Pierre Huyghe and Philippe Parreno’s No Ghost Just a Shell. The fact that the link to Japanese pop culture in ‘Gaijin Mangaka’ and other Japanised “art comics” is often more residual, cryptic, and less programmatic than some other cases of global manga articulates a sense of internalised foreignness, embedding their stylistic struggles in an arena of clashing definitions of “high” and “low,” “modern,” “postmodern”, and “non-modern”, subcultures and negative identity.

scholarly journals Becoming-Black: Patterns and Politics of West-German ‘Afro-Americanophilia’ in the Late 1960s

2015 ◽  
Vol 12 (2) ◽  
Author(s):  
Moritz Ege
Keyword(s):  
African American ◽  
American Culture ◽  
Political Action ◽  
White Supremacy ◽  
Pop Culture ◽  
Cultural Appropriation ◽  
Race And Racism ◽  
African American Culture ◽  
Soul Music

In the late 1960s, African American culture and politics provided ‘lines of flight’ (Deleuze and Guattari) from outdated modes of subjectivity for many ‘white’ Germans; appropriating culture politics, and experimenting with forms of symbolically ‘becoming black’ represented a major cultural theme of the time. These tendencies resonated with: radical, anti-imperialist politics; countercultural sensibilities, where African American culture provided a radically contemporary critique of European modernity; the racialized, erotically charged logics of primitivism and romanticism in which ‘the repressed’ was to be brought back to the surface; and with a consumer-based economy and pop culture that supported the incorporation, domestication and aestheticisation of difference, desire and conflict.  This article sketches the patterns, forms and politics of the cultural theme of Afro-Americanophilia in Germany at the time, stressing the links between politics and corporeality.  In doing so, it illustrates that questions of race and racism were crucial for the 1968 conjuncture in Germany and it critically reviews the assumptions and implications of a specific form of hedonistic anti-racism in which ‘white’ European protagonists claimed ‘chains of equivalence’ (Laclau and Mouffe) between their position and that of people oppressed by racism and white supremacy.  Two case studies illustrate different forms and common patterns.  The first concerns a West Berlin network of radical-left groups that called itself ‘The Blues’ and combined militant political action (partly modelled on the activities of the Black Panther Party, according to some of its participants) with a countercultural sensibility. This included a felt connection to African American culture and stylistic practices. The second case study reviews the reception of soul music in the German music press and in countercultural circles, contrasting different readings of the supposedly ‘authentic.’  Overall, the article reconstructs practices of Afro-Americanophilia as ambiguous phenomena that foreshadow later forms of fetishistic cultural appropriation, but where, in some cases, the selective, erotically charged exoticism also led to tangible solidarity and strong connections. 

Análisis de la realización de espectáculos televisivos en directo: Italia en Eurovisión 2021

2022 ◽  
Vol 12 (01) ◽  
pp. 235-259
Author(s):  
Francisco Javier Gómez-Pérez ◽  
◽  
José Patricio Pérez-Rufí ◽  
Keyword(s):  
Pop Culture ◽  
Avant Garde ◽  
Eurovision Song Contest ◽  
Temporal Continuity ◽  
Live Television

This paper aims to study the production of live television at the Eurovision Song Contest, a contest characterized by the use of avant-garde and experimental technologies and staging. The filming and production of the winning performance in 2021, «Zitti e buoni», by the Italian group Måneskin, is selected as a case study, as it breaks with previous trends. The main objectives of this research are to analyze the selected performance from a discursive and formal perspective and to identify the visual references on which the production is based. We apply a formal audiovisual analysis while considering intertextual practices and the intention to appropriate pop culture references. The formal audiovisual analysis highlights the respect for a functional and classic audiovisual grammar that tries to make itself invisible to highlight the members of the band with their charisma. Faced with previous practices trying to break spatial and temporal continuity, the performance claims a classical audiovisual grammar and an apparently simple staging based on nostalgia.

Against Expectations: Trisha Brown and the Avant-garde

2005 ◽  
Vol 37 (1) ◽  
pp. 11-36 ◽  
Author(s):  
Ramsay Burt
Keyword(s):  
First Century ◽  
Visual Artists ◽  
Body Images ◽  
Conceptual Approach ◽  
Aesthetic Experiences ◽  
Avant Garde ◽  
Close Proximity ◽  
The Spectator ◽  
The One ◽  
Trisha Brown

This essay gives an overview of recurring themes and concerns in Trisha Brown's work through close readings of three dance pieces from three very different periods in her career:Trillium(1962), from the early stages of Judson Dance Theatre;Roof Piece(1973), when Brown was working in close proximity with visual artists in SoHo; andNewark(1987), from the period when the Trisha Brown Company had begun performing in major international theaters and arts festivals. Throughout the successive phases or cycles of her choreographic career, Brown has continually pushed the boundaries of her work as if never satisfied but always restlessly needing to move on. Nevertheless, looking back from the first decade of the twenty-first century, two artistic concerns emerge that have remained in constant, productive tension throughout Brown's long career as a dancer and choreographer. On the one hand, she has searched for new ways of moving by working with improvisation and by investigating through body images the neuro-skeleto-muscular sources of movement. But the ways in which she has set innovative new movement nevertheless exemplify a radical, often conceptual approach to choreographic structure. Her work thus forecloses safe, known, predictable aesthetic experiences and pushes the spectator to find and appreciate new, previously unknown qualities.

Cultura Panamericana

2019 ◽  
Vol 6 (1) ◽  
Author(s):  
Anthony Macías
Keyword(s):  
Los Angeles ◽  
Sense Of Place ◽  
American Culture ◽  
Pop Culture ◽  
Mixed Race ◽  
Urban Spaces ◽  
Expressive Culture ◽  
Culture Industries ◽  
Latin Americans ◽  
Pan American

I am writing this analytical appreciation of cultura panamericana, or pan-American culture, to propose a wider recognition of how its historical linkages and contemporary manifestations confront colonialism, honor indigenous roots, and reflect multiple, mixed-race identities. Although often mediated by transnational pop-culture industries, expressive cultural forms such as art and music articulate resonant themes that connect US Latinos and Latinas to Latin Americans, pointing the way toward a hemispheric imaginary. In US murals, for example, whether in the Chicago neighborhood of Pilsen or the Los Angeles neighborhood of Highland Park, pan-American expressive culture offers alternative representations by embracing indigeneity, and it creates a sense of place by tropicalizing urban spaces.

Mathematics without Apologies

2017 ◽  
Author(s):  
Michael Harris
Keyword(s):  
Number Theory ◽  
Financial Crisis ◽  
Pop Culture ◽  
First Century ◽  
2008 Financial Crisis ◽  
Dinner Party ◽  
Mathematical Life ◽  
Personal Experiences ◽  
The 2008 Financial Crisis ◽  
Guided Tour

What do pure mathematicians do, and why do they do it? Looking beyond the conventional answers, this book offers an eclectic panorama of the lives and values and hopes and fears of mathematicians in the twenty-first century, assembling material from a startlingly diverse assortment of scholarly, journalistic, and pop culture sources. Drawing on the author's personal experiences as well as the thoughts and opinions of mathematicians from Archimedes and Omar Khayyám to such contemporary giants as Alexander Grothendieck and Robert Langlands, the book reveals the charisma and romance of mathematics as well as its darker side. In this portrait of mathematics as a community united around a set of common intellectual, ethical, and existential challenges, the book touches on a wide variety of questions, such as: Are mathematicians to blame for the 2008 financial crisis? How can we talk about the ideas we were born too soon to understand? And how should you react if you are asked to explain number theory at a dinner party? The book takes readers on an unapologetic guided tour of the mathematical life, from the philosophy and sociology of mathematics to its reflections in film and popular music, with detours through the mathematical and mystical traditions of Russia, India, medieval Islam, the Bronx, and beyond.

Neither Victors nor Victims

2017 ◽  
Author(s):  
David Whetham
Keyword(s):  
First Century ◽  
National Interests ◽  
Civil Military Relations ◽  
High Street ◽  
National Survival ◽  
The Uk ◽  
Military Relations ◽  
The Cost ◽  
Realistic Goal

Between 2007 and 2011, Wootton Bassett, a small Wiltshire town in the UK, became the focus of national attention as its residents responded to the regular repatriations of dead soldiers through its High Street. The town’s response came to symbolize the way that broader attitudes developed and changed over that period. As such, it is a fascinating case study in civil–military relations in the twenty-first century. Success may be the same as victory, but victory, at least as it has been traditionally understood, is not a realistic goal in many types of contemporary conflict. Discretionary wars—conflicts in which national survival is not an issue and even vital national interests may not be at stake—pose particular challenges for any government which does not explain why the cost being paid in blood and treasure is ‘worth it’.

History Has Its Eyes on You

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Popular Culture ◽  
Pop Culture ◽  
Technological Advance ◽  
First Century ◽  
The Internet ◽  
Generational Change ◽  
Personal Preference ◽  
Broadway Musical ◽  
Twenty First Century ◽  
Consumer Habits

A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. Downloading playlists allowed the home listener to become, in essence, his/her own record producer; length, narrative, performer were now all in the hands of the consumer’s personal preference. Following in the footsteps of Rent (as a favorite of a younger demographic), Lin-Manuel Miranda’s Hamilton emerged as the greatest pop culture/Broadway musical phenomenon of the twenty-first century; its cast album and cover recording shot up near the top of music’s pop charts. A rediscovery of the power of Broadway’s music to transform listening and consumer habits seems imminent with the addition of Hamilton and Dear Evan Hansen to a devoted fan base—and beyond.

Decolonial Information Practices: Repatriating and Stewarding the Popol Vuh Online

2019 ◽  
Vol 48 (3-4) ◽  
pp. 107-119
Author(s):  
Pamela Espinosa de los Monteros
Keyword(s):  
Best Practices ◽  
Indigenous Knowledge ◽  
Digital Library ◽  
Knowledge Society ◽  
Knowledge Work ◽  
Vantage Point ◽  
Cultural Appropriation ◽  
Digital Environment ◽  
Popol Vuh

AbstractThe digitization and online dissemination of the Popol Vuh, a historical indigenous knowledge work, poses distinct ethical, legal, intellectual, and technological concerns for humanities researchers and information practitioners seeking to study and digitally curate works through a decolonized consciousness. Ongoing debates on data sovereignty, the repatriation of cultural artifacts, and cultural appropriation question the ability of researchers and information practitioners to effectively steward indigenous knowledge works in a digital environment. While consensus on best practices for the postcolonial digital library or archive remain to be established, information inequity continues to persist, effacing indigenous knowledge, languages, and content from the knowledge society. The following case study will discuss the results of a 10-year multi-institutional initiative to curate, repatriate, and steward the reproduction of an indigenous knowledge work online. From the vantage point of the library, the case study will explore the project’s successes, failures, and the work left to be done.

Breaking the code: barriers affecting inclusive thinking-HETL Scotland 2017

2018 ◽  
Vol 10 (2) ◽  
pp. 118-129
Author(s):  
Linda Carol Algozzini ◽  
Valencia Lavon Gabay ◽  
Shannon D. Voyles ◽  
Kimberly Bessolo ◽  
Grady Batchelor
Keyword(s):  
Higher Education ◽  
First Century ◽  
Individual Student ◽  
Change Model ◽  
Participatory Action ◽  
Content Type ◽  
Self Regulated Learning ◽  
Group Coaching ◽  
Regulated Learning

Purpose This case study reviews a group coaching and mentoring (GCM) change model and its significance in dissolving barriers and promoting equity in virtual learning environments. The purpose of this paper is to examine the model’s approach to shifting instructor mindsets to align with institutional core values and initiatives that best serve a twenty-first century adult learner. Design/methodology/approach The change model, grounded in GCM, metacognition, self-regulated learning, and community of practice theory, incorporates participatory action research design focusing on cycles of action, reflection, and evaluation. Findings This study illustrates the change model’s success in moving educators toward deeper understanding of self and individual student differences. It further showcases how professionals adapt and improve practices using self-regulated learning and metacognition to better serve the population they teach. Practical implications The GCM framework improved engagement. The design, while implemented in a higher education arena, is applicable to other entities seeking to bridge gaps using metacognition and self-regulated learning to become adaptable and inclusive. Originality/value The change model, recipient of one of this year’s Effective Practice Awards from the Online Learning Consortium (2017), is recognized for innovation and replicability in and beyond higher education.

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