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ABSTRACT This paper examines the social construction of ‘fashionability’ – namely, what is ‘desirable’ and ‘fashionable’ – with reference to the concept ‘cultural mediators’ that foregrounds agency, negotiation and the contested practices of market actors in cultural production. It zeroes in on the cultural mediators’ attitudes and positions in the two markets by drawing on 25 in-depth interviews with industry veterans. It shows that the mediators in South Korea and China increasingly occupy hybrid occupational roles and social positions across industries and sectors yet achieve limited success in countering the status quo of Western fashion through mediation. The analysis contributes to the literature with a categorisation of seven mediation practices that shape the valuation of fashion products (i.e. ‘fashionability’) in two ways. Empirically, this categorisation illuminates how cultural mediators make reference habitually to the broader social and cultural contexts to co-construct cultural-aesthetic objects. Theoretically, it advances a cultural-economic approach to the understanding of cultural mediation and challenges the reductionist viewpoint of actor–network theory through the notion of a matrix of cultural-economic agency. 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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《Journal of Cultural Economy》2013,6(6):565-590
ABSTRACTFrom 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
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Daniel Thomas Cook 《Journal of Cultural Economy》2019,12(1):70-82
Drawing on interviews with children’s market researchers, brand managers and other market actors in North America, the UK and Europe, this study analyzes and positions children’s market professionals as knowledge brokers and moral interlocutors who transact between and among clients, colleagues and, at times, parents. The transactions – as understood by practitioners – extend beyond simply seeking to elicit ‘preferences’ for this or that product or experience and suggesting ‘market solutions’ to the immediate business problem at hand. Rather, the cultural labor exerted here resembles a continual sorting process in pursuit of the distinction between the child as a dependent economic actor from the child as a moral being worthy of recognition and commercial deference. They thereby strive to enable the continuity – i.e. erase the boundary – between markets and culture by enacting sympathy, sentiment and even intimacy in the conceptualization and execution of research. Investigating how these market professionals understand, construct and act upon children as economic actors, while situated amidst public, moral discourses to the contrary, opens possibilities to examine how value arises in the cultural practice of making social persons and how social personhood in some ways modulates and informs market exigencies. 相似文献
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《Journal of Cultural Economy》2013,6(4):370-385
This paper draws upon the history of the funeral market over two centuries to examine three major devices which have played a central role in the funeral economy, both in terms of defining the nature of the ‘goods’ and their attendant value but also in regulating the relations between the Pompes Funèbres and the other institutional actors involved. It highlights the ways in which these devices provide a ‘politics of value’ performing the articulation between the formatting of economic value and the pursuit of political concerns. First, observing the constitutional phase of the private industry, it examines the ‘system of the classes’ as a central device of managing dissonance between conflicting interests. Then, a historical jump leads us to half way through the twentieth century to the market infrastructure formed by the management of ‘care for the deceased’. As a third point, the exponential development of death insurance in recent years appears as an expression of rationalization of funeral arrangement. The analysis of the market devices will highlight an essential property, that is, the incorporation of a ‘calculation formula’ which set up both the profit sharing and the handling of moral and political issues. 相似文献
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Julius Kob 《Journal of Cultural Economy》2020,13(5):642-651
ABSTRACT To cure Covid-19 on a medical, political, economic, and societal level, there is a need to ‘curate’ between science and politics in such a way that decision-makers and societies can address the practical requirements at hand. This commentary introduces and discusses ‘curating’ as a socio-material practice mediating between science and decision-making. It reflects on the current Covid-19 pandemic and compares ‘curatorial’ aspects here to the field of natural catastrophe risk finance. As both areas try to manage disasters, the space between scientific knowledge and economic and/or political decision-making becomes a particularly important node. By employing a focus on catastrophe simulation modelling, this essay looks at several issues of the natural catastrophe field that may yield ways to deal with epidemic crises such as the Covid-19 pandemic. This commentary suggests putting greater emphasis on (and encourages a research focus on) the ‘curation’ between science and politics to improve decision-making for socio-material disasters. 相似文献
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Denis‐Constant Martin 《Culture, Theory & Critique》2013,54(3):257-273
Abstract In 2006, a young female rapper named Diam's released an album that became the best‐selling CD in France: her CD and its reception is treated as a social phenomenon and examined against the backdrop of political arguments which developed in France in 2006–2007. Musical analysis shows that the sonic backgrounds of Diam's rap illustrated the importance of combinations and hard work in the symbolical production of a new order. Her texts manifested new combinations of social values which brought into the public debate changes in value systems that were just becoming developed enough to be taken up by political organisations and leaders. This is why the main themes in Diam's CD converged with topics engaged by the two main candidates in the French 2007 presidential election. This paper, combining the resources of musicology, literary analysis and political sociology analyses how Diam's put in aesthetic and emotional forms combinations of values that had been brewing underground for the past 30 years. It invites a reconsideration of the interpretation of rap as an expression of rebellion, or even as an element of counter‐culture, and apprehends it as a ‘social revealer’ that brings new values and representations into public debate and stimulates discussion around them. Diam's album was an ‘unidentified political object’ that shed original light on the way politics and politician are perceived by ordinary citizens, or specific groups among them, such as the youth. 相似文献
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This essay contributes to discussions about Indigenous politics and debates about contemporary democracy. It uses a case study of video art produced by young indigenous people and a community development organisation in the Pilbara, Australia. Those involved in the project use digital media under the auspices of the Big hART Yijala Yala Project to produce an interactive comic series. The essay addresses the following questions: Do contemporary community development projects play a conservatising role serving the interests of a neoliberal polity? Given the long-standing practice of representing modern media as a vehicle for western domination what, if anything, do these projects imply about the political relations between Aboriginal and non-indigenous Australians? Are Indigenous media and cultural work inherently political? What conceptions of the political are at stake in such arguments? We focus on how certain groups of young people use new media, and how their activities are political. The argument is that Indigenous media like these are ‘inherently political’ because they are about efforts to reclaim the images of indigenous peoples for themselves. 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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ABSTRACTThis special issue of the Journal of Cultural Economy focuses on the digitalization of consumption and its social, cultural, ethical, political, and gendered implications. It thus answers the call for more research on how digital devices spread from the purely personal domain to multiple sociocultural domains. Through their use, new cultural practices have emerged between consumers and these devices, and devices and markets, that lead to change, in terms of consumer demand, consumption norms, and issues of ethics, culture, and power. Closely examining the role that devices play in consumption behavior enables us to address the supposed manipulative power of hi-tech companies, infrastructures, and systems at the global level, and the view ordinary market actors hold of digital appliances as empowering tools at the local level. The papers in this volume bridge ‘actor network theory' and ‘consumer culture theory' from the perspective of market ‘agencements.’ Ruckenstein-Granroth and Beauvisage-Mellet, and Arriagada-Concha focus on the device-mediated relationship between large digital market infrastructures and consumer behavior; Petersson McIntyre and Licoppe unveil the societal and cultural underpinnings of digitalized markets. Last but not least, Sörum and Soujtis address the political dimensions and implications of our new digital consumer equipment and society. 相似文献
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Michelle Colpean 《Journal of International and Intercultural Communication》2020,13(3):274-290
ABSTRACT This essay considers the activist group FEMEN and the online reactions to their “International Topless Jihad Day” protests. Specifically, I analyze the vernacular discourses present in the Facebook group Muslim Women Against FEMEN and their counter-protests as they articulate their dissatisfaction with FEMEN’s imperialist feminism. I argue that online spaces can provide meaningful sites for Muslim women to reassert their agency alongside of, rather than despite of, their Muslim identity. Tensions over the boundaries of feminist activism help us understand how digital spaces can aid in developing a more capacious understanding of agency that actively decolonizes imperialist feminist politics. 相似文献
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《Journal of Cultural Economy》2013,6(2):145-160
Street papers are publications produced specifically for sale by the homeless and other vulnerable people in many countries around the world. Their social status is, however, often conspicuously unstable: ‘Get a job!’ has been reported as a common insult addressed to vendors, and street paper organisations have responded with their own rhetoric and strategies that aim at disrupting any analogy with begging. The present analysis frames these rhetorical confrontations as a struggle over economic legitimacy, highlighting some of the ways in which social actors build and sever the normatively loaded associations that position them and others in social space, and how the ‘experimental’ combination of business and social responsibilities tests social actors' abilities to adapt to this practice. 相似文献
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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
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《Journal of Cultural Economy》2013,6(3):363-378
This paper investigates the underlying principle of ‘economy’ in the Greek Orthodox monastery of Vatopaidi, Mount Athos, in complementary relation to the monastic ideal of ‘virginity’ as the means of separating monastic from secular life. In this context, ‘economy’ represents an internal and external dichotomy: an economy within the spiritual self (‘economy of passions’) and the monastery (‘law of the house’), expressed in traditional practices, such as prayer, confession, psalmody, and painting; and an economy of relations between the monastery and the materialist ‘cosmopolitan’ world outside Athos, which is manifested by Vatopaidi's strong financial and political status in the Orthodox world. The material reveals the overlapping connection between the notions of the ‘self’, the ‘monastery’, and the ‘world’, in order to critically evaluate the cultural economy of Vatopaidi in relation to its historical past, and in connection to its present political and economic status within and against the Greek state. 相似文献
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ABSTRACT A central trope of the information society is that of ‘information flows.’ The implicit assumption underlying such a vision involves the removal of gatekeepers and intermediaries who are perceived to impede such flows. Drawing from field research on information circulation, trade, and money in rural markets in Myanmar and India, we show why intermediaries persist alongside information and communication technologies (ICTs) in trade and financial transactions in the ‘Information Age.’ We examine the range of roles, (human and non-human) actors, and material practices that are involved in conducting financial transactions, and we show the importance of historical legacies and politics in explaining why both cash and financial intermediaries persist in the digital age. Focusing on the different value that human and non-human intermediaries bring to financial encounters helps explain what characteristics make each resilient or replaceable in a time of change. By situating intermediaries and mediations in the social relations within which they operate, we bring back the role of power and politics – an element that is often missing in accounts focused on the unmediated and ‘free’ circulation of information using ICTs – in explaining processes of mediation and circulation. 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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Francis Russell 《Culture, Theory & Critique》2020,61(1):64-78
ABSTRACT One of the under-theorised aspects of Catherine Malabou’s What Should We Do With Our Brain? is the overtly political project that underpins her discussion of a renewed conception of subjectivity. Malabou's political project is framed in radical and emancipatory terms, and yet the possibilities and limitations that stem from of a neurobiological account of politics have been left under-explored. Can we really locate in the brain a progressive politics, especially in the context of debates around mental illness, when so many groups and individuals are resistant to understanding themselves as their brains? Or is this affirmation of scientific materialism at risk of obscuring the realities and complexities of the materiality of cultural practice? In order to pursue the political consequences of her work, this paper looks to stage an encounter between Malabou's account of neuroplasticity and Lauren Berlant's notion of cruel optimism. This is done in order to ask: do Malabou’s own critiques of neoliberal flexibility run the risk of embracing a neuro-liberalism, in which an optimism regarding plasticity, individual liberty, and compromise between the humanities and life-sciences obscures the political limitations of neuroscience as a site for political-philosophy? 相似文献