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1.
This article examines the role of noise in various aspects of Jean‐Luc Godard's filmmaking practice. Beginning with an analysis of 2 ou 3 choses que je sais d'elle (1966), it suggests that the loud noise on the soundtrack functions to disrupt the search for meaning in this film that is precisely about knowledge and cognition, providing an image of thought as an unpredictable and uncontrollable process. The influence of 1970s theoretical biology and information theory is analysed in Sauve qui peut (la vie) (1979) which applies Henri Atlan's ‘order from noise’ principle to the composition of shots, the construction of scenes and the development of narrative. Finally Godard's presentation of a complex, deterritorialised capitalist economy is considered in Nouvelle Vague (1990), and it is suggested that Godard's creation of aesthetic events – both through editing and through sound design – implies a different conception of temporality to the sequential logic of financial speculation and risk management.  相似文献   

2.
Abstract

The essay approaches recent discussions of ‘life’ and biopolitics from the historical context of early 20th century German vitalist thought. By closely analysing the concept of the ‘drive’ in art historian Wilhelm Worringer's Abstraction and Empathy (1908) and Sigmund Freud's Beyond the Pleasure Principle (1920), the essay shows how the paradoxes of those texts prefigure and contribute to the contemporary problematic of ‘life’ in theoretical discourse across the humanities. In Worringer and Freud, the drive is an ‘elastic’ concept stretching beyond – and yet constitutive of – the epistemological object (‘life’) that it is called upon to describe. The distortion of the drive in each author's thought – from an impulse of organic vitality to a principle of inorganic primordiality – manifests the contradictory ‘life’ of vitalist concepts themselves in their elastic potential for transformation, regression and contradiction.  相似文献   

3.
This paper investigates the workings of institutional logics in practice, by focusing in particular on the interplay between material, practical and linguistic dimensions of practices. In other words, drawing on Bourdieu's sens pratique, the paper explores the logic of practice in the practice of logics through a six months full-time ethnographic study at Il Sole-24 Ore, the largest Italian financial newspaper, between 2007 and 2008. An original conceptual framework is developed to analyse how the logic of journalism is enacted vis-à-vis that of advertising in a setting in which an old technology for news production – print newspaper – coexists with a new one – website – and thus encounters between new and old technological possibilities make workings of institutional logics particularly visible. The findings point out different mechanisms of institutional work dealing with actions that, made possible by new technological possibilities, are potentially, but not necessarily classified as divergent from institutional logics.  相似文献   

4.
Abstract

This study illustrates the narrative construction of diasporic refugee identities in times of sociopolitical tensions. Specifically, this paper is concerned with how Iraqi refugees living in the United States constituted their identities through narrating in times of the War in Iraq. Gergen's social constructionist approach towards narrating and current theorizing in diaspora studies build the theoretical bases for the analysis. Narratives were collected through participant observations, interviews, and group discussion in the Pacific Northwest of the United States before, during, and after combat operations in Iraq were declared to be over by President Bush. The paper answers three questions. First, which events triggered the construction of Iraqi refugee identities in the United States? Second, what is the role of narrating in constituting Iraqi identities? Third, do the Iraqi narrators construct diasporic imaginations and if so, how? The findings show that the narrative construction of being Iraqi and a refugee was a relational achievement and situated response. The respondents constructed imaginations of transnational communities that included Iraqis in Iraq, Iraqis in refugee camps, and Iraqis in the United States. By integrating their emerging political voices in the United States with their political resistor identities in Iraq, the narrators made salient transnational links between being Iraqi, a displaced person, and a member of U.S. society, disrupted political discourses about Iraqis in the United States, and affirmed moral values.  相似文献   

5.
ABSTRACT

This essay focuses on the relationship between culture and governance, exploring how the practice of government has invoked conflicts and crises in the Korean culture industries. The Park Geun-Hye regime used culture as a central engine to boost Korea's national economy by adopting the new slogan, ‘Creative Korea’, to embody the country's national values within the international community. However, the regime's constant emphasis on creative economies came under attack when it was discovered that the Ministry of Culture and Tourism abused its authority by censuring 9,473 artists who were critical of the regime. Through an analysis of journalistic interviews with artists, critics and cultural practitioners, this paper examines how the relationships of governmentality, culture and creativity have been negotiated in the process of regime change. In addition, this paper explores how the Korean Wave phenomenon – the transnational expansion of Korean popular culture – during the past two decades has reshaped the society's perception of the governor–governed relationship within the cultural sphere.  相似文献   

6.
Abstract

This essay reads two differing conceptions of subjectivity in Frantz Fanon's work as corresponding to a shift in subjective orientation in certain moments of crisis, from what I term a unified individual – the subject of psychoanalysis – to a dispersed subject, the frenzied participant in collective activity. I believe that such a potential duality within the subject is best adopted when analysing Fanon's oeuvre, as well as when examining a subject's behaviour as participant in forms of unstructured collective protest such as rioting. Whereas the unified subject of psychoanalysis best expresses the consciously self-reflective individual in society, the dispersed subject expresses a subjectivity operating in excess of individualism. This dispersed subject acts collectively, as an object moving in tandem with other objects, without individual reflection. I argue that this shift comprises the initial spark of insurrection suggested in Fanon's work, the moment in which he sees the people pitched ‘in a single direction, from which there is no turning back’; and what Jean-Paul Sartre calls the explosive moment of ‘conflagration’. The two subject positions between which the subject shifts exist as two potential sides of every subject and comprise the ‘Manichean’ world in which Fanon's subject is entrenched.  相似文献   

7.
ABSTRACT

From frequent television advertisements to posters in jet bridges all over the globe, the public is continuously subjected to messages affirming the inception of a flat, borderless world. While these discourses suggest globalization is bringing humanity together into a globally connected, cosmopolitan world order, such corporate advertisements also seek to convey the desirability and inevitability of a borderless economy in which they may roam unfettered. To illustrate how these ideas are communicated, I investigate three emblematic cases: Emirates Airlines, HSBC, and Itaú. By interrogating their public discourses, this article elucidates how powerful actors seek to construct global (or regional–global) imaginaries for consumers by deploying esthetically pleasing (and, at times, seemingly ‘subversive’) advertisements. Their ultimate effect is to demonstrate the would-be futility of attempts to regulate the spread of global capitalism or their own profit-seeking behavior. Through showing how pop-culture artifacts attempt to ‘sell’ teleological global capitalism to audiences, this article contributes to the burgeoning literature on the cultural political economy of globalization. To conclude, I briefly explore how this analysis relates to important political debates concerning agency in globalization, the feasibility of state regulation of global capitalism, and the construction of alternative global imaginaries/orders.  相似文献   

8.
Abstract

This essay revisits the question of post-Shoah responses to cataclysm in light of the now-urgent question of transmission – the shift in mourning and memory between first-generation survivors and later generations. Offering a different but complementary analysis to those in trauma or memory studies, I argue that post-Shoah witness and testimony are acts of ‘irreconcilable mourning’. This sense of mourning departs from post-Freudian approaches that focus on closure. Instead, irreconcilable mourning is a non-totalising approach to loss that resists ‘redemption’ and instead necessitates an ongoing, creative, and critical response to loss. In the course of this argument, I examine first-generation accounts such as Primo Levi's and Elie Wiesel's to highlight the necessity and contingency of transmission by interrogating concepts such as the ‘unsayable’ and the remnant. I then focus on Art Spiegelman's second-generation Maus: A Survivor's Tale, bringing cross-generational questions of witness and testimony as acts of irreconcilable mourning into the fold of Marianne Hirsch's ‘postmemory’ and Edith Wyschogrod's heterological history-telling.  相似文献   

9.
Abstract

Both fans and critics of Lars von Trier's work would likely agree with his capacity to make his audience suffer. This essay canvasses the devices through which the suffering of women in von Trier's melodramas is rendered excruciating to watch. Drawing on Deleuze's influential account of masochism, the first part of the essay discusses how von Trier's film Dogville foregrounds the complicated relationship that suffering has with pleasure and power. The second part of the essay focuses on the temporal dynamics of melodrama and the creative ways in which Lars von Trier disturbs the rhythms of suffering on screen. In particular I argue that von Trier introduces intervals of ‘dead time’ that make the passage of time itself painful to the audience and that open up a larger cultural history of temporal disorder. This part of the essay looks back to von Trier's early experiments with time in Psychomobile 1: The World Clock (2000) and forward to more recent innovative play with time and movement in Melancholia (2011) to make the case for rethinking the temporal dimensions of mediated suffering and the significance of time in the work of Lars von Trier.  相似文献   

10.
ABSTRACT

Drawing on an innovative ‘big data’ method, this paper presents a comprehensive analysis of the geography of media and entertainment industries (MEIs) in China, by examining the specific activities that are performed by celebrities, the key actors in these industries. Compared to previous research on cultural and creative industries, which primarily rely on more traditional statistical data, our study demonstrates a new approach to systemically investigate the spatial organization of the dynamic production process in MEIs. The outcomes reveal that activities focusing on the different value segments of MEIs display rather diverse geographical patterns. Depending on the availability and combination of specific local assets, different locations perform varying functions in the production networks of MEIs. Therefore, the agglomeration of MEIs only partially overlaps with the existing urban hierarchy. In addition, celebrities catering to different media and entertainment markets also exhibit distinct activity patterns, indicating a close and reciprocal relationship between the popularity of celebrities, the activities they perform, the platforms that are chosen, and the commercial value that can be generated as a result. This study contributes to our understanding of the complex development patterns and consequences of MEIs in emerging economies.  相似文献   

11.
ABSTRACT

This article develops the notion of the intimacy of surveillance, a characteristic of contemporary corporate marketing and dataveillance fueled by the accumulation of consumers’ economically valuable digital traces. By focusing on emotional reactions to targeted advertisements, we demonstrate how consumers want contradictory things: they oppose intrusive and creepy advertising based on tracking their activities, yet expect more relevant real-time analysis and probabilistic predictions anticipating their needs, desires, and plans. The tension between the two opposing aspects of corporate surveillance is crucial in terms of the intimacy of surveillance: it explains how corporate surveillance that is felt as disturbing can co-exist with pleasurable moments of being ‘seen’ by the market. The study suggests that the current situation where social media users are trying to comprehend, typically alone with their devices, what is going on in terms of continuously changing algorithmic systems, is undermining public culture. This calls for collective responses to the shared pleasures and pains while living alongside algorithms. The everyday distress and paranoia to which users of social media are exposed is an indicator of failed social arrangements in need of urgent repair.  相似文献   

12.
ABSTRACT

This essay reads the Latina/o/x migrant vernacular discourses that emerge out of pro-migrant activism. Anzaldúa’s notion of mestizaje – a logic of border consciousness – is put into conversation with Deleuze’s notion of nomad thought – a logic of movement – to inform a rhetorical strategy for reading the vernacular archive of social movement discourse. The “No Papers, No Fear” is one such social movement that demonstrate the logic of mestizaje/nomadism in their communication strategies. This study illuminates three tensions that define the ways Latina/o/x migrants in the US navigate the spaces of citizenship: tensions between movement/stasis, migrant identity/national identity, and fear/safety.  相似文献   

13.
This article discusses the role of creativity, graphic design innovations and tacit knowledge within advertising agency competition processes during the first half of the twentieth century. This period witnessed the arrival of the ‘advertising creative’: the artist-designer, whose output and tacit understanding of consumer tastes became key for the competitive advantage of agencies. Adapting Bourdieu's concept of the social field within which actors create and trade various forms of capital, I show how and why William Crawford's advertising agency in London became a pioneer in promoting the social, cultural and economic role of this new group of agency workers. I argue that Crawford's became the first advertising agency that carved out a unique position within a highly competitive market by defining its visual production and organisational identity entirely through notions of creativity. This places Crawford's at the heart of the emergence of a cultural economy for which creative skills are a paramount source of value creation.  相似文献   

14.
Drawing on Pierre Bourdieu's theory of aesthetic judgment, this text offers an inductive account of financial reasoning inside a trading room. Driven to maximise bank profits, trading room operators do not find ‘one best way’. Rather they choose among several possible winning strategies: mathematical arbitrage, economic analysis, chartist analysis. These strategies differ sharply from one another in their conception of the market, method, proximity to scholarly knowledge, and legitimacy. We show that the choice of one method depends on a system of tastes and distastes that are both historical – depending on individuals’ social and educational background – and relational – depending on the individual's relative position within the trading room viewed as a field.  相似文献   

15.
ABSTRACT

In this article, I examine Catherine Malabou’s concept of trauma, and argue that her replacement of the Freudian unconscious with the cerebral unconscious might fit adequately into a different framework from the one she proposes. Comparing her view of pathology to that of Georges Canguilhem, I propose a dimensional reading of pathology. Building on this – and by reference to metaplasticity – I ask whether one can explain the mechanisation characteristic of the new wounded mechanistically. I then look at her exchange with Slavoj ?i?ek to get at Malabou’s understanding of psychoanalysis. She seeks to realign Freud and neuroscience to resolve issues with both. As part of this shift, she introduces the term ‘the Material’ – linked to the cerebral unconscious – as an alternative to the Lacanian triad of Real, Symbolic, and Imaginary. She does, however, leave it underdeveloped, and I argue that this points to tensions in her theory. While her concept of plasticity runs against ideas of an isolated transcendental subject exempt from the outside, Malabou seems to literalise (or ‘corporealise’) trauma. If this is correct, then how radical is her concept of trauma, and are there ways of describing trauma that are equally compatible with her concept of plasticity?  相似文献   

16.
Abstract

The Product (RED) campaign raises money to fight AIDS in Africa by helping to sell brand-name merchandise to affluent consumers. This paper examines the racialized representations of the (RED) website and the campaign's use of a consumer–celebrity fund-raising model. Through the analytical lens of critical cultural studies, I argue that (RED) commodifies Africans and “African-ness” under a celebratory guise, and reinscribes a narrative of Africa as a “problem child.” The campaign paradoxically trades on the very disparities of global capitalism that propel the AIDS crisis. It is central in (re)producing the human consequences of globalization, shoring up a symbolic and material marketplace marked by extreme poverty and extreme consumption.  相似文献   

17.
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process?  相似文献   

18.
HALDANE'S GAMBIT     
This article considers the body of work which Andrew Haldane has published since the onset of financial crisis. It draws a distinction between two kinds of criticism in that work: Haldane's interference through political arithmetic on the costs of finance and Haldane's big concept of the financial network using metaphors drawn from the life sciences. His readers have mainly focused on Haldane's innovation through concept and network metaphor while neglecting his political arithmetic and empirics on the costs of finance. But this article argues that Haldane's political arithmetic on costs is an important radical intervention when the finance sector is deflecting reform with a trade narrative about the social benefits of finance.  相似文献   

19.
Abstract

This essay discusses Nietzsche's tragic moral psychology and its significance for liberal political philosophy. In the essay, I sketch out what I view to be the basic features of Nietzsche's tragic psychology, which is strongly opposed to the Socratic and Stoic traditions, and I show how this perspective can be distinguished from the moral psychology that informs liberalism's position on issues such as personhood and political history. I conclude with a few suggestions for viewing Nietzsche's thought as a necessary corrective to a certain dogmatism that still inhabits liberal theory, in this way enabling liberal thought to conceptualise human nature and the human good in more creative and complex ways.  相似文献   

20.
ABSTRACT

Issues of maintenance offer exceptional opportunities for advancing our understanding of how market-driven innovation can meet societal objectives for energy transitions. In this article, I present a case study of ongoing attempts by two spin-outs and one start-up to stabilise innovative socio-technical agencements – ‘customer journeys’ – designed to catalyse economic exchange of certain singular goods – energy retrofit products – in the Netherlands. This market-driven innovation relies on sustaining carefully crafted relationships of trust among supply-chain actants and homeowners. I mobilise the analytical lens of ‘care’ to show how the multiplicity of connections that form through socio-technical agencements – and function as a market – are tentative, contested, and unpredictable. Trust relationships are in a constant process of becoming through contestation and convergence among supply-chain actants. In doing so, I expose the precarious and arduous work involved in maintaining a market for singular public goods. This implies a knowledge politics as well: in a call to sensitise us, market scholars, to processes of maintenance integral to market-driven innovation for energy transitions I propose to advance Callon’s call to civilise markets by sharing troubled, though encouraging, care-infused market tales in an effort to counteract the storification of energy transitions as innovation fairy tales.  相似文献   

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