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1.
Benny LeMaster 《传播与批判/文化研究》2013,10(2):103-123
This essay explores queer imag(in)ing by analyzing a contemporary vampire text, Let The Right One In, by John Ajvide Lindqvist. As I argue, the rhetorical act of humanizing vampires is inherently limiting for (queer) audiences and indicative of processes that seek to clarify, assimilate, and tame—in short, normalize, which as Michel Foucault states “imposes homogeneity” by stamping out difference. Furthermore, I argue that a text can actively resist moments of normalization with the strategic use of what Victor Turner calls liminality—a (queer) rhetorical tactic that resists while seemingly/simultaneously buttressing a liberal humanist belief wherein difference is denied thus displacing and denying the significance of the Other. 相似文献
2.
The rhetorical practice of consciousness‐raising has changed since communication theorists first began to apply its functions and style, as a small group, face‐to‐face practice, in the early 1970s. In this essay, we argue that in feminist activism and theory, the practice of consciousness‐raising has evolved in response to shifting cultural conditions. Our examination of consciousness‐raising rhetoric produced by self‐labeled “third wave” feminists reveals how contemporary social contexts have generated different rhetorical problems and discursive responses for feminists. Specifically, we show how third wave feminist consciousness‐raising instills a critical perspective that focuses on personal and social injustices. We argue that these rhetorical responses raise consciousness in the public sphere, through mass media, popular culture, and college classrooms, fostering both public and private dialogue about gender inequities that aims at self‐persuasion. 相似文献
3.
《Qualitative Research Reports in Communication》2013,14(1):46-61
This essay will provide further insight into how Black audiences interpret a popular culture text by focusing upon how a group of young black men construct Black masculinity as depicted in the film Barbershop. Interestingly, a rhetorical community of young Black men discussed the representations of the characters in the film from a perspective of Black individualism rather than reaffirming identity through a collective orientation toward the culture. This reading contrasts with much of the “ghettocentric” film literature by highlighting how a Black audience's interpretation of a text can focus on individualism rather than on cultural representations and stereotypes. 相似文献
4.
Tasha R. Rennels 《传播与批判/文化研究》2013,10(3):271-288
Depictions of white working-class people are steadily on the rise in reality television. To understand this phenomenon, and the ways in which it articulates white working-class people in the United States today, I analyze Here Comes Honey Boo Boo, a popular reality series on TLC featuring a self-described “redneck” family. I argue that this series highlights the family's inability—because of their working-class status—to conform to “ideal whiteness,” a whiteness that displays dominant cultural standards bolstered by neoliberalism, such as wealth, rationality, personal responsibility, and self-control. The family members consequently become exemplars of “inappropriate whiteness,” a marginal identity presented as humorous and, through the use of surveillance and spectacle, authentic. 相似文献
5.
Oren Livio 《Critical Studies in Media Communication》2018,35(3):259-272
In this paper I examine the ways in which public discourse about the sperm donation industry in Israel, as appearing in mass media and advertising culture, bridges militarist, pro-natalist, and neoliberal ideologies. In constructing the sperm produced by combat soldiers as superior and in emphasizing the potential dangers of inferior sperm or the lack of enough sperm to meet demand, mainstream media and sperm banks adopt, utilize, and exploit a culture of fear that is linked to Israel’s perceived existential threat in order to serve their own commercial goals. At the same time, the tensions between national-collective and individual perceptions of gender and body occasionally rise to the surface, with media simultaneously embracing and questioning dominant cultural narratives concerning masculinity and militarism. Implications of the relations between media discourses of blood, sacrifice, and death, and those of sperm, reproduction, and cultural regeneration are discussed. 相似文献
6.
Zala Volcic 《传播与批判/文化研究》2013,10(2-3):333-339
This article looks at the emergence and potentials of a Balkan cultural studies. I argue that the productivity of a Balkan cultural studies lies in its willingness to engage with popular culture as a very real political force in the revolutionary transformations from the 1980s on. Some recent cultural developments are presented here to show how the mix of culture and cultural studies contributes to the political relevance and academic vibrancy of Balkan cultural studies, which captures the imagination of students in the region precisely because of its engaged character and its contemporary relevance. 相似文献
7.
Katherine Sender 《Critical Studies in Media Communication》2013,30(2):131-151
This paper moves beyond a conventional critique of gay stereotyping on Bravo's popular makeover show Queer Eye for the Straight Guy to consider how the show puts gay cultural expertise to work to reform a heterosexual masculinity that is compatible with the neoliberal moment. At issue are the newly public acknowledgement of gay taste and consumer expertise; the “crisis of masculinity” that requires that heterosexual men must now attend to their relationships, image, and domestic habitus; and the remaking of the straight guy as not only an improved romantic partner—the metrosexual—but a more flexible, employable worker. The author concludes by considering how camp deconstructs some of Queer Eye's most heteronormative aims, even while leaving its class and consumption rationales intact. 相似文献
8.
《Communication monographs》2012,79(3):376-392
This analysis of the rhetorical styles of New Orleans Mayor Ray Nagin—in the aftermath of Hurricane Katrina—and the former New York City Mayor Rudolph Giuliani—following the destruction of the World Trade Center on September 11—outlines the characteristics of what we term “restorative rhetoric.” We demonstrate how restorative rhetoric functions in situations of natural disasters and acts of terrorism, and we distinguish it from other crisis response frameworks. Through this examination, we establish the features of restorative rhetoric that reflect a clear process for managing these unique crisis situations—whereby image restoration is not the primary goal. Further, we argue that these unique types of crises prompt a unique type of rhetorical response; one that combines strategic communication—to alleviate risk and restore public safety—with a deeper, more humanistic communication—to focus on more substantive issues of crisis leadership. It is this unique response that exemplifies restorative rhetoric. Features of this form of rhetoric include: (1) initial reaction; (2) assessment of the crisis; (3) issues of blame; (4) healing and forgiveness; and (5) corrective action and rebuilding through a rhetorical vision. Finally, we conclude that both Giuliani and Nagin employ restorative rhetoric in an attempt to restore hope after tragedy. 相似文献
9.
Ann Johnson 《传播与批判/文化研究》2013,10(2):166-183
This essay examines The Man Show as a contemporary example of blatant sexism. A growing body of feminist criticism documents the emergence of subtle forms of sexism in popular culture. Such forms may be characterized as an accommodation or hegemonic negotiation in which dominant discourses must become flexible in the face of pressure from oppressed groups. Yet blatant sexism abounds in contemporary culture. I argue that The Man Show provides viewers with rhetorical resources to imagine their viewing practices as an act of protest against an imagined dominant female authority, and that those resources potentially allow viewers to accept the sexism of the program at face value. 相似文献
10.
Peter Simonson 《The Communication Review》2013,16(3):399-420
Building out from a case study of People for the Ethical Treatment of Animals (PETA), this essay offers a cultural account of popular social protest in the narrowcast era. Founded in 1980, PETA has grown into the world's largest and highest profile animal rights group. I trace the evolution of the group's public relations efforts and describe them via vocabularies of sound— as creating social noise and generating popular rhythms. Through the mid‐1980s, PETA made public noise primarily by orchestrating news‐based controversies, but by 1987 they were increasingly turning to narrowcast and broad circulation music and entertainment media as a way to spread the word to outsiders and ritually express the beliefs of the group. I argue that these cultures of entertainment and celebrity provided structured rhythms of affection that took the cause further than the more discordant sounds of news‐based controversy. 相似文献
11.
《Communication monographs》2012,79(2):232-255
This study involved a rhetorical ethnography and textual analyses of an anti-immigration group over a six month period. I argue the collective engaged in a deleterious form of bordering populism, in which communicators continually attack and praise the same targets. This populism was generated by outlaw–civic shifts between marginalized, outsider stances, and more official, general cultural logics. The group demonstrated a fragile, fracturing approach to a public issue, and local, vernacular practices that are employed to bridge pressures for agitative and integrative movement communication in a pluralistic, globalizing environment. Overall, each of the group's stark rhetorical shifts for and against the government, businesses, and immigrants concurrently crafted and dismantled rhetorical borders, creating an unstable (counter)public forgoing the possibility of democratic communication and community. 相似文献
12.
Brenda Cooper 《Critical Studies in Media Communication》2013,30(1):44-63
–This analysis argues that Kimberly Peirce's film Boys Don't Cry can be read as a liberatory narrative that queers the centers of heteronormativity and hegemonic masculinity by privileging female masculinity and celebrating its differences from heterosexual norms. My critique emphasizes how the narrative strategically challenges heteronormativity and, in turn, “narrative's heteroideology” (Roof, 1996), in four ways: 1) by dismantling the myth of “America's heartland”; 2) by problematizing heteromasculinity; 3) by centering female masculinity; and 4) by blurring the boundaries of female masculinity. I argue that the articulation of each subversive strategy within the narratives of Boys Don't Cry can serve a liberatory function, whereby the privileged subjectivities of heterosexuality and hegemonic masculinity are dismantled and, simultaneously, female masculinity and gender fluidity are privileged and normalized. I conclude that the narrative structure of Boys Don't Cry not only privileges gender diversity, but also exposes the inherent sexual bigotry of heteroideology and the brutal and deadly consequences of society's failure to eradicate such prejudice. I just keep on laughing Hiding the tears in my eyes Because boys don't cry. Boys don't cry. (Smith, Tolhurst, & Dempsey, 1988) 相似文献
13.
Sheng Zou 《传播与批判/文化研究》2013,10(3):178-195
ABSTRACTThis essay unravels the coalescence between bottom-up youth culture and state-led ideological work in China by examining the patriotic hip-hop music videos of a Chinese youth band. I attend to the ways in which the state-centric ideology is aesthetically evoked by co-opting popular cultural formats, maneuvering grassroots nationalistic expressions and appropriating symbols of both tradition and modernity. Hip-hop is thus localized and sanitized as a cultural medium of propaganda. The limitations of such co-optative tactics are also discussed, particularly the tradeoff between ideological control and authentic expressivity, and the risk of de-sublimating auratic cultural symbols for political persuasion. 相似文献
14.
本文通过对色情网络公共话语实践的分析,检视了中国网络色情文化的变迁史,描摹了作为当代社会意识形态重要症候的色情文化,如何参与到中国政治、经济、文化的社会整体性变迁之中。“色情”在互联网的话语建构中,是信息自由流动、绝对自由市场的象征,是分享文化、兄弟情谊的载体,是被征用成为政治反对的话语工具、互联网新经济发展的欲望引擎,也是形塑支配性男性气质的文化力量。以高知青年男性为代表的新中间阶层既在掌握数字技术的过程中培育了群体意识与媒介表达能力,成为了网络集体行动的重要力量;也沉浸在“信息自由流动”的赛博迷思之中,试图接管文化生产与阐释权的同时摒弃了性别平等的文化政治安排。当被新经济所征用的软色情消费文化蔓延之时、“性别战争”泛起之刻、“裸贷”激发剧烈争议之际,中国社会亟需新的文化政治以促成新的社会共识。 相似文献
15.
Radhika Parameswaran 《Critical Studies in Media Communication》2013,30(4):346-370
This paper's analysis of print media texts about India's six Miss World and Miss Universe title‐holders maps the cultural production of the global beauty queen as an emerging hero whose tale of ascent circulates in a nation that is renegotiating its marginal position in the global economy. News and magazine texts celebrate global beauty queens' bodily discipline and devotion to fitness and grooming programs as evidence of the meritorious hard work of committed professionals. Popular biographies construct beauty queens as humble and ordinary women, who have struggled to overcome adversities in their pursuit of global fame. Media accounts navigate the boundaries between modernity and tradition when they represent beauty queens as hybrid—wholesome, patriotic, and cosmopolitan—young women, who preserve their authentic national identities despite their success in the global arena. Unpacking the mythical tales of class, gender, and national ascent that are smuggled into the public profiling of the global beauty queen, I argue that such representations of feminine agency in popular print culture authorize the ideological interests of India's consuming classes. 相似文献
16.
Theodore Matula 《Communication Studies》2013,64(3):218-237
Rhetorical studies of popular music have privileged formalist analysis of musical score and lyrics, suggesting a need for greater inclusion of contextual factors. By explicitly attending to the rhetorical context, critics are more likely to warrant critical judgments within social and cultural discourses, reconceptualize musical texts in intertextual terms, and actively reflect on critical performance. Such a strategy is illustrated through the critical study of the Pixies’ “Rock Music,”; a song whose meaning as an anti‐anthem can be found at a nexus of rhetorical contexts, including punk taste culture, surrealist art, musical argument, post‐punk alternative rock, and anthem rock. 相似文献
17.
Jeroen de Kloet 《Critical Studies in Media Communication》2013,30(4):321-338
To theorize further global and regional flows of popular culture, this article provides a critical analysis of “authentic” rock music from Beijing as well as “commercial” pop from Hong Kong. Following Appadurai, I theorize rock as a hard cultural form, which, under the scrutinizing eyes of the West, demands localization when it travels to places outside its perceived homeland, the West. By comparing hardcore punk from Beijing to Cantopop, I discuss whether the soft relates to the hard as pop does to rock. I conclude it does not. The transient, intertextual, and multivocal opaque voice of pop demands a different theorization. I therefore recast Appadurai's hard–soft distinction into a clear–opaque dualism as a more accurate theoretical tool for understanding cultural globalization. 相似文献
18.
Casey Brienza 《Publishing Research Quarterly》2017,33(4):373-379
In this paper, I will argue for key role played by the global culture of comics, of which the French publication Charlie Hebdo is but one small part, in the development and aftermath of the Paris terrorist attacks of 2015. I begin by exploring and elucidating this culture of comics that exists across France and other comic book producing nations and its associations with youthful rebellion, anarchy, and, more recently, misrecognized privilege and bigotry. A sociological perspective on the cultural history and practice of comics publishing through the twentieth and twenty-first centuries adds important context to the Je Suis Charlie movement and its place in the public discourse—while also further problematizing it. 相似文献
19.
Kyra Pearson 《传播与批判/文化研究》2013,10(3):256-275
Lesbian prostitute Aileen Wuornos was popularly termed “America's first female serial killer.” Between 1989 and 1990, she killed six men, later testifying they had raped or attempted to rape her. By analyzing media coverage of Wuornos’ story, I argue that Wuornos’ incommensurability with available stories of women who kill illustrates the need to expand the rhetorical resources that make female violence and victimage intelligible. After demonstrating that Wuornos’ gender transgressions were disciplined into intelligible terms by understandings of criminality as an already spatial and gendered category, I conclude by discussing the “trouble” Wuornos poses to feminist and queer cultural politics. 相似文献
20.
In this essay we examine the coil-bound notebooks kept at the summit of Turtlehead Peak in Red Rock Canyon, a recreational hiking trail on the immediate outskirts of Las Vegas. Of the many different sorts of entries, a “nature-culture binary” is the most dominant and unique pattern to be found in the journals. We argue that this nature-culture binary serves as a piece of rhetorical equipment useful for navigating the daunting ecological complexities of everyday life. Invoking culturally familiar tropes of sublimity-and-banality, hikers renew their civic vows by “righting” themselves through the journals. We thus argue that the notebooks ultimately serve as the locus of a “becoming-common” within discourse. At bottom, the nature-culture binary enables hikers to affirm—and in affirming make available, and in making available make possible—the noblest ideals and loftiest hopes of a shared material existence. We conclude by noting a darker implication of this rhetorical performance, namely that the seeds of a more harmonious ecological future are sown alongside a dangerously innocent self-righteousness. 相似文献