Drawing on ethnographic research with a diverse group of teen girls, this article asks how play with style is understood and enacted. By positioning girls' everyday transactions with style beside their engagement with style in media, this article demonstrates that girls live with a cultural discordance between the girl power media discourse of style as choice, power, and resistance, and the reality of their own, often disempowered, experiences with style. Bound by the promise of upward social mobility, the fear of losing status, and the risk of remaining in the low income and middle class communities in which they were raised, the girls in this study feel regulated and, at times, hurt by the required performance of the clothed body.
Social and Emotional Experiences of the Clothed Body
Knut Erik Jensen’s Work as Eco-Auteur
Jensen’s oeuvre serves to clarify the specific ways in which the Norwegian filmmaker has pursued this aesthetic goal. Whether the stylistic features in question are best described as a kind of individual style or as likely to recur in the work of other
Community life and violence in a neofascist movement in Italy
Maddalena Gretel Cammelli
” ( E. Gentile 2005: 35 ), a “revolutionary form of nationalism” ( Griffin 1991: xi ), a “new political style” ( Mosse 1975: 8 ) and a “cultural phenomenon” ( Sternhell et al. 1989: 444 ) in which violence is “a means to achieve the transformation of the
John M. Fyler
style and ends with the Franklin’s dispelling of rhetorical illusion in favour of plain speech. In between, shaping the whole as a chiastic structure, the Merchant and the Squire present versions of the high style. But where the Squire’s style
Qihao Ji and Arthur A. Raney
should theoretically heighten the tension between fiction and nonfiction: documentary-style fiction or mockumentaries. The current project tested an initial model of these relationships within this specific entertainment context. Suspension of Disbelief
Essai sur l'art islamique et le style ethnique
The topic of this article concerns the notion of ethnic style. Several points are discussed - in particular, the concept of style itself - by referring to individual and/or collective expression as well as the status of the creators and their representation in Arab-Muslim societies. If traditional societies are heirs to Islamic art, encompassing a range of practices and cultural models, what are the terms of the local transmission of this art? Can we consider it an ethnic style, knowing that it could also be a signifier of individuality? Some examples are given, based on ethnographic collections of jewellery studied by the author in selected museums and on fieldwork in Gulf Arab countries.
Beyond the Kuleshov Effect
included long shots, until it was replaced by a shot-based cinema using close-ups and cuts across eyelines ( Brewster and Jacobs 1997 ; Pearson 1992 ). Mozzhukhin was nonsystemic in drawing on both styles of acting, and he seemed to be planning and shaping
Two Judeo-Spanish Versions of the German Novel Der Rabbi und der Minister
Aitor García Moreno
For more than one hundred years texts of rabbinical prose were the only model of educated style. With the arrival of new literary genres imported from Western Europe towards the middle of the nineteenth century, Sephardi authors and translators promoted a change in their style of writing. This article compares syntactic structures in two texts from the second half of the nineteenth century. They belong to the same literary genre and share the same subject, but are anchored in different discoursive traditions trying to exemplify the different styles of Sephardic prose that coexisted at that time.
The Political Economy of Desire and Competing Matrimonial Emotions
so much their preferences for village or tundra, as the different potentials of, and expectations from, so-called “old-fashioned” ( po-starinke in Russian)—that is, arranged—marriage, here also described as “Soviet style,” on the one hand; and
Patrick Colm Hogan
Perhaps the most common activity of film critics is interpretation. However, cognitive film theorists have sometimes expressed skepticism over the value of interpretation, perhaps particularly with respect to film style. In connection with this, cognitive critics have tended to stress the function of style in facilitating the communication of narrative information. The purpose of this article is to clarify what constitutes the interpretation of style. The opening section discusses what prompts interpretation and what its main purposes are. The article then considers how style may be understood as contributing to those purposes, beyond conveying narrative information. The second section goes on to illustrate these points through an examination of Bimal Roy's Sujata. This section argues that Roy uses staging in depth and graphic matches to advance a critique of untouchability. In formulating this critique, Roy draws on culturally particular ideas from Hindu metaphysics, integrating these with visual techniques that rely on universal human interests and propensities. The analysis of Roy's film illustrates how a cognitive interpretation of style might be developed. It also suggests that cognitive and cultural analyses may be integrated in ways that are productive for our understanding and appreciation of individual works.