Anomalous Bodies: Transgenderings and Cultural Transformations

2020 ◽  
pp. 215-239
Author(s):  
Mark Johnson
2010 ◽  
Author(s):  
Chris Prentice ◽  
Vijay Devadas ◽  
Henry Johnson

2011 ◽  
Vol 8 (3) ◽  
pp. 673-685
Author(s):  
CARL J. GUARNERI

“It has been our fate as a nation not to have ideologies,” Richard Hofstadter famously wrote, “but to be one.” Defining that “American ideology” or “American creed” obsessed scholars of the consensus era, who celebrated (and occasionally lamented) Americans’ allegiance to a limited liberal vocabulary of rights, freedoms, and markets. The cultural transformations begun in the 1960s seemed to question the very idea of a unitary culture or creed, but some historians responded by exploring alternative ideological founding myths to the liberal consensus. Over the ensuing decades scholars mounted formidable efforts to support republicanism or millennial Christianity as challengers, but liberalism proved a resilient foe. And it seemed to have contemporary history on its side: during the Reagan revolution of the century's final decades the classic liberal combination of scaled-down government and free markets carried the day as Americans’ ideal if not their reality. The Lockean liberal tradition that Louis Hartz described a half-century earlier still appeared the only game in town, although scholars continued to argue over its terms, history, and boundaries.


1995 ◽  
Vol 29 (3) ◽  
pp. 21-22
Author(s):  
Cynthia Beth Rubin

2021 ◽  
pp. 016344372110227
Author(s):  
Yingzi Wang ◽  
Thoralf Klein

This paper examines the changes and continuities in TV representations of Chinese Communist Party’s revolutionary history and interprets them within the broader context of China’s political, economic and cultural transformations since the 1990s. Drawing on a comparative analysis of three state-sponsored TV dramas produced between the late 1990s and mid-2010s, it traces how the state-sanctioned revolutionary narratives have changed over time in response to the Party’s propaganda imperatives on the one hand, and to the market-oriented production environment on the other. The paper argues that while recent TV productions in the new century have made increasing concessions to audience taste by adopting visually stimulating depictions and introducing fictional characters as points of identification for the audience, the revolutionary narratives were still aligned with the Party’s propaganda agenda at different times. This shows the ongoing competition between ideological and commercial interests in Chinese TV production during the era of market reforms.


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