Cultural Imperialism and Transnational Media

2021 ◽  
pp. 39-57
Author(s):  
Lee Artz
Author(s):  
Margaret A. McLaren

Informed by practices of women’s activism in India, this book proposes a feminist social justice framework to address the wide range of issues women face globally, including economic exploitation; sexist oppression; racial, ethnic, and caste oppression; and cultural imperialism. The feminist social justice framework provides an alternative to mainstream philosophical frameworks that analyze and promote gender justice globally: universal human rights, economic projects such as microfinance, and cosmopolitanism. These frameworks share a commitment to individualism and abstract universalism that underlie certain liberal and neoliberal approaches to justice. Arguing that these frameworks emphasize individualism over interdependence, similarity over diversity, and individual success over collective capacity, McLaren draws on the work of Rabindranath Tagore to develop the concept of relational cosmopolitanism. Relational cosmopolitanism prioritizes our connections, while acknowledging power differences. Extending Iris Young’s theory of political responsibility, McLaren shows how Fair Trade connects to the economic solidarity movement. The Self-Employed Women’s Association and MarketPlace India empower women through access to livelihoods as well as fostering leadership capabilities that allow them to challenge structural injustice through political and social activism. Their struggles to resist economic exploitation and gender oppression through collective action show the importance of challenging individualist approaches to achieving gender justice. The book concludes with a call for a shift in our thinking and practice toward reimagining the possibilities for justice from a relational framework, from independence to interdependence, from identity to intersectionality, and from interest to sociopolitical imagination.


Author(s):  
Sarah Ruble

When Europeans came to the Americas, they brought with them both Christian missionaries and notions of racial difference. Since that early encounter, the story of American missions has been intertwined with issues of race. Although some might suspect a rather simple story of missionary racism and others an account of the egalitarian effects of the Christian message, the history of missions and race is a story of competing impulses and unexpected consequences. Missionaries participated in the construction of race, they challenged racism, and they reified it. In some cases, racism twined with cultural imperialism, leading to a message and to methods that valorized Anglo-American, largely Protestant, culture. In others, concerns about racism led to larger critiques of missionary practice and US presence abroad.


Author(s):  
Juniper Hill

Assessing creative work is often challenging, even more so in culturally diverse learning environments, in which students and educators may not hold the same musical values. An instructor aiming to teach proficiency within a specific style may unintentionally give feedback that devalues a student’s personal creative expressions, which in many cases reflect diverse musical heritages. Such devaluing feedback can inhibit individual creative development, stifle innovation, and perpetuate sociocultural power imbalances. In this chapter examples from jazz, classical, and traditional musicians in Cape Town and Helsinki illustrate how and why idiomatic boundaries are enforced, how musical value judgments can perpetuate social inequalities, and how negative feedback can inhibit individual creative development. The chapter emphasizes the personal, social, and cultural importance of embracing musical diversity and the value of permitting and supporting developing musicians to go beyond idiomatic conventions in their creative work. Strategies are discussed for how music educators might better support individual creative development and social justice.


1996 ◽  
Vol 101 (3) ◽  
pp. 811
Author(s):  
Kathleen E. McCrone ◽  
Allen Guttmann
Keyword(s):  

Author(s):  
Kyle Hammonds

Superheroes are a global phenomenon. The superhero genre has been proliferated through modern industrial societies by way of movies, television, comics, and other forms of popular media. Although virtually every nation in the world has heroic myths, the modern superhero, as marked by the inception of recent American comics heroes in 1929, is a uniquely Western invention. Superheroes are “Western” insofar as they embody and exhibit Western civic values, such as democracy, humanism, and retributive justice. These characters have been communicatively incorporated into globalization processes by means of diffusion and thereby enact aspects of cultural imperialism. Even so, superhero figures have been in high demand across many populations for their entertainment value. As superheroes have diffused in non-Western cultures, they have not only been absorbed by new cultures but also refigured and adapted. These non-Western adaptations have had a recursive influence, such as the global popularity of Japanese manga. The recursive relationship between Western superheroes and their non-Western adaptations implies superheroes are an important aspect of cultural fusion in global popular culture.


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