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1.
Vaheed Ramazani 《Culture, Theory & Critique》2018,59(3):193-214
I argue that, in American public discourse after the attacks of 9/11, the myth of World War II has become the dominant justificatory metaphor for the United States’ (already metaphorical) War on Terror, as broad-brushed analogies between the ‘Good War’ and recent US military adventures in Africa and the Middle East implicitly transfer the ethical values associated in national memory with America’s iconic just war onto our contemporary conflicts and counterinsurgencies. My examination of recent political and strategic discourses and practices suggests, specifically, that the ideological entrenchment the World War II metaphor has helped to shape a language of national security that rests on an unacknowledged logical and ethical contradiction: a tendency, on the one hand, to tout the humanitarianism of current asymmetrical military actions relative to the degenerate total-war engagements of the past yet, on the other hand, to figure the aims and strategies of today’s low-intensity operations in terms that are more appropriate to total warfare, for which the ‘Good War’ serves as moral alibi. By collapsing historical time and erasing, along with it, crucial distinctions between the conflicts that it brings together, this anachronistic cross-mapping of ethically and strategically incompatible structures of violence serves to naturalise what I call a hybrid culture of warfare, a fetishistic conception and practice of war that regressively mimics features of the total-war ethos while also testing the laws of war in unprecedented ways, through the use and the abuse of new weapons technologies. 相似文献
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《Journal of Cultural Economy》2013,6(2):120-136
This paper uses empirical work on a piece of performance art to think through the relation between ‘work’ and ‘art’, and by implication, ‘culture’ and ‘economy’. Beginning with the idea that the intelligibility of both is produced through similar forms of rule following and rule breaking, I suggest that this throws into question the empirical and historical novelty of the idea of the creative worker. As institutionalists have argued, the work of art is produced through its relation to various organizations, just as work organizations rely on creative rule bending and elaboration. Examples of contemporary art are enrolled in the argument along the way in order to suggest that we can find many insights into the nature of work, culture and economy in comparing the practices of artists with the practices of workers. 相似文献
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Sunil Manghani 《Culture, Theory & Critique》2013,54(1):23-36
This article focuses on a debate between Mieke Bal and James Elkins regarding the nature and scope of visual semiotics. Their research, which is concerned with the conceptualisation of the smallest ‘subsemiotic’ marks of pictures, is examined here in terms of the broader issues of visual theory and critique. The exchange between them is used to illuminate a number of key concerns about the nature of visual semiotics and the critical practice it inaugurates for visual culture research. The developments in recent visual culture discourse are presented first with the suggestion that a re-evaluation of the very ‘object’ of visual culture is required, which would bring the differing positions of Bal and Elkins to accord. The contesting positions of Bal and Elkins represent the vacillating need in visual culture for a critical discursive framework and a specifically visual orientation. By drawing much insight from the writings of Roland Barthes, the overall argument is that in order to (ad)venture forth in (sub)semiotics it is crucial to (re)consider past semiotic theory and the very ‘object’ of visual culture in and as writing itself. 相似文献
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John Welsh 《Culture, Theory & Critique》2018,59(1):1-19
Do we not find that the repetitive deployment of certain phrases and words in academic language entails a conceptualisation of meaning into objects that are thereafter encountered daily not as thoughts or ideas but merely as a socio-cultural force? Is it not necessary to identify and illuminate them, and to contrive some sort of resistance to their potent, though unrecognised, illocutionary effects? This article concerns the everyday cultural practices of academic life. It is an attempted intervention into the mundane language use of academics in order to impact critically upon the ongoing and constant articulation of certain culturally latent assumptions into political effects. I argue that within the social and human sciences ‘sump concepts’ are those extremely common concepts that recur in analysis and explanation due to their easy accessibility and to the function that they serve in reproducing certain discourses of social power. In particular, they constitute territorialisations of language, linguistic creations that close off polyvocity, contingency and possibility through identity-thinking into sutured and reactionary conceptualisations. I present a selection of three sump concepts that have become thoroughly imbricated into the discursive culture of academic life – Bottom-Up, Evolution, and Concrete – and that are complacently resorted to on a daily basis in social science research and in social discourse. By exploring their potencies, purposes and pitfalls, I demand a more cautious and considered deployment of these concepts in our academic discourses, and advocate for a critical practice of negative dialectics. 相似文献
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《Journal of Cultural Economy》2013,6(2):161-177
The central argument in this paper is that actor-network theory (ANT) does not do ‘cultural economy’ symmetrically: it has had a lot to say about economy but much less to say about culture. This rejection of culture is ontological and epistemological: culture appears in ANT largely as an artefact of modernist thought rather than as an empirical aspect of agents' performances. And yet if ‘economy’ can be critiqued and reinstated as performative, so too can ‘culture’. To explore this, we focus on objects of concern that – unlike the financial markets that have formed the core of ANT-inspired thinking about the economy – are assembled by actors in and through what they themselves understand to be cultural materials, cultural calculations, cultural processes, cultural institutions. In such examples, ‘culture’ is continuously invoked and enacted by actors in constructing their actions, whatever critical sociologists might have to say about its ontological status. It seems paradoxical that a theoretical approach that makes sacrosanct the associations constructed by agents who assemble their own world, generally discusses ‘culture’ only from the point of view of critical epistemology. Bearing all this in mind, we argue that it is time for us to ‘reassemble’ the cultural. 相似文献
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中国古典诗词中的语篇隐喻指那些以某一意象或属于同一语义场的意象群为构筑要件的诗歌,其中的隐喻意义是在整个语篇层面运作的,大致可分为语境独立型和语境依赖型语篇隐喻。中国古典诗词中语篇隐喻的翻译首先要持一种整体观,再现其中的隐喻意象和隐喻话语,保证译文本身是一个生机灌注的整体。针对语境依赖型语篇隐喻的翻译而言,为了弥补原文读者和译文读者的语境视差,还要以作者简介、加注、评论、文内补偿等手段提供必要的语境信息,以有效传达原诗的象征意义或语篇隐喻意义。 相似文献
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Seung Cheol Lee 《Journal of Cultural Economy》2020,13(5):579-591
ABSTRACT Metaphors of ‘face’ are often found in South Korea’s fair trade activism, as fair trade is frequently described as ‘face-to-face commerce’ and its goal is presented as pursuing ‘global trade with a human face.’ By asking how and why fair trade relies on the metaphors of face, this article analyzes the political implications and limits of the trope. I first examine the intimate connection between gift-exchange and face based on Marcel Mauss’s analysis of the gift and I present face as a locus of symbolic recognition and politics. Next, drawing on ethnographic research into Beautiful Coffee, the largest fair trade organization in South Korea, I illuminate fair trade as a hybrid practice of ‘marketized gift-exchange’ in which the various faces of producers and consumers are produced and circulated along with market transactions. In examining the meanings of those faces, I maintain that the prevalent metaphor of face in fair trade betrays the contradictory nature of market-based solidarity that is sought through the activism to redefine the whole economic structure based on moral and ethical practices. 相似文献
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Paolo Palladino 《Culture, Theory & Critique》2013,54(2):203-217
Abstract The historian Carlo Ginzburg is renowned for his critique of modern, scientific reason and his articulation of an alternative form of knowledge which he labels ‘conjectural’. This form of knowledge, supposedly more attuned to the historian’s interest in the singular and specific fragment, as opposed to the abstract and universal concept, is so rooted in the practices of the prehistoric hunter that Ginzburg sometimes describes it as a ‘venatic’ form of deduction, binding ‘the human animal closely to other animal species’. In this essay, I explore the ramifications of this alternative form of knowledge, attending especially to its relationship to the modernist theme of ‘primitivism’. I do so by juxtaposing Ginzburg’s critical appraisal of Arthur Conan Doyle’s most famous literary invention, Sherlock Holmes, and Rudolph Fisher’s own literary invention, John Archer, the physician who sometimes aids criminal investigations in African American Harlem. I argue that the differences between Archer and Holmes draw attention to some troubling implications of Ginzburg’s historiographical argument. Folding this analysis on itself, however, I also suggest that what might be at stake, when Ginzburg insists so troublingly on the importance of the singular, venatic trace, is the evocation of Walter Benjamin’s understanding of the historical ‘event’. 相似文献
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Gizem Zencirci 《Journal of Cultural Economy》2020,13(5):610-625
ABSTRACT This article examines the ways in which middle class Muslims in Turkey talk about Islamic ‘community’ and analyses these discourses in relation to the phenomenon of market Islam. The evidence is drawn from the author’s ethnographic fieldwork with donors, managers, and volunteers of a government friendly Islamic NGO, the Light House (Deniz Feneri Sosyal Yard?mla?ma ve Dayan??ma Derne?i) in 2009–2010, followed by subsequent trips in 2013 and 2015. I argue that Islamic charity is not merely a calculative economic behaviour or a reflection of deep-seated religious values, but rather a performative site of market Islam. In seeking to reconcile a faith-based understanding of charity with diverse interpretations of the neoliberal economy, I show that middle-class Muslims adhered to two discourses of ‘community’: whereas donors saw charitable giving as a market-enhancing mechanism, NGO managers defined their charitable work as part of an Islamic project focused on economic redistribution. Although they conceptualized the relationship between faith and markets in divergent ways, both discourses of market Islam posit ‘community’ as an intrinsic component of governing the poor in Turkey. 相似文献
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Juha Ridanpää 《Culture, Theory & Critique》2013,54(1):47-63
Abstract The imagining of space has been an important topic in recent geographical studies. Especially in the geographical study of literature, ‘literary geography’, the manner of contesting the frames of ‘fact’ and ‘fiction’ has aroused more and more attention during recent years. Metafiction, consciousness of a text’s own imaginativeness and the discourses behind it, has not yet been explicitly discussed in the field of literary geography, although some tangential approaches have been applied. The main purpose of this paper is to discuss how the metafictive reading of literature functions as an alternative way of approaching the imagining of space, offering an original ‘methodological’ viewpoint for perceiving space, culture and society. The specific focus is on how space becomes metafictive through literary ‘means’ such as divergent narrative and textual strategies, exceptional typographies and ironic writing. At the same time the paper considers how the metafictive continuum between the frames of ‘fact’ and ‘fiction’ may function as a tool for delving more deeply into the discursiveness of the human imagination. 相似文献
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Daniel Martin Varisco 《Culture, Theory & Critique》2013,54(2):93-112
Edward Said is the literary critic most cited by American anthropologists, but there has been relatively little anthropological examination of his concept of culture. Apart from an isolated attempt by Lila Abu‐Lughod to ‘write against culture’, most anthropologists have ignored Said’s approach. In Culture and Imperialism, Said draws on Matthew Arnold’s ‘best of the best’ definition, while American anthropologists owe their holistic culture to fellow Victorian Edward Tylor. Claude Levi‐Strauss is praised by Said, but other major anthropological approaches to culture are ignored. Said assumes anthropology is on the wrong side of the colonial divide, although he holds out hope for those who are now reading the work of literary and cultural critics. In this essay I compare Said’s reading of anthropology, exemplified by Kipling’s Colonel Creighton, to the influence of Bronislaw Malinowski and Franz Boas on ethnographic method. 相似文献
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In recent times there has been a surge in interest on policy instruments to stimulate scientific and engineering research
that is of greater consequence, advancing our knowledge in leaps rather than steps and is therefore more “creative” or, in
the language of recent reports, “transformative.” Associated with the language of “transformative research” there appears
to be much enthusiasm and conviction that the future of research is tied to it. However, there is very little clarity as to
what exactly it is and what criteria might be used to design policy instruments to make more of it happen. In this paper,
we contribute to the construction of a framework within which some conceptual clarity might be gained. We develop four analogies,
or metaphors, that are found in the discourse about “transformative research” and show what they imply for the meaning of
the notion and, as a result, both the phenomena that might be associated with it and the levers that would be available to
design policy instruments. The analogies serving as theoretical metaphors that we propose, and also document to be present
either explicitly or implicitly in the discourse about “transformative research,” are the stock market highlighting risk;
the process of evolution and its selection mechanisms; the process of popular culture and the power of “hot” events; and exploration
of the frontier of the unknown. No single analogy covers all the relevant issues. Together they help identify a field of phenomena
and the potential and challenges “transformative research” presents to policy. 相似文献
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《Journal of Cultural Economy》2013,6(4):479-500
This article develops the argument that a ‘knowledge economy,’ despite its cheerful optimism, is also an elegant incarnation of the demise of Western economies. An analysis of policy documents, research statements, and national accounts reveals this paradoxical coexistence of anxiety and progress in the discourse on knowledge economies. While the concept is often hailed as a temporal concept (superseding other forms of economic production), this article argues that a knowledge economy is best understood as a spatial concept – it is a way of contending with global reorganizations of production. This spatial approach is elaborated to tackle three paradoxes. (1) A knowledge economy enfolds defeat with progress. (2) A knowledge economy downplays the importance of industrial labor and simultaneously depends on it to materialize its ideas. (3) While seemingly intangible and ephemeral, a knowledge economy is fixed in place in national economies through government and corporate policy (including through the emergent phenomenon of ‘knowledge-adjusted gross domestic products’). A spatial approach provides a view of the tenuous global interconnections and specific conditions that prop up a knowledge economy, and shows how the concept is mobilized to redraw the map so that endangered economies can regain their challenged sense of centrality in a world economy. 相似文献
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Michelle C. Forelle 《Journal of Cultural Economy》2018,11(2):97-109
Recently, scholars begun to urge an approach to the study of finance that interrogates the accepted wisdom of financial models and practices by examining the forces of power behind their development. Drawing from the field of cultural studies, Hardin and Rottinghaus (in their 2015 article, “Introducing a cultural approach to technology in financial markets”) advocate for a cultural studies of finance, which emphasizes the critical consideration of the co-constructive nature of financial technologies and cultures. This paper builds off that provocation using the concept of ‘rhetorical closure’ (as described by Pinch and Bijker in 2012) to explore how industry media aimed at derivatives developers, traders, and investment bankers worked to define the meanings of new financial technologies. Using critical discourse analysis, this study examines how credit default swaps (CDSs) were presented in the financial industry media in the years 1995–2007, and how this framing contributed to the politics of these artifacts. It finds that the financial industry media produced a discourse about CDSs using multiple overlapping frames that overgeneralized the success of CDSs from narrowly specific evidence and applied constant competitive pressure to adopt new financial technologies. These discourses implicitly encouraged the rapid adoption and broad application of CDSs, thus helping to (re)produce a financial culture in which self-interest and short-term gains were prioritized. 相似文献
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This paper responds to a trend of contracting out subjective well-being econometrics to demonstrate social return on investment (SROI) for evidence-based policy-making. We discuss an evolving ecology of ‘external’ research taking place ‘between’ the academy and commercial consultancy. We then contextualise this as waves of research methodologies and consultancy for the cultural sector. The new model of ‘external between’ consultancy research for policy is not only placed between the University and the market, but also facilitates discourse between policy sectors, government, the media and the academy. Specifically, it enables seductive but selective arguments for advocacy that claim authority through academic affiliation, yet are not evaluated for robustness. To critically engage with an emergent form of what Stone calls ‘causal stories’, we replicate a publicly funded externally commissioned SROI model that argues for the value of cultural activities to well-being. We find that the author’s operationalisation of participation and well-being are crucial, yet their representation of the relationship problematic, and their estimates questionable. This case study ‘re-performs’ econometric modelling national-level survey data for the cultural sector to reveal practices that create norms of expertise for policy-making that are not rigorous. We conclude that fluid claims to authority allow experimental econometric models and measures to perform across the cultural economy as if ratified. This new model of advocacy research requires closer academic consideration given the changing research funding structures and recent attention to expertise and the contracting out of public services. 相似文献
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《Journal of Cultural Economy》2013,6(1):79-94
This article explores the cultural framings that all too frequently pass un-noticed in standard cost-benefit accounts of development economics. Our purpose is not simply to add our voice to those who argue for the importance of ‘bringing culture back in’, for we assume that in contexts of modern development economics ‘the cultural’ cannot simply be added to the technical or the economic, as these perspectives are explicitly elaborated as an abstraction from the cultural. Rather, we are interested in how an exploration of the cultural dynamics of technical process leads us to a disjunctive (rather than an additive) mode of ‘inclusion’. Building on approaches from science studies and social anthropology, we draw on our ethnographic and historical investigations of road-building in Peru to explore divergent modes of connectivity through which a politics of cultural engagement is played out. Taking the example of a highway under construction in a frontier zone not generally considered of economic importance to the wider national economy, we discuss the historical desire for ‘connectivity’, highlighting the instability of the physical and social environments on the margins of a marginal state. In this context we find that the vital energies of the frontier – entrepreneurial, innovative, experimental and unruly – consistently disrupt the vision of smooth, orderly, technical integration. We argue that this tension between the cultural and the technical, so clearly manifest at the frontiers of capitalist expansion (but characteristic of technological expansion more generally) is a driver rather than an obstacle in the development process. Attempts to produce a political resolution to a perceived lack of integration on the margins of society too often proceed through further attempts at securing smooth continuity (via further technical modes of intervention) rather than building on the diverse (disjunctive) modes of engagement that already exist. 相似文献
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《Journal of Cultural Economy》2013,6(3):297-320
Why has the financial crisis not led to more radical public contestation and political reforms? In investigating the muted response to the crisis so far, the paper highlights the significance of ideological fantasy for appreciating the interpenetration of economy and society. We interpret this muted response to the crisis in terms of a ‘cooling out’ process (Goffman) underpinned by a restorative fantasmatic narrative. The ‘enjoyment’ derived from scapegoating individual bankers has narrowed the debate and stifled political imagination and mobilization. By investigating a range of media and policy responses to the meltdown, we conclude that the pre-credit crunch ideology of ‘no more boom and bust’ has been replaced by an equally ideological narrative that promises a re-normalization of processes of financialization. This allows for the preservation of key elements of neo-liberal capitalism as well as the marginalization of alternative projects. The paper shows how, exemplified by the establishment and operation of United Kingdom Financial Investments Ltd, the post-crisis ideology continues to shield financial markets from public scrutiny and intervention. 相似文献