Cultural Studies: Bloomsbury Academic Collections – serie

Provides a survey of syncretic, or "fusion" musics, such as Aboriginal Rock or "Jawaiian" Reggae, across the entire Pacific region. The text includes an in-depth look at Yothu Yindi, a band which has made it into the mainstream music scene.

We are increasingly conscious of living in an era whose scale, dimensions and implications we do not fully comprehend. ‘Interactivity’, ‘virtual reality’ and ‘global communications’ are some of the most obvious dimensions of this new reality. Its implications include cross-media acquisitions and mergers by players like Murdoch, Viacom and Disney, and major questions about the future of the printed word and reading. This book does not attempt to offer a broad survey of the new digital age in all its aspects. Instead, it restricts its questions to cultural standards and the issue of quality in media. Culture First! argues that the proper study of culture is normative; and that the proper, and neglected, purpose of cultural studies should be the nurturing of normative argument and judgement. This purpose can be better pursued if we return to the distinction between our ‘best self’ and our ‘ordinary self’ when thinking about cultural questions; if we seek to articulate and think rigorously about aesthetic and ethical standards; and if we recognize the specific cultural values of the printed word and reading as an activity and that the printed word is more than just a medium.

We are increasingly conscious of living in an era whose scale, dimensions and implications we do not fully comprehend. ''Interactivity'', ''virtual reality'' and ''global communications'' are some of the most obvious dimensions of this new reality. Its implications include cross-media acquisitions and mergers by players like Murdoch, Viacom and Disney, and major questions about the future of the printed word and reading. This book does not attempt to offer a broad survey of the new digital age in all its aspects. Instead, it restricts its questions to cultural standards and the issue of quality in media. Culture First! argues that the proper study of culture is normative; and that the proper, and neglected, purpose of cultural studies should be the nurturing of normative argument and judgement. This purpose can be better pursued if we return to the distinction between our ''best self'' and our ''ordinary self'' when thinking about cultural questions; if we seek to articulate and think rigorously about aesthetic and ethical standards; and if we recognize the specific cultural values of the printed word and reading as an activity and that the printed word is more than just a medium.

For much of the 20th century, books for children encouraged girls to be weak, submissive, and fearful. This book discusses such traits, both blatantly and subtly reinforced, in many of the most popular works of the period. Quoting a wide variety of passages, O''Keefe illustrates the typical behaviour of fictional girls – many of whom were passive and immobile while others were actually invalids. They all engaged in approved girlish activities: deferred to elders, observed the priorities, and, in the end, accepted conventional suitors. Even feisty tomboys, like Jo in Little Women, eventually gave up on their dreams and their independence. The discussion is interlaced with moments from the author''s own childhood that suggest how her developing self-interacted with these stories. She and her contemporaries, trying to reconcile their conservative reading with the changing world around them, learned ambivalence rather than confidence. Good Girl Messages also includes a discussion of books read by boys, who were depicted as purposeful, daring, and dominating.

For much of the 20th century, books for children encouraged girls to be weak, submissive, and fearful. This book discusses such traits, both blatantly and subtly reinforced, in many of the most popular works of the period. Quoting a wide variety of passages, O’Keefe illustrates the typical behaviour of fictional girls – many of whom were passive and immobile while others were actually invalids. They all engaged in approved girlish activities: deferred to elders, observed the priorities, and, in the end, accepted conventional suitors. Even feisty tomboys, like Jo in Little Women, eventually gave up on their dreams and their independence. The discussion is interlaced with moments from the author’s own childhood that suggest how her developing self-interacted with these stories. She and her contemporaries, trying to reconcile their conservative reading with the changing world around them, learned ambivalence rather than confidence. Good Girl Messages also includes a discussion of books read by boys, who were depicted as purposeful, daring, and dominating.

This book contributes to the debates around the presence and activity of women in politics, as well as the part which language plays in shaping and developing political activity. Footitt argues that, in a world of shifting roots and multiple identities, the stories we tell, the ways in which we understand the relationships between us, and the communities we imagine ourselves belonging to, are of ever-increasing political importance. At the centre of the study are the women from 12 European Union countries who participate in the transnational political site of the European Parliament. Using interviews with female Members of the European Parliament from the late 90s and early 00s, and a close textual study of speeches in the European Parliament, Hilary Footitt argues that women have created a language of politics that transcends nationalities and political parties and contributes to engendering democracy, defining citizenship and imagining the community of Europe. Politics, she argues, is multilingual, and an understanding of the varieties of vocabularies and grammars that are potentially available to us may help us to create a more inclusive and dynamic political process.

This book contributes to the debates around the presence and activity of women in politics, as well as the part which language plays in shaping and developing political activity. Footitt argues that, in a world of shifting roots and multiple identities, the stories we tell, the ways in which we understand the relationships between us, and the communities we imagine ourselves belonging to, are of ever-increasing political importance. At the centre of the study are the women from 12 European Union countries who participate in the transnational political site of the European Parliament. Using interviews with female members of the European Parliament from the late 90s and early 00s, and a close textual study of speeches in the European Parliament, Hilary Footitt argues that women have created a language of politics that transcends nationalities and political parties and contributes to engendering democracy, defining citizenship and imagining the community of Europe. Politics, she argues, is multilingual, and an understanding of the varieties of vocabularies and grammars that are potentially available to us may help us to create a more inclusive and dynamic political process.

Since the 1990s, both politics and pop culture have been dominated by the twin motifs of the victim and the child. Calcutt traces the history of these motifs back to their origins in the counterculture of the 1950s and 1960s, and concludes that the counterculture, far from being liberating, has provided a ready-made verbal and visual language for today’s victim culture and the authoritarian politics arising from it. This title discusses the erosion of adulthood as a pop cultural phenomenon that requires demystification and as a social problem which must be overcome.

Since the 1990s, both politics and pop culture have been dominated by the twin motifs of the victim and the child. Calcutt traces the history of these motifs back to their origins in the counterculture of the 1950s and 1960s, and concludes that the counterculture, far from being liberating, has provided a ready-made verbal and visual language for today''s victim culture and the authoritarian politics arising from it. This title discusses the erosion of adulthood as a pop cultural phenomenon that requires demystification and as a social problem which must be overcome.

In recent decades, the myth of fashionable women and sartorially challenged men has been overturned not least through the proliferation of men’s style magazines such as GQ and the emergence of masculinity as a marketing tool. In this engaging book, Edwards applies a sociological approach to our understanding of men’s fashion, which he argues is significant in the nexus of masculinity and society, past and present, rather than a narrow artistic or aesthetic interest. Rejecting an essentialist or ‘natural’ origin, Edwards explores how masculinity and men’s fashion are constructed, particularly in relation to consumer society. It is the growing commodification and aestheticism of everyday life, alongside developments in marketing and advertising, that Edwards identifies as the catalyst in the emergence of men’s fashion, rather than an abstract ‘crisis of masculinity’ or ’new man’ identity. Concurrently, in the 1980s, changes in demography, economics and ideology gave certain men greater freedom and spending power than ever before. Edwards investigates how these men, clearly distinguished by age, class and sexual orientation, were seduced by advertisers with sexualised images of suited city gents and body-beautiful boys in Levis, and how the resultant process of consumption was facilitated through developments in the practice of shopping itself, such as easy access to credit. He examines the influence of the advertisers’ message in creating a hierarchy of masculinity in which some men are valorised and others are denigrated. Starting with a historical review of men’s fashion and a discussion of its importance and meanings, Edwards goes on to analyse the contemporary marketing of menswear and masculinity in advertising and in the media, and considers the politics of fashion for men in terms of gender, class, race and sexuality.

In recent decades, the myth of fashionable women and sartorially challenged men has been overturned not least through the proliferation of men''s style magazines such as GQ and the emergence of masculinity as a marketing tool. In this engaging book, Edwards applies a sociological approach to our understanding of men''s fashion, which he argues is significant in the nexus of masculinity and society, past and present, rather than a narrow artistic or aesthetic interest. Rejecting an essentialist or ''natural'' origin, Edwards explores how masculinity and men''s fashion are constructed, particularly in relation to consumer society. It is the growing commodification and aestheticism of everyday life, alongside developments in marketing and advertising, that Edwards identifies as the catalyst in the emergence of men''s fashion, rather than an abstract ''crisis of masculinity'' or ''new man'' identity. Concurrently, in the 1980s, changes in demography, economics and ideology gave certain men greater freedom and spending power than ever before. Edwards investigates how these men, clearly distinguished by age, class and sexual orientation, were seduced by advertisers with sexualised images of suited city gents and body-beautiful boys in Levis, and how the resultant process of consumption was facilitated through developments in the practice of shopping itself, such as easy access to credit. He examines the influence of the advertisers'' message in creating a hierarchy of masculinity in which some men are valorised and others are denigrated. Starting with a historical review of men''s fashion and a discussion of its importance and meanings, Edwards goes on to analyse the contemporary marketing of menswear and masculinity in advertising and in the media, and considers the politics of fashion for men in terms of gender, class, race and sexuality.

We can do little to escape the experience of the United States of America through many media: TV, pop music, youth culture, Hollywood, fast food. How do these traces and images affect us? Do we internalize them, want to be American? Do we (can we?) resist them? Is our desire for them a symptom of European pop culture’s crisis? From black face minstrelsy, rap music and fiction to McDonald’s, rock festivals and Star Trek, the cultural conception of America is critically unpacked by contributors from Europe, Israel and the USA. McKay rounds off the picture by offering a comprehensive introduction that explains theoretical approaches to Americanization from the thesis of Yankee cultural imperialism to America as site of liberation or fantasy.

We can do little to escape the experience of the United States of America through many media: TV, pop music, youth culture, Hollywood, fast food. How do these traces and images affect us? Do we internalize them, want to be American? Do we (can we?) resist them? Is our desire for them a symptom of European pop culture''s crisis? From black face minstrelsy, rap music and fiction to McDonald''s, rock festivals and Star Trek, the cultural conception of America is critically unpacked by contributors from Europe, Israel and the USA. McKay rounds off the picture by offering a comprehensive introduction that explains theoretical approaches to Americanization from the thesis of Yankee cultural imperialism to America as site of liberation or fantasy.

An anthology of essays on the new syncretic, or 'fusion', styles of music of the indigenous peoples of the Pacific region, who have adopted forms of popular music as an expression of their cultural identity. Its strength lies in the layering up of a sense of community of inquiry, and the fostering of an intertextual head of steam, grounded in a set of empirical, rather than theoretical, concerns. It considers the interrelation between music, popular culture, politics and (national) identity, but also looks at the business aspect of producing and distributing music in the Pacific region.

An anthology of essays on the new syncretic, or ''fusion'', styles of music of the indigenous peoples of the Pacific region, who have adopted forms of popular music as an expression of their cultural identity. Its strength lies in the layering up of a sense of community of inquiry, and the fostering of an intertextual head of steam, grounded in a set of empirical, rather than theoretical, concerns. It considers the interrelation between music, popular culture, politics and (national) identity, but also looks at the business aspect of producing and distributing music in the Pacific region.