on this question, but the current article will examine a factor that the literature on sustainable water consumption has not yet recognized: the visibility of water stress. I suggest that when water stress results in visible change to water supplies
Culture, Life and Intersectional Identity in Israeli Druze Photography
is home to approximately 17,000 members of the Druze faith. I locate these photographs of Druze life within the overlapping discourses of decolonialism and visibility. Scholars of decolonialism and visibility have engaged with Israeli
From Vermin to Conservation Emblem
Margarida Lopes-Fernandes and Amélia Frazão-Moreira
Not much is known about how the cultural image of predators has been constructed in Western contexts and changed through time. This article reviews representations of lynx in Western Europe. A ‘cultural map’ of lynx in historical contexts is presented, and the ‘social visibility’ of the Iberian lynx in Portugal explored. Since prehistoric times the lynx has been an inspiration, an amulet, a creature gifted with extraordinary capacities but also a food item, and a ‘vermin’ to eliminate. Recently, the Iberian lynx has become a global conservation emblem; once a noxious predator, it is now a symbol of wilderness. Examples show how the species acquired visibility and has been appropriated in contemporary contexts such as logos, ‘green’ marketing, urban art or political campaigns. There is also evidence of a new identity construction in Portuguese rural areas where lynx is being reintroduced, exemplifying a process of objectification of nature.
This article is the result of research that focused on street art and graffiti in the city of Lisbon from 2004 to 2007. The empirical arguments presented draw from ethnographic work and from an analysis of inscriptions on urban walls. In my understanding, these visual manifestations can be understood as political and aesthetic devices, fundamental expressive resources in the negotiation of power and agency in the urban environment. They are vernacular creations that may be interpreted as discursive instruments forged in the context of symbolic struggles, characteristic of the 'field of visibility'. Furthermore, I put forward an analytical framework of graffiti and street art as an urban transgressive grammar, while considering the articulation of produced text and the context of production.
This article focuses on how whiteness, in the process of being (re)enacted in its different everyday versions, becomes invisibilised at certain moments while reappearing at others as overly present. The article borrows Widmer's metaphor of race as two types of ‘watermarks’, that of a banknote that stands in to confirm authenticity when needed, and that of the marks left by glasses on a wooden surface. The idea is to consider the experiences of early 20th‐century Galician immigrants in the city of Salvador, Brazil. I argue that understanding this process of (in)visibility helps us comprehend some of the ways in which these immigrants were involved in both confirming and challenging local versions of what it means to be white. This analytical approach allows us to go beyond a homogenised, monolithic and ahistorical portrayal of whiteness, towards a more nuanced one that takes into account the heterogeneous combination of historical and contemporary, global and regional, hegemonic and alternative versions of whiteness.
On Diving Mobility in Underwater Films (1920s to 1970s)
This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.
This article analyzes an emergent genre of tween and teen girl confessional videos on YouTube where girls ask their viewers to comment on whether they are pretty or not. While the very existence of this genre is frequently explained away as a symbol of young girls' dwindling self-esteem in the contemporary moment, this article locates them within a self-identificatory gendered neoliberal brand culture so as to examine the ways in which they reproduce an economic model of the successful white middle class girl.
Peter Lugosi, Thiago Allis, Marcos Ferreira, Eanne Palacio Leite, Aluizio Pessoa, and Ross Forman
This article examines how migrants create value through food-and hospitality-related enterprises, focusing on the ways in which they exercise their agency in mobilizing various cultural resources and on how their organizational practices intersect with identity work. Drawing on empirical research conducted in São Paulo, Brazil, it explores how specific dishes, knowledge of food, recipes, craft skills, and migration histories are transformed into valued cultural resources in these kinds of enterprises. The article explores three themes: first, how foods become “pliable heritage” through migrants’ identity work; second, how migrants’ ongoing identity work shapes their activities and experiences in food and hospitality businesses; and third, how migrants’ individual identity work is entangled in collective interests and the activities of a wider set of (migrant) stakeholders.
Marissa C. de Baca
Erin Y. Huang. Urban Horror: Neoliberal Post-Socialism and the Limits of Visibility (Durham, NC: Duke University Press, 2020). 288 pp. ISBN: 978-1-4780-0809-5 / 978-1-4780-0679-4; (paperback, $26.95; hardback, $99.05) Reviewed by Marissa