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《Popular Communication》2013,11(2):79-94
This issue of Popular Communication features two particularly interesting pieces of scholarship whose salience should be noted in that the authors work expressly to extend our ideational boundaries regarding racial identity-in these two instances, the categories of Blackness and Whiteness. The authors share a common goal, though one taken with great care: to disrupt plebeian notions of what is thought to be essentialized Black cultural forms (e.g., hip-hop culture) by studying what they consider out-of-the-common practices of Blackness. Adopting the "different contexts" modality, one author locates the Black popular within Whiteness to reveal the elasticity of performative Blackness as well as evidence an accessibility to, and even mastery of, Black cultural participation by those outside of the African American race. The other author locates Blackness within "high culture" Black communicative practices and celebrates the fact that the presumed prole core of the Black popular can be elevated to a higher and, therefore, more worthy cultural plane. More, the author characterizes this ascent of Blackness as being especially noteworthy because it is facilitated by a figure believed to be marginalized within Black popular discourses-a member of the Black bourgeoisie. 相似文献
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《Popular Communication》2013,11(2):97-116
This article examines Associated Press and Agence France-Presse wire service coverage of Frenchman Jose Bove's 1999 ransacking of a Millau, France, McDonald's, as well as his subsequent trial. News media coverage of this incident represents an opportunity to examine deeper issues surrounding globalization, nationalism, and the media's-in this case, international news agencies'-role in constructing and maintaining both. Analysis suggests that both services covered the Bove incidents similarly, downplaying the broader context of corporate capitalism and the global movement to resist it, while elevating Bove to be a key representative of the movement. At the same time that they anointed Bove as a French icon (contributing to "Bovemania"), the wire services constructed a comical caricature of him, which ultimately discredits the activists and the movement he represents. 相似文献
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ABSTRACTThis article considers a project that used the Social Return on Investment (SROI) methodology to describe and measure the social impact of Turner Contemporary art gallery in Margate, a coastal town in the South East of England. The article details the reasons why the methodology was chosen by the gallery, setting this in the context of the wider debate around evaluation and social impact reporting. A section of the research and analysis, which was carried out by COaST, a consultancy and research centre based within Canterbury Christ Church University, is described in detail, allowing the reader to understand the processes involved in this type of project and the kinds of outcomes that can be delivered using this method. Finally, an account is given of the impact the work had on the management of the gallery, and the ways in which the final report was used. 相似文献
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