The Study of Fighting Words These days, calling something or someone “politically correct” is usually neither mere description nor praise. It is more likely an expression of disapproval, derision, or hostility. As such, it is mostly used to
The Case of Political Correctness
Ronald S. Stade
This paper draws on twelve months of ethnographic fieldwork in Higher Blackley, North Manchester, England, to explore the ways in which individuals and groups who identify themselves and are identified as 'white', 'working class' and 'English' resist what they perceive as dominant ideas and discourses, deeply unsettling of their 'Englishness'. Perceptions and expectations of 'fairness' underpin social relations in Higher Blackley and this paper will explore perceptions of dominance through the local idiom of fairness. I explore how sentiments of belonging in this area are then imaginatively transposed onto national and international levels.
The Social Life of Contentious Concepts
Ronald S. Stade
commonplace in addition to being at the core of an entire industry. The military origin of this industry, however, tends to be either forgotten or concealed. Ronald Stade gives an account of the conceptual history and social life of “political correctness
German Memory Politics, Cultural Criticism, and Contemporary Popular Arts
Shoah, it aims to highlight that recent developments in subversive satire detect a crystallization in official memory politics, reacting with a counter-discourse to the political correctness of the defenders of moralism. Consequently, and counter
In memory of my friend Diane Dietchman Tong (1943–1998), an independent scholar who wrote her MA on the Judeo-Spanish language commonly called Ladino. There is a rumour in my family that when I was born in 1940 my parents thought about sending out a card that would read, 'Now we present our son Dick, one part kike, some parts spic'. Politically correct before everyone else, so avant-garde were they, my parents decided instead to print a more conventional announcement of my arrival.
Containment and Excess in Snatch
Snatch (Guy Ritchie, 2000) is a comic-book gangster film that can be seen to represent the backlash against perceived notions of political correctness in what is effectively a public-schoolboy fantasy of working-class life in East London. However, the film also delineates the limits of this backlash in its depiction of minorities as either contained or excess. This is highlighted through the comic-book genre itself as well as the characterization. Thus, this article explores the tension between the genre, representation and Jewish identity.
A Muslim Perspective
, The Punisher, The Light, The Guide, The Ever Lasting, The Inheritor, The Patient. In this post-modern age, some of these attributes are clearly not politically correct and emphasise the Jalali or majestic nature of God, while some reflect the
Conflicting Discourses of Commodity Activism
“focusing on slavery rather than a more hopeful period … was stereotypical … .” In response to the criticisms, Connie Porter, author of the Addy series, explains that with such critiques you “run the risk of being so politically correct that you can lose
Translocal Identities of the Far Right Web
Patricia Anne Simpson
opposition voice incurring the label of “Nazi.” Both speak comfortably about the “taboo” topic of “over-foreignization” ( Überfremdung ) as urgent, and while both express an acute awareness of political correctness in Germany, the implicitly xenophobic label
Representations of Politicians and Institutions in the German TV Shows “Eichwald MdB” and “Ellerbeck”
presenting themselves as true outsiders, challenging the “politically correct” mainstream. As Waisbord explains: “It is a rhetoric that upends the conventions of decorum, civility, and diplomatic language. Populist leaders resort to colorful, uncivil