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1.
Dr Elizabeth B. Silva 《Cultural Trends》2006,15(2-3):141-158
Visual art is one of the fields where, according to Bourdieu, culture is used to reproduce the class structure. Like other items in the cultural repertoire, paintings, as major examples of visual art, imply social divisions in how they are engaged with by artists, critics and audiences. Within the Bourdieusian framework, cultural engagements with paintings are interpreted as indicators of social position, since appreciation depends on a trained capacity in the family and the educational system, which is often inaccessible to less powerful sections of the population. This would imply that the sorts of paintings favoured by working-class people differ from those preferred by the middle or upper classes. More recent studies have contested the view that a gulf exists between the art tastes of different classes in ways that reproduce the class structure. The argument of the omnivore thesis that distinctions between more popular and legitimate tastes have become blurred has predominantly been based on empirical references in the field of music. This article explores this thesis on the basis of data about visual arts in the Cultural Capital and Social Exclusion project. While some differences continue to be connected to social divisions of income, education and occupational groups, important similarities are found across the board, and certain significant differences appear to relate to factors other than social class, such as ethnicity, age and gender. It is also significant that some people appear disconnected from and disinterested in paintings. 相似文献
2.
In France, the social-stratification model based on Bourdieu's Distinction is still one of the main theoretical models used to analyse cultural tastes. The distinction model asserts a hierarchical classification of tastes and genre and an aesthetic judgment based on rejection. In the musical field, Richard A. Peterson challenged the model showing the eclectism and the mix of classical and popular genres among the tastes of elite. Changes in taste judgements in multicultural societies problematise the understanding and representation of the structuration of tastes. In reference to the 2008 statistical survey on French cultural practices and tastes, this article challenges conventional understandings of the taste patterns informing music consumption in contemporary France. In doing this, the article utilises a ‘tablature of tastes’ model which infers the incommensurability of musical genres and taste judgments no longer based on “rejections/dislikes” but rather on “openness/tolerance” or “indifference/ignorance”. Our analysis tests the “tablatures” of musical likes, dislikes and indifferences hypothesis within the French population through a factor and classification analysis method. Six classes of musical taste emerge with a limited share of dislikes and a strong age differentiation. It confirms a major transformation in judgments of taste in the musical field. 相似文献
3.
Little is known about ethnic differences in highbrow cultural interests, because research on social differentiation in cultural participation has traditionally focused on educational or income inequalities. Employing data from the Netherlands’ Longitudinal Lifecourse Study 2010 we explored the extent to which educational attainment, national identification and social integration explain inequality in cultural participation among Turkish and Moroccan immigrants, and to what extent the effect of education was moderated by aspects of social identification and integration. Our results indicate that Turks and Moroccans, who identify more with the Netherlands and have a social network that includes larger numbers of Dutch and higher educated friends, are more active in the cultural realm. Most interestingly, we found that strong identification with Dutch society actually moderates the relationship between an immigrants’ educational attainment and their cultural participation: that is, highly educated people of Turkish and Moroccan descent, who strongly identify with the Netherlands, participated more in highbrow culture than their highly educated counterparts who identified less with the Netherlands. 相似文献
4.
Sakiyama Masaki 《Inter-Asia Cultural Studies》2013,14(3):383-386
Abstract 1997 as a global media spectacle about Hong Kong’s handover of its sovereignty from Britain to China is now almost forgotten; yet Hong Kong is still caught between the politics of time and memory too complex to be captured under simple post‐colonialist notion such as ‘hybridity’. This paper tries to put in perspective a (post‐)colonial cultural politics of counter‐memory in Hong Kong cinema by investigating its decades‐long investment in a sub‐genre built around the motif of undercover‐cop. Specifically, the example of the blockbuster Infernal Affairs series is analyzed in details, with particular attention to its innovative plot, to show how the ‘structure of feeling’ about Hong Kong’s political fate is embedded in the films underpinning their local box‐office success. The allegorical reading of the film series attempted in this paper also connects the discussion about the ‘political unconscious’ of Hong Kong, now and in the past, with the wider problem of how the future political subjectivity of Hong Kong will take shape. 相似文献
5.
Tony Bennett 《Cultural Trends》2006,15(2-3):193-212
The literature on cultural capital has had relatively little to say about television viewing, except insofar as television has served as a negative point of reference in relation to which other cultural practices register their distinctiveness. This article, by contrast, examines the respects in which practices of distinction are operative within the space of broadcast television. Looking first at the ‘internal economy’ of television as expressed in the relations between genre, programme and channel preferences, it then examines how these preferences are related to occupational class, gender, level of education and ethnicity. While showing that divisions within the space of broadcasting are most powerfully articulated in terms of age and gender, the article also shows that occupational class and level of education play important roles in stratifying television audiences along traditional ‘high’/‘low’ lines. A closer analysis of the relations between these variables reveals more complex patterns of distinction, particularly in the place occupied by ‘new drama’ and ‘new comedy’ in the preferences of younger, well-educated viewers. 相似文献
6.
ABSTRACT This article tells the stories of five Korean military brides in the predominantly middle‐class neighborhood of Newburgh, New York, focusing on their association with the American military bases in South Korea and their daily struggles in cross‐cultural marriages in the United States. It examines the particular contexts in which personal and sexual relations developed between American soldiers and Korean women in the ‘camp‐towns’ or ‘GI towns’ (kijich’on). It also looks at the ways in which some Korean women employed fraternization as a survival strategy in a war‐torn society, and in which they struggled to come to terms with the American mainstream society after their migration to the United States. These life histories provide us with a unique lens through which to explore the unequal power relations between the United States and South Korea within the dialectical framework of militarism, gender and migration. 相似文献
7.
Chua Beng Huat 《Inter-Asia Cultural Studies》2013,14(2):200-221
Since the 1980s, popular cultural products have criss‐crossed the national borders of East Asian countries, enabling a discursive construction of an ‘East Asian Popular Culture’ as an object of analysis. The present essay is a preliminary attempt to provide some conceptual and analytic shape to this object, delineated by its three constitutive elements of production, distribution and consumption. Each East Asian location participates in different and unequal levels in each of these component processes. Production can either be located entirely in a single geographic location or, alternatively, each of the necessary constituent sub‐processes can be executed from different locations; preference for either arrangement tends to reflect the relative dominance of the production location in exporting its finished products. Consumption and thus consumers are geographically located within cultural spaces in which they are embedded. Meanings and viewing pleasures are generated within the local cultures of specific audience. Conceptually, among the several possible consumption positions, the one in which an audience watches an imported programme is most intriguing. In this viewing position, differences between the cultures of the location of consumption and that of the production location become most apparent. The audience member has to bring his or her own cultural context to bear on the content of the imported product and read it accordingly. In this sense, the cultural product may be said to have crossed a ‘cultural’ boundary, beyond the simple fact of its having been exported/imported into a different location as an economic activity. Such an audience position requires the consumer to transcend his or her grounded nationality to forge abstract identification with the foreign characters on screen, a foreignness that is, in turn, potentially reabsorbed into an idea of (East) ‘Asia’; a potential ‘East Asian identity’, emerging from consumption of popular cultural products, is thus imaginable. 相似文献
8.
Agus Muhammad 《Inter-Asia Cultural Studies》2013,14(1):135-137
Abstract This paper juxtaposes the predicaments of two popular stars in Asia whose mobility in their respective cultural fields became challenged by political sentiments in 2004. Chang Hui‐Mei (A‐Mei), the aboriginal pop diva from Taiwan, became the target of a protest organized by Chinese ‘patriots’ before a performance in Hangzhou. The event set off a series of public debates involving high‐level Taiwanese politicians, fans, and members of the public that recalled a similar controversy in 2000 when A‐Mei was banned in China after singing at the inauguration of President Chen Shui‐Bian. Some months later, Korean Wave star Song Seung‐Heon became the subject of a draft‐dodging investigation while he was shooting a highly anticipated TV drama, Sad Love Story. Support from different configurations of overseas fans poured in and remained strong even after he gave up the project and began his mandatory military service. Using these two parallel cases to reveal how politics and entertainment interact in Asia independent of stars’ volition, this paper investigates the affective investment and communication strategies of A‐Mei’s cross‐strait fans and Song’s Chinese‐Asian fans during these emotion‐laden circumstances. The inter‐referential approach of this paper not only reveals the importance of considering patriotism as a latent (rather than exceptional) political and popular force in trans‐Asian popular culture, but also reconfigures the relationships between the public, popular, and political in inter‐Asia cultural traffic. 相似文献
9.
Dr David Wright 《Cultural Trends》2006,15(2-3):123-139
The literary field has been conceptualized in social scientific work as patterned in particular ways. Historically, popular reading has been linked with contested processes of social change. Tastes for reading have, following Bourdieu, been seen as embedded in continuing processes of distinction and the making of hierarchies. Research has demonstrated the ways in which these hierarchies might be reflective of gender as well as of class relationships. This article examines the findings of the Cultural Capital and Social Exclusion study in the light of these debates. The survey gathered data about the types of reading material used by a representative sample of the United Kingdom (UK) population, including their preferences for newspapers, magazines and books. The article reports on a number of possible relationships identified in the study about the location of reading as a social practice, drawing on the survey data and explanatory accounts of respondents' reading preferences drawn from focus groups and interviews. The regularity of participation in reading and ownership of books are outlined in relation to occupational class. Evidence relating to the reading of magazines and newspapers is then examined in the light of contemporary policy concerns. Patterns of taste in books are explored, examining preferences for ‘literary’ genres, gender, education and ethnicity. The article concludes by addressing the position of taste for, and knowledge of, specific works representing a range of positions within the literary field to complete the picture of cultural capital and the literary field in the contemporary UK. 相似文献
10.
Meaghan Morris 《Inter-Asia Cultural Studies》2013,14(2):181-199
Taking action cinema as an example, this paper outlines a historical approach to the transnational study of globally popular cultural forms. Action cinema has long had a complex economy in which Hollywood not only trades stars, styles and narratives with the hybrid culture of Hong Kong cinema itself, but draws on a vast ‘direct to tape’ industry significantly based in East Asia. The paper outlines a Hong Kong‐based approach to two earlier phases in the history of action: the ‘international co‐production’ as an industrially innovative form (1973–85), and the golden age of the ‘direct to tape’ industry enabled by the rapid spread of video technology (1985–93). Focusing on the latter, it suggests that the global uptake by filmmakers of a ‘contact’ narrative and an ethic of emulation taken from Hong Kong cinema allowed direct‐to‐video action to address issues of social class in emotionally complex ways. 相似文献
11.
Hsiao‐hung Chang 《Inter-Asia Cultural Studies》2013,14(2):222-236
This essay attempts to map out the global networking of counter‐feit production and consumption by considering the historical and economic complications of fake superlogograms in Taiwan, Hong Kong and Mainland China as a point of departure. It traces not only the ‘capital logic’ of the counter‐feiting industry, which duplicates the international division of labour, but also its ‘cultural logic’, which creates the Euro‐American superlogograms under the spell of Western imperialist ideology. The essay is divided into three main parts to foreground the ‘glocal’ circulation of fake superlogos. The first part considers the famous French Louis Vuitton as a case study to explore the economic, historic and cultural formation of the logomania in East Asia piloted by Japan in the 1980s. The second part discusses the double cultural reproduction of fake logos in Taiwan as both an imitation of Japan and an imitation of Japanese imitation of Europe. The third part seeks to theorize the fake under the context of Asian consumption of the superlogo and to foreground further the historical change of how the ‘fake’ becomes ubiquitous, how the ‘fake’ could be produced out of no originals, and how the ‘fake’ turns out to be perfectly indistinguishable and doubly authentic, which could rewrite the whole theory of mimesis. A new theorization of ‘fake dissemination’ is attempted in this essay to map out the co‐dependent ongoing (de)construction between ‘fake globalization’ and ‘globalization.’ What we mean by ‘fake’ here is no longer the mere difference between real/fake; the ‘fake’ in ‘fake globalization’ means ‘counter‐feiting’ as well as ‘appropriating’. (In Chinese, ‘Jia’ means both ‘fake’ and ‘by a particular means’.) That is, counter‐feit products appropriate the power of globalization to disseminate themselves. ‘Fake globalization’ is the ‘dark flow’ within globalization; it counter‐feits and appropriates globalization, repetitively reduplicating and deconstructing it. ‘Fake globalization’ and ‘globalization’ are not a pair in binary opposition. ‘Fake globalization’ is the ‘subversion’ of global capitalism; it is subject to global superlogo fashion consciousness and simultaneously resistant to the manipulation of ‘glogocentrism’. This subversive fake globalization is different from the traditional anti‐globalization movement, which tends to highlight the protection of international worker's rights, anti‐monopoly and anti‐sweatshops, for the latter focuses chiefly on the ‘oppositional’ stance while the former stresses more the ‘reverse’ side of it. Fake globalization helps to turn globalization itself inside out and outside in. Fake globalization is not an external attack on globalization from without, but an internal exposure of how the historical and psychic formulations of the logics of global capitalism are subject to the cultural imagination under (western) imperialist ideology, and how they are influenced by the political‐economic deployment of international divisions of labour. What fake dissemination does is to expose from within the possibility and impossibility of ‘glogocentrism.’ 相似文献
12.
Yumiko Iida 《Inter-Asia Cultural Studies》2013,14(1):56-74
Contemporary Japanese society has seen the emergence of aesthetically conscious young men who employ ‘feminine’ aesthetics and strategies as ways of exploring and practising new masculine identities. In this paper, I explore the significance of this emerging trend of male beauty by observing and analysing the expressions, strategies and intentions of those young men who have taken to aesthetically representing themselves in these ways. This cultural trend is often described as the ‘feminization of masculinity,’ echoing the gendered articulation of rising mass culture in terms of the ‘feminization of culture,’ which acknowledges aspects of the commercialization of masculine bodies in Japan of the 1990s onward. While this view successfully links important issues, such as femininity, beauty, and the gendered representation of the self in a broader context of capitalist culture, it does not sufficiently convey a sense of agency in the young men's lively practices of exploring and expressing new masculine values and ideals. Rather than viewing ‘feminization’ simply as a sign of commodification, I argue that these young men strategically distance themselves from conventional masculinity by artificially standing in the position of the ‘feminine’, where they can more freely engage in the creation of alternative gender identities. From this point of view, the use of the phrase ‘feminization of masculinity’ often implies a fear and anxiety on the part of patriarchy over the boundary‐crossing practice that seriously challenges the stability of gendered cultural hegemony. Moreover, such anxiety driven reactions easily merge with nationalist inclination, as those threatened tend to seek the consolidation of patriarchal/hegemonic order by eliminating ambiguities and indeterminacy in cultural/national discourse. I conclude that the cultural hegemony of contemporary Japan could better sustain itself by incorporating non‐hegemonic gender identities, which would allow it maintain an open space for critical imagination and effectively diffuse an obsessive and ultimately self‐destructive desire for transparency/identity. 相似文献
13.
Young‐Ie Wuo 《Inter-Asia Cultural Studies》2013,14(3):325-354
Abstract This paper is a case study of the shutdown of HOME (the House for Migrant Workers' Empowerment), a cultural and service center for migrant workers. HOME was founded by the Taipei City Labor Bureau (TCLB) and subcontracted to TIWA (the Taiwan International Workers' Association) in 2002, when the Director of the TCLB was the former labor activist Zheng Cun‐qi. For migrant domestic workers, the distinction between sold‐time and free‐time (i.e. the work–rest distinction) is blurred. Most of their supposedly private reproductive activities are temporally squeezed into holidays and spatially forced into public places where they are exposed to the scrutiny of the Taiwanese. This peculiar situation of private/public inversion not only results from, but also serves to reinforce, racial discrimination and class inferiority in their workplace (i.e. the homes of their employers). I use the concept of ‘bracketing’ to describe the spatial‐temporal strategies used by migrant domestic workers against this distorted inversion. I also analyze how employers ‘counter‐bracket’ migrant worker subjects as a counter strategy. HOME once existed as a ‘surrogate home’, providing shelter for migrant workers and allowing them to retain privacy during their days off. TIWA conducted organizing‐oriented cultural and political activities to assist the migrants in forming their own community, and challenged the spatial hegemony of real estate owners in the ChungShan District. However, when Yan Shang‐luan, a well‐known feminist labor research professor, took over the directorship of the TCLB in 2004, she did not appreciate the function of HOME, and decided to close its doors. In analyzing the official rhetoric in the documents of the TCLB, I find that their decision to shut down HOME was a result of their middle‐class temporal‐spatial ‘habitus’. The shutdown became a counter‐bracket measure, which coincided with the real estate interests of the ChungShan local elites. 相似文献
14.
Abstract Reflecting on a personal experience of ‘pre‐professional’ university education and reluctant engagement with Cultural Studies as an academic project, this article examines the now ambiguous role of undergraduate education under neo‐liberal management regimes. Arguing that a ‘new class politics in knowledge’ is emerging with the transnational policy‐sharing and international student exchange schemes with which diverse governmental cultures are responding to globalization, Morris suggests that the undergraduate classroom is becoming a ‘frontier’ of struggle over the future. Teaching cultural studies to undergraduates in a liberal arts environment is one way in which the discipline's emphasis on local knowledge can be put to institutionally creative uses. 相似文献
15.
Melani Budianta 《Inter-Asia Cultural Studies》2013,14(1):109-128
Abstract ‘Asian Pop’ cultural products, which include a wide range of media artifacts such as film, music, television drama, comic books, magazines, websites and fashion, have emerged as a popular choice for youth in Asia in recent times. These cultural artifacts feature prominently in the lives of urban youth in major metropolitan centers throughout Asia. This paper examines how Thai youths have become consumers of Korean pop (K‐pop), following the trend of neighboring countries. The popularization of Japanese pop (J‐pop), Taiwanese‐pop and more recently, K‐pop, is welcomed by the Cultural Industry as a sign of expanding borders and as a major step towards expanding its Asian market. On the one hand, growing consumption and mainstreaming of Asian pop might become problematic due to the notion of cultural ‘McDonaldization’/standardization, in the future. On the other hand, perhaps nationalism and national ties will manage to overrule this projected standardization. This paper explores the Thai youth’s consumption of K‐pop in the process of cultural appropriation vis‐à‐vis their ‘national’ cultural formation in changing socio‐cultural contexts. 相似文献
16.
This study investigated the relationship between Chinese international students’ social networks in the United States and their musical tastes. Based on concept of homophily, this study used a self-reported Social Network Analysis (SNA) survey to examine whether sharing similar musical tastes affected Chinese international students’ relationship, their musical tastes, and music consumption. The results showed that having high musical taste similarity predicted closer relationship between respondents and their alters, and higher likelihood of new music consumption. This study also found that frequent American English-language songs listeners were more likely to have Americans in their social network than less-frequent American English-language songs listeners. 相似文献
17.
Pipob Udomittipong 《Inter-Asia Cultural Studies》2013,14(3):361-363
Abstract This study documents the growth of the discourse of ‘god‐king’ (devaraja) around Thailand's King Bhumibol and explores how Brahmanical symbolisms of royal absolutism have acquired renewed potency alongside Buddhism as a basis of political legitimation in 21st century Thailand. Previous studies have interpreted the growing trend for Thailand's constitutional monarch to be represented as a ‘demi‐divine’ ‘virtual god‐king’ to reflect an ideological strategy set in train by mid‐20th century authoritarian military rule. However, political processes alone do not account fully for the persistence and intensification of this phenomenon since the end of military dictatorship. The pre‐modern discourse of ‘god‐king’ has also been given new life by visual media and the spectralisation of life under neoliberalism, which together produce a regime of representation that auraticises King Bhumibol. These technologies of enchantment have permitted emerging prosperity religions to be harnessed to a conservative nationalist agenda and, together with Thailand's strictly policed lese‐majesty law, have institutionalised a commodified and mass‐mediatised ideology of magico‐divine royal power that works to legitimate King Bhumibol's acquisition of political influence. 相似文献
18.
Natalie Coulter 《Popular Communication》2014,12(3):139-152
Under the direction of Hugh Hefner, Playboy magazine’s early success was predicated upon the unique marketing strategies of forging the persona of an idealized, imaginary reader called the playboy, with particular lifestyles and taste preferences. At the same time, it sold the value of men’s participation in the hedonistic pleasures of accessible connoisseurship of the postwar marketplace by aligning consumer desires with sexual desires as innate components of modern masculinity. The purpose of this article is to illustrate how this persona is visually and discursively articulated throughout the entire Playboy empire, from the content of the magazines including the dewy centerfolds and the What Sort of Man Reads Playboy? campaigns to the brand’s clubs and television shows. The persona undertook the dual tasks of attracting a lucrative male readership and its corresponding advertisers, while simultaneously redefining male consumer culture. 相似文献
19.
Abstract Our main concern is to see if cultural studies can intervene more productively in the dominant educational processes, in ways that align with the sustainable interests of its critical project. As cynicism becomes the commonplace ‘distinction’ of our young graduates, we raise two questions: why should cultural studies be concerned with the spread of cynicism within our own institutional and pedagogic space? And what would be the implications of such critical reflection on our current practices, as scholar and teacher of this critical project? The paper draws on our continual engagement with the curriculum reform of secondary school subjects (Integrated Humanities and Liberal Studies) in Hong Kong, in an attempt to explore the limits and opportunities of education as social practice, as well as the effectivity of cultural studies within the contemporary contexts and crises of education. First we describe how taking part in the specific school reform projects has begun to change the critical and pedagogic orientation of cultural studies we do at the university. Then we discuss the implications of our recent experiments in doing cultural studies in and with the local schools. In all, we want to examine what brings us to our own search for a certain ‘politics of hope’, by re‐thinking and re‐mapping cultural studies as a collective, pragmatic programme in the local educational set‐up. For, without a constructive pragmatics, the students of cultural studies cannot be expected to work effectively across diverse institutional settings. Thus, criticism and the production of critical knowledge in the contemporary academy would go on to foster a state of cynicism among its graduates and the ‘stakeholders’ concerned. Cultural studies, we believe, can make itself more useful through concrete ways of mediating its expertise in the complex processes of education. As such, we emphasize the contemporary relevance and uses of cultural studies for educational transformation. 相似文献