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1.
Maryanne Dever 《档案与原稿》2013,41(3):173-182
Digital formats are often popularly imagined to spell the ‘end’ of paper. In this essay I pose a series of questions about the importance of materiality for how researchers understand and work with archived paper documents. Drawing examples from research among literary papers and personal correspondence, I highlight the ways in which paper traditionally ‘disappears’ from the researcher’s view and ask whether the conditions of the digital turn may in fact provide for a return to ‘thinking through paper’. 相似文献
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Rachel Buchanan 《档案与原稿》2018,46(1):18-39
Germaine Greer’s print journalism forms a significant portion of her archive. It needs to be reassessed and recognised as having equal value to her other types of writing. Greer’s journalism powers much of this major archive and it is important to acknowledge that this archive is as much a journalist’s one as it is the archive of a feminist, a performer or a literary scholar. Greer’s own methodical creation and re-creation of her print journalism legacy into a series of records in the Greer Archive is also an implicit argument for the value of her ‘smalls’. As a recordkeeper, she has gathered up ‘the madwoman’s underclothes’, the hundreds of articles published around the world. 相似文献
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Meg Tully 《Critical Studies in Media Communication》2018,35(2):194-207
This study engages in current scholarly debates regarding third-wave versus postfeminist media icons through an analysis of Tina Belcher, the eldest daughter in the animated series Bob’s Burgers and a paragon of what I coin “millennial feminism.” In it, I argue that Tina rejects popular postfeminist discourses and experiences a politicized feminist awakening. While Tina is significant in her own right, most remarkable is the way millennial audiences have utilized the internet to position Tina as a feminist folk hero. Ultimately, I trace how popular critics use Tina to theorize a millennial feminism that reflects the values and characteristics of the millennial generation. Revisiting Sarah Banet-Weiser’s (2004. “Girls rule! Gender, feminism, and Nickelodeon.” Critical Studies in Media Communication, 21, pp. 119–139) argument that Nickelodeon’s girl power programming demonstrated third-wave feminist politics for its audiences, I argue that adult-oriented animated sitcoms lend themselves to an absurdity and disregard for hegemonic gender ideologies which have the potential to unsettle dominant ideologies of gender and sexuality and can define contemporary feminist politics for viewers. 相似文献
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ABSTRACTWhat happens when a human coder meets a machine one? This article explores this question with reference to the archive of Professor Germaine Greer: Australian-born feminist, performer, scholar, and professional controversialist. It does so by staging two very different data encounters with the 70,000-word finding aid for the print journalism series, a key component of Greer’s archive. The first encounter is archivist’s creation of the finding aid; the second, archivist and literary scholar’s interpretation of this archival metadata using sentiment analysis. Interrogating these activities side-by-side opens up a productive middle ground between humanities scholars and computer technicians, between historians and archivists, between the hand made and the machine made.This article argues that sentiment analysis offers a new and highly productive method of interrogating archival metadata, and that, as a method which privileges emotive understandings of content, it is particularly appropriate to the study of feminist archives like Greer’s. It also argues that these kinds of detailed finding aids are new datasets that reward analysis in their own right, and particularly when considered in dialogue with—rather than simply used as straightforward navigational tools for—the ‘original’ archival content. 相似文献
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Bernadette Brennan 《档案与原稿》2018,46(1):3-17
Working in the archives of living writers provides exciting possibilities for extended interpersonal research as well as ethical challenges. This article explores the author’s experience of working in Helen Garner’s restricted archives and negotiating the demands of scholarly objectivity with an increasingly felt empathic engagement. The author traces a chronological path through the archives relating to Garner’s three substantial works of non-fiction: The First Stone (1995), Joe Cinque’s Consolation (2004) and This House of Grief (2014). She draws attention to some of the ways in which distance and objectivity can be influenced not only by contact with a living writer but also by the space in which the archive is encountered. With a deliberate focus on the lived experience of researching, rather than a scholarly examination of archival theory, the author offers a case study of how the interaction of archives and living subject can shape research and publication. 相似文献
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This study considered health coverage in 3 highly circulated U.S. feminist magazines: Ms., Bitch, and Bust. The authors used critical discourse analysis to examine 80 print and online articles for representations of liberal, social, radical, and postfeminist feminist ideologies in health coverage; the rhetorical strategies publications used for health content and how they compare with mainstream women’s magazines; and their emphasis on health policy and public health initiatives. The findings suggested that the magazines relied on discursive approaches resembling those of mainstream magazines when covering health, such as prioritizing personal health issues and individualized responses. However, through distinctive feminist lenses, they also performed better than mainstream women’s magazines in presenting health issues, representing a broader range of concerns affecting women, addressing people from diverse communities, and suggesting opportunities for collective response. 相似文献
7.
Henk F. Moed 《Journal of Informetrics》2010,4(3):265-277
This paper explores a new indicator of journal citation impact, denoted as source normalized impact per paper (SNIP). It measures a journal's contextual citation impact, taking into account characteristics of its properly defined subject field, especially the frequency at which authors cite other papers in their reference lists, the rapidity of maturing of citation impact, and the extent to which a database used for the assessment covers the field's literature. It further develops Eugene Garfield's notions of a field's ‘citation potential’ defined as the average length of references lists in a field and determining the probability of being cited, and the need in fair performance assessments to correct for differences between subject fields. A journal's subject field is defined as the set of papers citing that journal. SNIP is defined as the ratio of the journal's citation count per paper and the citation potential in its subject field. It aims to allow direct comparison of sources in different subject fields. Citation potential is shown to vary not only between journal subject categories – groupings of journals sharing a research field – or disciplines (e.g., journals in mathematics, engineering and social sciences tend to have lower values than titles in life sciences), but also between journals within the same subject category. For instance, basic journals tend to show higher citation potentials than applied or clinical journals, and journals covering emerging topics higher than periodicals in classical subjects or more general journals. SNIP corrects for such differences. Its strengths and limitations are critically discussed, and suggestions are made for further research. All empirical results are derived from Elsevier's Scopus. 相似文献
8.
Sarah Stevens 《The Communication Review》2014,17(3):256-268
To date, feminists have conflated (and continue to conflate) historical understandings of bondage, discipline, dominance and submission, and sadomasochism (BDSM) as pathological and representations of BDSM in literature and popular media with the lived experiences of feminist BDSM practitioners. Feminist BDSM practitioner Madison Young’s pornographic film 50 Shades of Dylan Ryan (2012) takes the recent resurgence of the ongoing debate on women, submission, and popular literature as a starting point for reconsideration and possibility. By adapting the discourse surrounding 50 Shades of Grey, Young’s pornographic film points to the ways in which feminism also contributes to that which makes pleasure possible. Young’s film reimagines the dualities that have traditionally dominated feminist cultural critique through concepts the author calls “mediated authenticity” and “formal simultaneity.” Beginning with a brief, rigorous examination of the 50 Shades of Grey phenomenon, this article analyzes Madison Young’s 50 Shades of Dylan Ryan and seeks to provide a critical intervention in feminist studies of pornography and popular culture. 相似文献
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本文采用问卷法,调查了苏州市近600名普通公众的档案利用行为现状,并利用方差分析、交叉表等工具,具体分析了个体特征因素对公众档案利用行为的影响。结果表明：个体特征因素对公众档案利用行为具有较大影响,其中,年龄状况影响公众对档案休闲利用、实际利用的选择态度;文化程度影响公众的档案认知水平、接受程度及利用需求;职业特征影响公众的档案意识,进而直接影响公众对档案利用的态度与需求。 相似文献
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Ted Striphas 《Critical Studies in Media Communication》2013,30(3):295-316
This essay explores the cultural politics of television talk-show host Oprah Winfrey's Book Club. Because women constitute both the primary Oprah television audience and the largest United States book buying public, it focuses specifically on women's involvement in the club and their modes of engagement with its selections. The Book Club's astonishing success was attributable in part to the carefully considered communication strategies through which participants, Winfrey, and Oprah producers collectively articulated the value of books and reading specifically for women. Their de-emphasizing of purely literary considerations, I contend, enabled women to strategize how to use Book Club selections simultaneously to distance themselves from and to engage more intensively with the demands of living in a patriarchal and otherwise socioeconomically stratified society – a relationship I call a “dialectic with the everyday.” This essay thus traces the communicative processes/practices through which those involved in Oprah's Book Club articulated a highly sophisticated economy of cultural value around books and reading and the implications of that economy to a possible feminist cultural politics. 相似文献
12.
Marek Sroka 《Slavic & East European Information Resources》2013,14(1-2):80-93
In 1981, Hoover Institution Press published a collection of testimonies of Polish citizens and their children deported to the Soviet Union between 1939 and 1941. War Through Children’s Eyes contained English translations of compositions, interviews, and testimonies from the Polish Government Collection at the Hoover Institution Archives. In the 1980s efforts were underway in Poland to collect similar personal stories of survivors of Soviet deportations, including children’s testimonies. The result was the creation of the Archiwum Wschodnie [Eastern Archive] and the KARTA Center in Warsaw. The archive, legalized after the fall of Communism in 1990, is a major primary source collection dealing with the history of former Polish eastern territories. The paper discusses parts of the Archiwum Wschodnie collection focusing on the testimonies of children deported to the Soviet Union. The trauma of war and displacement is examined through personal stories and testimonies of deportees. 相似文献
13.
Shoshana Magnet 《The Communication Review》2018,21(2):116-130
What does it mean to represent insect sexualities? What are the technologies that one uses to make insect bodies visible? In this article, I examine two series in order to examine representations of insect sexualities. In the documentary Life in the Undergrowth, famed British broadcaster and naturalist Sir David Attenborough’s hushed tones tell us that new technologies of seeing are making new worlds visible. In the second, Isabella Rossellini stars in the series Green Porno, in which she uses biologically accurate costumes to blow up insect bodies to human size, using the costumes as technologies of seeing to help her audience visualize how insects have sex. Here, the costumes themselves become ways of knowing insect bodies while simultaneously rendering them as spectacular media moments. I rely upon feminist media studies of representations of wildlife to ask how assumptions around gender and sexuality continue to shape contemporary depictions of the insect world in Sir David Attenborough’s series Life in the Undergrowth, whereas I argue that Green Porno represents a queering of traditional documentaries on insects and examine what possibilities this might provide us with for rethinking insect sexualities—from monogamy and heterosexual reproduction to S/M, queer sex, and polyamory. 相似文献
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Hollaback! is an international movement seeking to end street harassment. Its website invites women to share narratives of their experience of street harassment as well as photos of the men who harassed them. We treat Hollaback! as an exemplar of feminist online activism and aim to identify lessons for other feminist online activists and organizations. In particular, we argue that the site’s narrative-image posts provide a powerful means of enacting countervisuality in public spaces. After analyzing 26 narrative-image postings on the Hollaback! website, we identify three collective rhetorical effects of countervisuality: Altering the traditional dichotomy of male/observer and female/observed, enacting feminist rhetorical agency through mobility in public spaces, and generating women’s solidarity through shared experience. We then argue that Hollaback!’s strategy of countervisuality insufficiently enacted the core principles of feminist rhetorical resilience, especially the concept of mêtis. We conclude by offering recommendations for feminist online activists and scholars. 相似文献
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我国图情档学科认为博物馆是文化信息数字资源整合的主体之一。博物馆中以其展品为代表的文化信息资源对满足公众多样化的文化需求、增强中华文化竞争力起着重要作用。本文借助Citespace分析软件,通过对作者、机构、关键词可视化图谱的绘制,识别出我国图情档学科下以博物馆为主题词的科研文献成果概况、科研机构分布及研究热点词与其研究发展趋势。经分析得知,该学科下以博物馆为主题的研究可以分为两个阶段:第一阶段(1996-2008年)主要是博物馆文献资源的开发与利用、博物馆与图书馆文献资源的开发与利用、博物馆古籍保护管理工作以及古籍文献等主题。第二阶段(2009-2019年)主要探讨三馆馆际合作的资源整合路径、数字资源整合理论模式与合作机制等的研究,并结合相关文献内容,深入探讨以博物馆为主题的研究重点,基于此,我国图情档学科应以博物馆中丰富多样的文化信息资源为视角,开展涵盖档案馆、图书馆、博物馆的全种类、全范围的全文化信息数字资源整合。最后,本文围绕数字资源整合这一具有影响力的研究热点,探讨如何从图情档学科的角度出发,有效地涵盖博物馆,构建以图书馆、档案馆、博物馆三馆为主体的数字资源整合模式与机制,建立为公众文化精神需求服务的信息共享平台。 相似文献
18.
Stacey Copeland 《Journal of Radio & Audio Media》2018,25(2):209-223
Notable radio scholars including Christine Ehrick, Phylis A. Johnson, and Caroline Mitchell have explored critical challenges of gender and sexuality radio research and its importance in relation to communities. A major issue faced in studying the early years of women’s history in broadcast is the ephemeral nature of the medium as many of the voices are lost in the ether, unrecorded or once deemed inessential to archive. Web-based radio and podcast archives provide renewed avenues for listening to lesbian and queer women’s radio across transnational borders yet many long running shows in Canada such as The Lesbian Show on Vancouver Co-Op Radio have only recently begun to surface as digital collections. As personal and institutional archives of lesbian and queer women radio begin to reach a public audience, analysis of radio works across decades of LGBTQ2+ activism and feminisms must be traced to understand the role of radio and digital radiogenic media in creating space and identity for queer activism. A turn to the past brings forward questions of analog and digital futures for radio and podcasting space as place to construct and shape queer and especially lesbian communities and identities in the North American broadcasting industry. Through research of notable live and pre-produced content including Dykes on Mykes on CKUT 90.3 FM, and The Lesbian Show on Vancouver Co-Op Radio, this work offers an exploration of radio and radiogenic media’s role in creating sonic space for queer and feminist subjectivities. 相似文献
19.
Harrod Suarez 《传播与批判/文化研究》2013,10(1):67-84
In this paper, I argue that listening to a film is as significant as watching it; in spite of what seems like a formalist argument, I examine in what ways such an approach intervenes in the production of knowledge around Philippine history and Filipina/o bodies. In Kidlat Tahimik's film, Mababangong Bangungot, an overprivileging of the visual aids and abets the film's masculinist nationalism, despite the best efforts of critics to find a “third term.” That third term just might come from listening to the film, which delivers its own kind of postcolonial and feminist critique, one which impacts how we think about contemporary communication and cultural studies. 相似文献
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David C. Oh 《Critical Studies in Media Communication》2018,35(4):350-362
Better Late than Never is a remake of a Korean reality T.V. travel show, which aired on N.B.C. in August 2016. The show’s premise features four elder celebrity men – Henry Winkler, William Shatner, Terry Bradshaw, and George Foreman – with their mid-30s companion Jeff Dye as they travel through the “exotic” lands of East Asia. Through the use of two popular narrative tropes, the bromance and the Western journey for self-discovery in Asia, the show argues that the interaction with the Asian other is beneficial primarily in masculine self-discovery and masculine homosocial bonding. Borrowing from Steeves’s use of the hybrid encounter, I argue that B.L.T.N. positions the strange Asian other as valuable only as a reference for becoming reacquainted with the U.S. American self and emotionally connected to his fraternal companions. Thus, B.L.T.N. rejects hybridity and reinforces U.S. American masculinity through the reification of ideologically preferred contact with the other that is shallow and that benefits the Western traveler. 相似文献