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Livia Jiménez Sedano

This is a brief reflection on the consequences of the commodification of dance cultures from the former colonised world and the ways they are consumed in Europe. Inspired from ten years of fieldwork, the ethnic structuring of postcolonial dance floors in European cities proves an empirical basis to start this line of thought. Instead of promoting respect and interest in the dance forms and the cultural contexts in which these dance forms developed, aficionados tend to consider that these are less evolved, beautiful and interesting than the appropriations they develop in their home countries. As a result, commodification leads to reinforcing previous stereotypes and emic hierarchies of value. The kinetic metaphor of the bodies that scream but cannot listen structures the text and its arguments.

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Zeynep Kılıç and Jennifer Petzen

This article invites scholars of race and migration to look at the visual arts more closely within the framework of comparative race theory. We argue that within a neoliberal multicultural context, the marketing of art relies on the commodification and circulation of racial categories, which are reproduced and distributed as globalized racial knowledge. This knowledge is mediated by the racial logic of neoliberal multiculturalism. Specifically, we look at the ways in which the global art market functions as a set of racialized and commodified power relations confronting the “migrant“ artist within an orientalizing curatorial framework.

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Alex Link

commodification of both Netley – whom he employs – and his wife, used to the cost of being ‘a doctor’s bride’ (5.11), is all that different from Polly’s to her customers, as she is commodified, penetrated and paid in panels facing Gull’s. Their commercial

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Gabriele Mueller

This article examines two German films which, in different ways, engage with ethical questions raised by scientific advances in biotechnology and the specter of eugenics: Blueprint (Rolf Schübel, 2003), an adaptation of Charlotte Kerner's Blaupause, and The Elementary Particles (Elementarteilchen, Oskar Roehler, 2006), a cinematic interpretation of Michel Houellebecq's novel with the same title. Assuming different positions, the films contribute to the divisive public debate surrounding human cloning. Their visions vacillate between dystopian warnings of a commodification of human existence and euphoric promises of the potential to genetically erase human flaws forever. The films' main concern, however, is a critique of ideological positions associated with the generation of 1968, and the directors use the debate on genetics to infuse this discussion with an element of radicalism. This article explores the ways in which the films engage with the memory discourse in Germany through the lens of discourses on ethics and biotechnology.

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Larissa Mellor

cultural event five hundred years in the making: An all-new food and drink experience based on the European harvest festivals of old’. This festival is possibly part of the ‘commodification of ethnic culture’ discussed in How German is America? , where it

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Jacob Breslow, Jonathan A. Allan, Gregory Wolfman, and Clifton Evers

underwrites the living and representing of contemporary white Australian masculinity. The second chapter of the book shifts to a discussion of the commodification of masculinity and consumerism through an analysis of men's interest magazines. Waling shows us

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Analyzing Museum Collections in Scandinavia

New Insights in Revised Modernity and Its Implications on Archaeological Material

Niklas Ytterberg

in various ways. The neoliberal commodification will probably continue to molder the once central place contract archaeology had in European archaeological research (cf. Kristiansen 2009b ; Larsson 2014 ). For this reason, if for no other, I support

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To Whom Does History Belong?

The Theatre of Memory in Post-Soviet Russia, Estonia and Georgia

Francisco Martínez

collective identity, yet builds also on the late-modern commodification of knowledge and the pattern of continuous discontinuity experienced for centuries by Russian society. On the one hand, this pattern has created a highly sceptical approach towards the

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Tristan Josephson, Marcin B. Stanek, Tallie Ben Daniel, Jeremy Ash, Liz Millward, Caroline Luce, Regine Buschauer, Amanda K. Phillips, and Javier Caletrío

production of “race” in the commodification of labor, in the racial segregation within the Australian settlements, and in the regulation of marriage and kin relations between Aboriginal people and Torres Strait Islanders with Indonesian settlers. And yet

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Andrea Scholz

status of persons, with their own social life, history, and agency that is reducible neither to the commodification of things in the sense of Arjun Appadurai (1986) nor to their biographies that connect them to us (cf. Guss 1989 ; Santos-Granero 2009