Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

Historically, American political science has rarely engaged popular culture as a central topic of study, despite the domain’s outsized influence in American community life. This article argues that this marginalization is, in part, the by-product of long-standing disciplinary debates over the inadequate political development of the American public. To develop this argument, the article first surveys the work of early political scientists, such as John Burgess and Woodrow Wilson, to show that their reformist ambitions largely precluded discussion of mundane (...) activities of social life such as popular culture. It then turns to Harold Lasswell, who produced some of the first investigations of popular culture in American political science. Ironically, however, his work – and the work of those who adapted similar ways of speaking about popular culture after him – only reinforced skepticisms concerning the American public. It has thus helped keep the topic on the margins of disciplinary discourse. (shrink)

The studies of urban popular culture in modern China in recent years have attracted wide attention from scholars in China and abroad. The symposium, which is composed by Ma Min’s “Injecting vitality into the studies of urban cultural history,” Jiang Jin’s “Issues in the studies of urban popular culture in modern China,” Wang Di’s “The microcosm of Chinese cities: The perspective and methodology of studying urban popular culture from the case of teahouses in Chengdu,” Joseph W. (...) Esherick’s “Remaking the Chinese city: Urban space and urban culture” and Lu Hanchao’s “From elites to common people: The downward trend in the studies of Chinese urban history in the United States,” provide valuable insights on the perspective, trend, and methodology of the studies. (shrink)

In the United States, people are deeply divided along lines of race, class, political party, gender, sexuality, and religion. Many believe that historical grievances must eventually be left behind in the interest of progress toward a more just and unified society. But too much in American history is unforgivable and cannot be forgotten. How then can we imagine a way to live together that does not expect people to let go of their entrenched resentments? Living with Hate in American (...) Politics and Religion offers an innovative argument for the power of playfulness in popular culture to make our capacity for coexistence imaginable. Jeffrey Israel explores how people from different backgrounds can pursue justice together, even as they play with their divisive grudges, prejudices, and desires in their cultural lives. Israel calls on us to distinguish between what belongs in a raucous “domain of play” and what belongs in the domain of the political. He builds on the thought of John Rawls and Martha Nussbaum to defend the liberal tradition against challenges posed by Frantz Fanon from the left and Leo Strauss from the right. In provocative readings of Lenny Bruce’s stand-up comedy, Philip Roth’s Portnoy’s Complaint, and Norman Lear’s All in the Family, Israel argues that postwar Jewish American popular culture offers potent and fruitful examples of playing with fraught emotions. Living with Hate in American Politics and Religion is a powerful vision of what it means to live with others without forgiving or forgetting. (shrink)

This interview – conducted by Peter Beilharz and Trevor Hogan with Clinton Walker over the course of three months (July to September 2011) between Melbourne and Sydney via email and Skype – explores the questions of Australian popular culture writing with, against, and of the culture industries themselves. Walker is a leading freelance Australian cultural historian and rock music journalist. He is the author of seven books, five about Australian music. He has been a radio DJ and TV presenter. (...) He compiled and produced four double CD album collections of Australian music – Inner City Sound, Buried Country, Long Way to the Top, and Studio 22. He has been a key writer in several multi-media projects, including the Powerhouse Museum Real Wild Child exhibition and CD-Rom (1995) and ABC TV’s hit documentary series/CD/DVD Long Way to the Top (2001). In 2006, a new US edition of his first book Inner City Sound (with soundtrack CD) was published. His Golden Miles: Sex, Speed and the Australian Muscle Car (2005) has been published in a revised edition in 2009. In 2012, his eighth book, The Wizard of Oz, will be published. Walker is currently writing with Beilharz and Hogan a book called The Vinyl Age: The History of Australian Rock Music, 1945–1995. The interviewers invited Walker to reflect critically on his 35-year ‘career’ as pop avatar, independent writer and critic in the post-war to post-modern Australian popular culture industries. Going from journalism to his path-finding books and television documentaries, the article traces this work’s development both in personal terms and as a symptom of the broader cultural evolution, from the suburbs to pop to art and rock and back again; between London and the provincial cultures of Oz; from one-way American consumerism to local DIY egalitarianism, analogue to digital to global dialogue, youth culture to multi-culturalism, and from the putative low brow to the legimitization process itself of popular culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le (...) vite de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

(1993). Print-culture and the advent of nationalism. State-patriotism and the problem of nationality in the popular culture of the printing press during the period of “Vormärz” in Denmark. History of European Ideas: Vol. 16, No. 4-6, pp. 467-475.

The exploration of popular culture topics by academic philosophers for non-academic audiences has given rise to a distinctive genre of philosophical writing. Edited volumes with titles such as Black Sabbath and Philosophy or Buffy the Vampire Slayer and Philosophy contain chapters by multiple philosophical authors that attempt to bring philosophy to popular audiences. Two dominant models have emerged in the genre. On the pedagogical model, authors use popular culture examples to teach the reader philosophy. The end is (...) to promote philosophical literacy, defined as acquaintance with the key problems, ideas, and figures in the history of philosophy. In contrast, on the applied philosophy model, authors use philosophy to open up new dimensions of the popular culture topic for fans. The end is to illustrate the value of philosophy in understanding the popular culture topic, and ultimately, to demonstrate the value of philosophy in general. Taking stock of the relative strengths and weaknesses of these two models provides an opportunity to reflect more broadly on whether, why, and how philosophers should engage the public. (shrink)

When the term “postfeminism” entered the media lexicon in the 1990s, it was often accompanied by breathless headlines about the “death of feminism.” Those reports of feminism’s death may have been greatly exaggerated, and yet contemporary popular culture often conjures up a world in which feminism had never even been born, a fictional universe filled with suburban Stepford wives, maniacal career women, alluring amnesiacs, and other specimens of retro femininity. In _Feminism and Popular Culture_, Rebecca Munford and Melanie (...) Waters consider why the twenty-first century media landscape is so haunted by the ghosts of these traditional figures that feminism otherwise laid to rest. Why, over fifty years since Betty Friedan’s critique, does the feminine mystique exert such a strong spectral presence, and how has it been reimagined to speak to the concerns of a postfeminist audience? To answer these questions, Munford and Waters draw from a rich array of examples from contemporary film, fiction, music, and television, from the shadowy cityscapes of _Homeland _to the haunted houses of _American Horror Story_. Alongside this comprehensive analysis of today’s popular culture, they offer a vivid portrait of feminism’s social and intellectual history, as well as an innovative application of Jacques Derrida’s theories of “hauntology.” _Feminism and Popular Culture_ thus not only considers how contemporary media is being visited by the ghosts of feminism’s past, it raises vital questions about what this means for feminism’s future. (shrink)

Almost wherever we look, depictions of sexuality, both subtle and not-so-subtle, are omnipresent. Whatever the medium, popular culture representations tell us something about ourselves and about the ideologies of which they are symptomatic. These essays examine the strategies of power implicit in popular representations of sexuality. The authors—scholars in fields such as sociology, philosophy, biology, political science, history, and English literature— eschew rigid disciplinary boundaries.

Recent books, articles and plays about the ‘immortal’ HeLa cell line have prompted renewed interest in the history of tissue culture methods that were first employed in 1907 and became common experimental tools during the twentieth century. Many of these sources claim tissue cultures like HeLa had a “troubled past” because medical researchers did not seek informed consent before using tissues in research, contravening a long held desire for self-determination on the part of patients and the public. In this (...) article, I argue these claims are unfair and misleading. No professional guidelines required informed consent for tissue culture during the early and mid twentieth century, and popular sources expressed no concern at the widespread use of human tissues in research. When calls for informed consent did emerge in the 1970s and 1980s, moreover, they reflected specific political changes and often emanated from medical researchers themselves. I conclude by arguing that more balanced histories of tissue culture can make a decisive contribution to public debates today: by refuting a false dichotomy between science and its publics, and showing how ethical concepts such as informed consent arise from a historically specific engagement between professional and social groups. (shrink)

This book provides a philosophical overview of Umberto Eco's historical and cultural development as a unique, internationally recognized public intellectual who communicates his ideas to both an academic and a popular audience. It describes Eco's intellectual development from his childhood during World War II and student involvement as a Catholic youth activist and scholar of the Middle Ages, to his early writings on the "openness" of modern works such as Joyce's Finnegans Wake. Merrell also explores Eco's pioneering role in (...) semiotics and his later career as a novelist. (shrink)

The object of this research is the mass culture and art of China in the second half of the XX – early XXI centuries. The subject of the study is the calligraphic graffiti of Tsang Tsou Choi, the so–called "king of Kowloon", as a phenomenon of art and mass culture in modern China. During the consideration of the topic, questions are raised about the degree of study of the issues under consideration, the problems of research are outlined, the stages of (...) formation of Tsang Tsou Choi as an icon of culture and art of Hong Kong are analyzed. The article traces the content of the artist's work, gives an idea of the specifics of the perception of his works in the mass consciousness, in addition, describes the transformation of the perception of his street calligraphic inscriptions in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The main methods of the study were historical, cultural, systemic and functional analysis, which allowed us to create an idea of the calligraphic graffiti of Tsang Tsou Choi as a phenomenon of art and mass culture in modern China. For the first time in Russian science, the work attempts to highlight the phenomenon of calligraphic graffiti of King Kowloon and trace their influence on the art world and mass consciousness of Hong Kong in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The study concludes that for Hong Kong residents, Tsang Tsou Choi's street calligraphy has become a discovery and inspiration, inspiring perseverance and determination in the struggle for their ideals in an era of great change. It is also important that his inscriptions embodied a unique collective memory: they touched on topics that traditionally remained unspoken, such as, for example, the history of mass dispossession. They became a statement that nothing is forgotten. Despite being declared an outsider in academic calligraphy circles, his fame only grew on the streets. Obviously, in the years leading up to the handover of Hong Kong to China, his naive activism became an expression of the general mood of the era. Thus, his figure gained importance not so much as a calligrapher, but as a pioneer of political graffiti. (shrink)

Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...) variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

Ozomatli's history of formation, the multiplicity of its sounds, the role played by its music in enabling political activism and political coalitions illuminate the relations between identities and politics at the present moment. The group is grounded in Los Angeles contemporary Chicano/a culture and in the new social relations, new knowledges, and new sensibilities of an emerging global city in a transnational era. Speaking from the interstices between commercial culture and the new social movements, Ozomatli's music and political work (...) offers us invaluable bottom‐up perspectives on the terrain of counter‐politics and cultural creation at the beginning of the twenty‐first century. (shrink)

New to this edition: 4 new readings Stuart Hall The rediscovery of 'ideology': return of the repressed in media studies Ernesto Laclau and Chantal Mouffe Post ...

The most common definitions of popular culture suffer from a presentist bias and cannot be applied to pre-industrial and pre-capitalist societies. A survey reveals serious conceptual difficulties as well. We may, however, gain insight in two ways. 1) By moving from a Marxist model to a more Weberian approach . 2) By looking to Bourdieu’s “cultural capital” and Danto’s and Dickie’s “Institutional Theory of Art,” and defining popular culture as “unauthorized culture.”.

History in a Post-Truth World: Theory and Praxis explores one of the most significant paradigm shifts in public discourse. A post-truth environment that primarily appeals to emotion, elevates personal belief and devalues expert opinion has important implications far beyond Brexit or the election of Donald Trump, and has a profound impact on how history is produced and consumed. Post-truth history is not merely a synonym for lies. This book argues that indifference to historicity by both the purveyor (...) and recipient, contempt for expert opinion that contradicts it, and ideological motivation are its key characteristics. Taking a multidisciplinary approach, this work explores some of the following questions. What exactly is post-truth history? Does it represent a new phenomenon? Does the historian have a special role to play in preserving public memory from 'alternative facts'? Do academics more generally have an obligation to combat fake news and fake history both in universities and on social media? How has a 'post-truth culture' impacted professional and popular historical discourse? Looking at theoretical dimensions and case studies from around the world, this book explores the violent potential of post-truth history and calls on readers to resist. (shrink)

The chief difficulty with most social and psychological studies of violence lies in their assumption that violence is essentially a simple act of aggression that can be treated outside of a more complex moral and dramatic context. This may be the case with news reports of war, murder, assault, and other forms of violent crime, but it is certainly not a very adequate way to treat the fictional violence of a western, a detective story, or a gangster saga. It is (...) true that one can count and catalog the number of violent acts that occur in a day or a week of television and produce distressing statistics about the number of murders and assaults per minute on the typical television show. One can, like the redoubtable Dr. Wertham, amass specific instances where a young person has imitated or thinks he has imitated an act of violence he saw on television, though we should not forget that it can also be said without much fear of contradiction that the literary work which has directly caused more violence in the history of Western civilization than any other is the Bible. One can also construct laboratory experiments in which various groups are shown short films of violent acts and demonstrate that in certain circumstances this experience will cause further aggressive behavior. With procedures such as this, the evidence of a correlation between media violence and aggressive behavior becomes more and more persuasive. But do such studies tell us anything more than that this is a violent age and that there is probably some connection between the violence of actuality and the representation of violence in the media? John G. Cawelti, author of Apostles of the Self-made Man, Six-Gun Mystique, and Focus on Bonnie and Clyde, is professor in the Department of English and chairman of the Committee on General Studies in the Humanities at the University of Chicago. (shrink)

Much philosophical work on pop culture apologises for its use; using popular culture is a necessary evil, something merely useful for reaching the masses with important philosophical arguments. But works of pop culture are important in their own right--they shape worldviews, inspire ideas, change minds. We wouldn't baulk at a book dedicated to examining the philosophy of The Great Gatsby or 1984--why aren't Star Trek and Superman fair game as well? After all, when produced, the former were considered pop (...) culture just as much as the latter. This will be the first major reference work to right that wrong, gathering together entries on film, television, games, graphic novels and comedy, and officially recognizing the importance of the field. It will be the go-to resource for students and researchers in philosophy, culture, media and communications, English and history and will act as a springboard to introduce the reader to the other key literature in the field. (shrink)

Discussions of ‘cultural appropriation’ in popular culture suffer from an inherited politics of authenticity and ownership originating in a liberal legal–ethical framework. Here, I use Raymond Williams’s and Stuart Hall’s cultural theory to pinpoint the place at which cultural-appropriation discourse goes wrong – an essentialist and anti- historical notion of colonial encounters. We can overcome these limits through Marxist cultural and historical analysis. Outrage about colonial violence which most often roots appropriation discourse is better understood within the context of (...) an account of the transition to capitalism beginning with the Low Countries and their eastern colonies. Furthermore, the Marxist idea of the cosmopolitan cultures of both capital and labour offers a productive path for the history of culture rooted in the same colonial encounter. (shrink)

This article is divided into five parts. After a brief example in the first part, the second explains what historical sense-generation is about. The third characterizes tradition as a pregiven condition of all historical thinking. With respect to this condition, the constructivist theory of history is criticized as one-sided. The fourth part presents tradition as one of the four basic sense criteria of historical narration. The article concludes with a discussion of the role of tradition in the historical culture (...) of modern societies.Historical sense-generation is a mental procedure by which the past is interpreted for the sake of understanding the present and anticipating the future. This mental procedure is an anthropological universal in the cultural orientation of human practical life and will lead to a concept of the course of time as a necessary factor in the cultural orientation of human life.Today the dominant opinion in metahistory conceives of historical sense-generation in a constructivist way. The sense of the past is understood as an ascription of meaning onto the past; the past itself has no impact on this meaning. But I hold that the past is already present in the circumstances and conditions under which historical thinking is performed and is obviously influenced by it. This presence can be called tradition. Before historians construct the past they themselves are already constructed by the present outcome of past developments in the world. Thus tradition is always at work in historical thinking before the past is thematized as history.Historical sense-generation needs basic principles of sense and meaning. Using these principles transforms the experience of the past into a meaningful history for the present. Despite cultural differences, four sense criteria can be identified as basic for making historical sense of the past. One of the four principles is tradition. It is the most fundamental one upon which all other modes of making sense of the past are grounded. It presents temporal change in the human world such that the world’s order is maintained despite all its changes. Since the emergence of the so-called advanced civilizations, other types of historical narration have overshadowed the constitutive role of tradition. Historical narration has been supplemented by exemplary, genetic, and critical approaches to the past. Yet the traditional one has remained the most frequently used and is the most basic and popular. (shrink)

The soul, which dominated many intellectual debates at the beginning of the twentieth century, has virtually disappeared from the sciences and the humanities. Yet it is everywhere in popular culture-from holistic therapies and new spiritual practices to literature and film to ecological and political ideologies. Ignored by scholars, it is hiding in plain sight in a plethora of religious, psychological, environmental, and scientific movements. This book uncovers the history of the concept of the soul in twentieth-century Europe and (...) North America. Beginning in fin de siècle Germany, Kocku von Stuckrad examines a fascination spanning philosophy, the sciences, the arts, and the study of religion, as well as occultism and spiritualism, against the backdrop of the emergence of experimental psychology. He then explores how and why the United States witnessed a flowering of ideas about the soul in popular culture and spirituality in the latter half of the century. Von Stuckrad examines an astonishingly wide range of figures and movements-ranging from Ernest Renan, Martin Buber, and Carl Gustav Jung to the Esalen Institute, deep ecology, and revivals of shamanism, animism, and paganism to Rachel Carson, Ursula K. Le Guin, and the Harry Potter franchise. Revealing how the soul remains central to a culture that is only seemingly secular, this book casts new light on the place of spirituality, religion, and metaphysics in Europe and North America today. (shrink)

ArgumentGerman twentieth-century history is characterized by stark changes in the political system and the momentous consequences of World Wars I and II. However, instead of uncovering specific kinds or periods of “Kaiserreich science,” “Weimar science,” or “Nazi science” together with their public manifestations and in such a way observing a narrow link between popular science and political orders, this paper tries to exhibit some remarkable stability and continuity in popular science on a longer scale. Thanks to the (...) rich German history of scientific leadership in many fields, broad initiatives for science popularization, and a population and economy open to scientific progress, the media offered particularly rich popular science content, which was diversified for various audiences and interests. Closer consideration of the format, genre, quality, and quantity of popular science, and of the uses and value audiences attributed to it, along with their respective evolution, reveals infrastructures underpinning science communication. Rather than dealing with specific discourses, the conditions of science communication are at the center of this article. Therefore I focus on the institutions, rules, laws, and economies related to popular science, as well as on the philosophical, moral, and national propositions related to it, and also on the interactions among this ensemble of rather heterogeneous elements. This approach allows a machinery of popular scientific knowledge to be identified, in Foucauldian terms adispositif, one which is of a particularly cultural nature. (shrink)

The increased popularity of the label "cultural" within science studies, especially in relation to "cultural studies, " invites consideration of how it is and can be used in historical work. A lot more seems now to be invested in the notion of "cultural history. " This article examines some recent historiography of science as a means of considering what counts as cultural history in that domain and attempts to coordinate it with the sociologically informed studies of the past (...) ten orfifteen years. The label "sociocultural" seems a more useful term by which to capture recent developments. (shrink)

ABSTRACT In what ways can the study of science and popular culture in the American context contribute to ongoing debates on popularization and popular science? This essay suggests that, for several reasons, attention to the antebellum era offers the most significant opportunity to realize more sophisticated understandings of science in American popular culture. First, it enables us to take advantage of comparative opportunities, both by benefiting from the advanced state of historiography for Victorian popular science and (...) by engaging with a generation of historiographic innovations by scholars in U.S. history, American studies, literature, and art history. Second, the emergence of popular science in the context of the republican ethos of the antebellum period provides an important vantage point from which to assess the extent to which the general issue of “popular science” and its cognates is historically variable and multiple in terms of the politics of knowledge. Third, the ramifications of the development of popular science for relations between science and the public well into the twentieth century cannot be understood until we gain a more clearly developed sense of the emergent period. (shrink)

This article examines three cases of mid-20th-century oil media—oil-related imagery, iconographies, and media—in visual culture: a series of popular science books entitled The Story of Oil published in the US, an oil-themed set of Kuwaiti postage stamps (1959), and an art exhibition in Zurich (1956) titled Welt des Erdöls: Junge Maler sehen eine Industrie (World of Petroleum: Young Artists See an Industry). While depicting crude oil in its natural habitat was a common photographic theme in the early 20th-century United (...) States, the material discussed shows that, by the mid-20th century, crude oil no longer had the same visual presence. The iconography of oil in the three case studies came to rely increasingly on images of oil infrastructure and on context-specific depictions of living within petro-modernity or petro-culture, meaning lifestyles fueled by cheap fossil energy. However, it is not just the changes in visual representations of petroleum that matter; any debate about the visibility and invisibility of petroleum has to take into account the very media through which petroleum has become visually communicated—that is, the precise forms of oil's mediatization. The aesthetic negotiation of petroleum through media-based visual representations has been crucial for the dematerialization of fossil matter in its conversion to fossil energy, as well as the decoupling of sites of extraction from sites of production and consumption in the public imagination. As petro-culture has morphed into national or even global culture (rather than representing just one possible energy source among many), oil media has paved the way for our intimate relationship with fossil energy-dependent lifestyles, which is one of the biggest drivers of climate change. (shrink)

As digital technologies are integrated into medical environments, they continue to transform the experience of contemporary health care. Importantly, medicine is increasingly visual. In the history of sonography, visibility has played an important role in accessing fetal bodies for diagnostic and entertainment purposes. With the advent of three-dimensional rendering, sonography presents the fetus visually as already a child. The aesthetics of this process and the resulting imagery, made possible in digital networks, discloses important changes in the relationship between technology (...) and biology, reproductive health and political debates, and biotechnology and culture. (shrink)

The remarkable growth in interest in aesthetic gardens in the late Ming period has been recognized in Chinese garden culture studies. The materialist historical approach contributes to revealing the importance of gardens’ economic functions in the shift of garden culture, but is inadequate in explaining the successive burgeoning of small plain gardens in the 17th century. This article integrates the aesthetic and materialist perspectives and situates the cultural transition in the concrete social and cultural context in the late Ming period. (...) Beginning with describing a taste change and an expansion in the number of gardens, this article focuses on the small plain garden phenomenon by exploring the unique role that the arts (e.g., poetry and painting) played. A series of artistic criteria were established in the late Ming period. The application of these aesthetic rules to gardens enabled more people to own gardens. This is process that economic requirements for owning gardens were lowered, giving way to the aesthetic appreciation and exploration of literati individuals’ artistic talents. Gardens thus became more widely accessible and provided enhanced pleasure to the middle and lower class families. The conclusion is that the ‘major shift’ in garden culture was closely associated with the change of garden owners’ aesthetic tastes, in addition to the economic conditions in the Jiangnan area. In the increased popularity of gardens, the arts played a significant role. (shrink)

Dance is an art of human movements, and it is an art form that takes refined, organized and artistically processed human movements as the main means of expression, expresses people's thoughts and feelings, and reflects social life. Humans not only transfer knowledge by means of dance, but also communicate with heaven and earth and soothe the soul by means of dance. Dance drama, an art form, is more and more popular among the masses. With the development of the times (...) and science and technology, dance drama forms are constantly bringing forth the new. On the basis of the ancient stage art, it glows with new splendor and enriches the treasure house of human spirit and culture. During the development of history and culture, both religious culture and dance culture have tenacious vitality, and are constantly developing and evolving. The two are inextricably linked, interacting and influencing each other. This paper studies the relationship between dance and religion, trying to learn from historical experience, analyze the relationship between dance and religion, solve the problems in the creation of dance drama, provide theoretical basis for the development of dance drama, and promote the vigorous development of dance art. (shrink)

This paper addresses the question of the existence and transmission of Buddhism in British culture in the 1930s. It argues that Buddhism found channels of transmission through popular culture, such as James Hilton’s 1933 novel Lost Horizon. Lost Horizon can be understood historically in relation to current Western ideas about Buddhism, and in response to the sense of historical crisis of Western modernity. This paper also shows that elements of a more genuine Buddhism are extracted from orientalist materials and (...) deployed by Hilton in ways that make the novel a carrier of quasi-Buddhist ideas. (shrink)

Essays on a wide range of areas and topics in Asian studies for scholars looking to incorporate Asia into their worldview and teaching. Contributors give contemporary presence to Asian studies through a variety of themes and topics in this multidisciplined and interdisciplinary volume. In an era of globalization, scholars trained in Western traditions increasingly see the need to add materials and perspectives that have been lacking in the past. Accessibly written and void of jargon, this work provides an adaptable entrée (...) to Asia for the integration of topics into courses in the humanities, social sciences, cultural studies, and global studies. Guiding principles, developed at the East-West Center, include noting uncommon differences, the interplay among Asian societies and traditions, the erosion of authenticity and cultural tradition as an Asian phenomenon as well as a Western one, and the possibilities Asian concepts offer for conceiving culture outside Asian contexts. The work ranges from South to Southeast to East Asia. Essays deal with art, aesthetics, popular culture, religion, geopolitical realities, geography, history, and contemporary times. “This volume truly lies at the intersection of scholarship and teaching. Each essay has the potential to help rethink approaches to scholarly issues, and there is a great deal of material for classroom discussion and examples. The book’s breadth—covering India, China, Korea, the Sea of Malay, Bhutan, and other locations—is impressive.” — Robert André LaFleur, Beloit College. (shrink)

The National Institute of Science and the Arts, founded in 1795, consists of parallel academies, concerned with science, literature, the visual arts and so on. In the nineteenth century it represented a unique government-sponsored intellectual authority and a supreme court judgement, a power which came to be resented by innovators of all kinds. The Académie des sciences held a virtual monopoly in representing French science but soon this came to be challenged. In the period of the Second Empire we find (...) a group of men carving out a new career for themselves as professional popularizers of science, commissioned to write regular articles in newspapers and journals. Although they had begun by simply reporting the meetings of the Académie des sciences, they soon widened their scope and even began criticizing the august Académie. Thus they represented the alternative voice of science, distinct from ‘official science’. These independent writers had their counterpart in painting and literature, both of which were developing radical new approaches in mid-century. When the very traditional Fine Art Academy refused to consider their paintings, painters like Cézanne and Manet found an alternative outlet. Writers too asserted their independence from the Académie française. There were not only many parallels between the independent practitioners in science, painting and literature but also new schools of ‘naturalism’ in painting and literature which looked to science as a model. (shrink)

Today's social and political climate often pits conservative or traditional Christianity against "progressive" Christianity. But what is progressive Christianity? What is a progressive Christian? What is a progressive church? Christianity in Blue answers these questions by drawing from biblical scholarship, Christian history, theology, popular culture, philosophy, and cultural anthropology. Kaden shows how socially liberal values and progressive attitudes can be the fruits of taking seriously both the Bible and Christian tradition. But rather than treating these sources as static (...) authorities and the final word on every subject, Kaden argues that they are places to start one's exploration of how to be a Christian in the world. Being a progressive Christian is an ethical exhortation to "uplift human personality," as Martin Luther King Jr. once said. This exhortation structures how progressive Christians receive, interpret, and apply the Bible and Christian tradition to daily life. A robust tradition provides an anchor to avoid the illiberal trends in contemporary society, and a commitment to uplifting human personality provides a check against dehumanizing uses of Scripture and tradition. Christianity in Blue will help both progressive and conservative Christians better understand the importance of the Bible, theology, history, and philosophy for building a loving church for everyone. (shrink)

This article traces the competing meanings of "master narrative" in current theoretical debates over history and culture. The phrase "master or meta narrative" has grown popular for describing stories which seem to assimilate different cultures into a single course of history dominated by the West. Master narrative, like its predecessors Universal History and speculative philosophy of history, has become something to avoid. But our increasingly global situations demand stories that can describe and explain the worldwide (...) interactions of diverse cultures and communities. From this convergence--a growing wariness of global stories coupled with situations which seem to demand them--has emerged a popular new double plot of world history in which cultural differentiation and cultural homogenization go hand in hand. The development has led to some surprising homologies and contrasts among the new histories created by thinkers from Claude Lévi-Strauss and Jean-François Lyotard to James Clifford and Francis Fukuyama. But our new "postmodern" distinctions between master and local narratives have carried over the venerable antinomy of people with and without history, and the search for timeless formal principles differentiating "historical" and "nonhistorical" modes of discourse and ways of being threatens to create new varieties of essentialism. (shrink)

Readers expecting a history of nineteenth‐century pathology are in for a surprise. They will find instead a self‐conscious example of cultural studies, critical of some assumptions made in this field and of some feminist writing, but containing some alarming sentences like “My goal has been to give shape to the accidental palimpsests of an inveterately verbal, and increasingly visual, culture; to assemble a particular series of hermeneutic loose ends into a coherent account of how an extraordinarily bizarre system of (...) signification came into being” . With learned English like that, who needs Latin? But once we get into the main part of the book, things get much better. We are confronted with a study of the fringes of science, in popular writings, in literature, and in raree‐shows, one working from sources that the more austere scientifics of the Victorian period despised and that historians of science are prone to ignore. Metaphor and analogy are everywhere, and sensitive stomachs will be churned by vivid accounts of disease, deformity, and surgery.The first chapter is concerned with the cholera morbus, the plague of the nineteenth century, and with the way it could be perceived as an indicator of social ills. John Ruskin's word “illth” as an opposite of health is revived, and the terrible blackness of the shriveled and dehydrated victims of this disease imported from the East is linked with colonial and racist notions. The theme that a healthy body is like a well‐run state leads into the next chapter, on breast cancer. Surgery was not only agonizing but ineffective in the first half of the nineteenth century, but then the survival rate after three years rose gradually from 4.7 percent to 45 percent by 1900. O'Connor asks whether this saga, with cancer seen as cellular overproduction, reveals close connections with gender construction and the symbolic importance of breasts, concluding that it does not and that the language used really was neutral rather than sexual.She then looks at amputations and artificial limbs, seeing amputation as a threat to the whole masculine body that could be countered by prostheses almost undetectable to the observer. This allows reflection on illustration, where curiously disembodied hands are shown carrying out amputations; on dissembling and artificiality; on materialism; and on metaphors of wholeness and replacement and of extending senses and capacities. We see some extraordinary advertisements where men with artificial legs climb ladders and skate, perhaps on thin ice. The final chapter examines deformity, with monsters and freaks . P. T. Barnum is prominent here, but interesting links are also made to the Great Exhibition at the Crystal Palace and its successors and the numerous museums that were such a feature of the Victorian period. They are strikingly placed in a continuum, rather than opposed, in a discussion of chaos and order, capitalism and health, deformity and degeneration. Wonder is presented as the key to modern sensibility, and there is a nice quotation on page 152: “If Beauty and the Beast should be brought into competition in London at the present day, Beauty would stand no chance against the Beast in the race for popularity.” Readers will have been led into a fascinating world at the periphery of the respectable science that most of us study and will rejoice in the extraordinary sights they see. (shrink)

Analysing both mainstream and underground computer-related press sources from 1982 to 1991, a discursive core is displayed revolving around contamination and sexually transmissible diseases. The 'computer virus' metaphor, popularized in that period, came to resonate with mounting moral panic over the HIV/AIDS epidemic. These anxieties about the body are then conceptualized (and historically contextualized) along two dimensions : 1) the political proximity between HIV/AIDS activists and computer hackers during the FDA clinical trials controversy of 1987-88 ; 2) the ideological reinforcement (...) provided by academic progressive elements to these political actions. (shrink)

Addressing the contradictions surrounding modern-day femininity and its complicated relationship with feminism and postfeminism, this book examines a range of popular female/feminist icons and paradigms. It offers an innovative and forward-looking perspective on femininity and the modern female self.