In the summer of 1958, a 12-year-old girl took the world by stormLolita was published in the United Statesand since then, her name has been taken in vain to serve a wide range of dubious ventures, ...both artistic and commercial. Offering a full consideration of not only the Lolita effect" but shifting attitudes toward the mix of sex, children, and popular entertainment from Victorian times to the present, this study explores the movies, theatrical shows, literary spin-offs, artifacts, fashion, art, photography, and tabloid excesses that have distorted Lolita's identity with an eye toward some real-life cases of young girls who became the innocent victims of someone else's obsessionunhappy sisters to one of the most affecting heroines in fiction. New insight is provided into the brief life of Lolita and into her longer afterlives as well.
Locating Imagination in Popular Culture offers a multi-disciplinary account of the ways in which popular culture, tourism and notions of place intertwine in an environment characterized by ongoing ...processes of globalization, digitization and an increasingly ubiquitous nature of multi-media. Centred around the concept of imagination, the authors demonstrate how popular culture and media are becoming increasingly important in the ways in which places and localities are imagined, and how they also subsequently stimulate a desire to visit the actual places in which people’s favourite stories are set. With examples drawn from around the globe, the book offers a unique study of the role of narratives conveyed through media in stimulating and reflecting desire in tourism. This book will have appeal in a wide variety of academic disciplines, ranging from media and cultural studies to fan- and tourism studies, cultural geography, literary studies and cultural sociology.
Audience, Agency and Identity in Black Popular Culture analyses black cultural representations that appropriate anti-black stereotypes. Using examples from literature, media, and art, Worsley ...examines how these cultural products do not rework anti-black stereotypes into seemingly positive images. Rather, they present anti-black stereotypes in their original forms and encourage audiences not to ignore, but to explore them. Shifting critical commentary from a need to censor these questionable images, Worsley offers a complex consideration of the value of and problems with these alternative anti-racist strategies in light of stereotypes’ persistence. This book furthers our understanding of the historical circumstances that are influencing contemporary representations of black subjects that are purposefully derogatory and documents the consequences of these images.
1. Race, Racism and Black Popular Culture 2. Making the Past Accountable: The Wind Done Gone and Stereotypes of Black Women 3. Audience Reception through the Lens of a $10 Million Dollar Lawsuit 4. Unholy Narratives and Shameless Acts: Kara Walker’s Side-Long Glance 5. Racist Visual Images?: Museum Comment Books and Viewer Response 6. Troubling Blackness: The Source Magazine and the Hip-Hop Nation 7. The Narrative Disrupted: Reading Letters, Rewriting Identity 8. Conclusion: Reframing Debates and Analyses of Controversial Black Culture
Shawan M. Worsley is Assistant Professor in the Department of Performing Arts at the University of San Francisco.
This research discusses whether tattoos are a product of popular culture by analyzing the underlying reasons for getting a tattoo and the psychosocial effects of tattoo use. The sample for this study ...consisted of 28 people living in the Çankaya district of Ankara, Turkey who all had tattoos on their bodies. The study location was visited between June and August 2021. The simple and snowball sampling techniques helped determine the participant group. Data were collected through a semi-structured interview consisting of 15 questions and participant observation techniques. Data analysis was conducted using descriptive and content analysis methods. According to the results, the motivation for getting a tattoo varied. Some of the reasons included admiration and emulation, a period of mourning, a means of communication, belief in a tattoo’s protective properties, covering of a scar, and assimilation into a group. The belief that a tattoo is a product of popular culture is controversial in nature. Tattooing differs from other manifestations of popular culture in that it has a painful construction phase as well as a healing and maintenance process. However, various factors may cause anxiety and regret in the individual, such as experiencing health problems in the process of getting the tattoo, psychological dependence on tattooing, reactions that may occur due to societal perceptions, difficulties in choosing a profession, or the tattoo losing its meaning over time. Ultimately, the tattoo may be viewed as an element that is contradictory to consumer culture. Tattooing is perceived as a learned and imitated behavior by a significant audience and as a determining factor in the reconstruction of identity.
This collective volume concentrates on the concept of transposition, exploring its potential as a lens through which to examine recent Francophone literary, cinematic, theatrical, musical, and ...artistic creations that reveal multilingual and multicultural realities. The chapters are composed by leading scholars in French and Francophone Studies who engage in interdisciplinary reflections on the ways transcontinental movement has influenced diverse genres. It begins with the premise that an attentiveness to migration has inspired writers, artists, filmmakers, playwrights and musicians to engage in new forms of translation in their work. Their own diverse backgrounds combine with their awareness of the itineraries of others to have an impact on the innovative languages that emerge in their creative production. These contemporary figures realize that migratory actualities must be transposed into different linguistic and cultural contexts in order to be legible and audible, in order to be perceptible—either for the reader, the listener, or the viewer. The novels, films, plays, works of art and musical pieces that exemplify such transpositions adopt inventive elements that push the limits of formal composition in French. This work is therefore often inspiring as it points in evocative ways toward fluid influences and a plurality of interactions that render impossible any static conception of being or belonging.
The history of stand-up comedy in Africa has often been tied to developments in popular culture, language, and performance. In this article, I take a different perspective by identifying the ...interactivities of politics and comedy, and how the actions, endorsements, and even censure of national leaders across different nations buoyed up stand-up performances on the continent. With specific examples from different countries, the explications in this paper show how the (in)actions of political leadership in Africa served as fodder for laughter elicitation - in Kenya, with Daniel arap Moi's capitulation and Mwai Kibaki's lethargy; in Nigeria, with Olusegun Obasanjo's comedian-president posture as well as the gaffes of Patience Jonathan; and in South Africa, with Jacob Zuma's unending drama until his resignation. These situations are equally contrasted with the experiences in Uganda, Egypt and Rwanda, where political censure is variously rife.
When Mirandizing a suspect, officers sometimes compare the Mirandizing process to their representation on TV. In doing so, officers assume the suspect (and more generally the American public) is ...familiar with, and understands, their Miranda warnings due to their dissemination on TV. Thus, this paper investigates how the Mirandizing process is presented on TV. An analysis of arrests and custodial interviews on Law & Order: SVU indicates that fictional suspects are rarely adequately Mirandized; they are either not Mirandized at all or are provided a partial version. Moreover, suspects on TV are found to attempt to explicitly invoke their rights only 11% of the time, of which there is about a 50–50 chance of the attempted invocation being successful. In 23% of the time, legal representation appears without any language from the suspect showing them invoking their rights. Attempted and implied invocations on TV are primarily made by persons guilty of the crime they are being accused of, and innocent suspects primarily waive their rights, reinforcing a popular belief that guilty people invoke their rights and innocent people waive them.
Ruinen und Lost Places sind gleichermaßen Symbole der Vergänglichkeit und Zeichen von Zerstörungsakten. Ihre Betrachtung löst divergente Emotionen aus. Was wird aus diesen Orten? Wer bestimmt ...darüber? Und wie und aus welchen Gründen werden Ruinen zum Gegenstand medialer oder künstlerischer Auseinandersetzungen? Die Beiträger*innen des Bandes nehmen sich dieser Fragen an, indem sie Ruinen als aufgegebene und im Verfall befindliche Architekturen oder Stadtlandschaften verstehen: Von den ›malerischen‹ Resten antiker Bauten über stillgelegte Industrie- oder Militärareale und verlassene Wohnbauten bis hin zu ›neuen‹ Investitionsruinen.
From 1950, increasing numbers of Aboriginal and Māori women became nationally or internationally renowned. Few reached the heights of international fame accorded Evonne Goolagong or Dame Kiri Te ...Kanawa, and few remained household names for any length of time. But their growing numbers and visibility reflected the dramatic social, cultural and political changes taking place in Australia and New Zealand in the second half of the twentieth century. This book is the first in-depth study of media portrayals of well-known Indigenous women in Australia and New Zealand, including Goolagong, Te Kanawa, Oodgeroo Noonuccal and Dame Whina Cooper. The power of the media in shaping the lives of individuals and communities, for good or ill, is widely acknowledged. In these pages, Karen Fox examines an especially fascinating and revealing aspect of the media and its history — how prominent Māori and Aboriginal women were depicted for the readers of popular media in the past.
Special IssueSites in Contestation: Reading Contemporary Popular Culture in Africa“Sites in Contestation: Reading Contemporary Popular Culture in Africa” is the third and final instalment in a series ...of special issues of English in Africa produced by the Urban Connections in African Popular Imaginaries (UCAPI) research project. Our last meeting as a research group was set to take place at the biennial Eastern African Literary and Cultural Studies (EALCS) conference, in Lalibela, Ethiopia, in August 2019. But that conference did not go according to plan, serving as a direct illustration of how popular culture in Africa is indeed an active, and sometimes disruptive, site of contestation. A day before the conference commenced, event organisers received notification that leaders in the community were offended by the presence of queerness as a topic under discussion in the programme. In response to the community's threat to protest what they assumed to be a pro-gay rights event, the conference organisers made the difficult decision to strip the programme of any explicitly queer content and, determined to still go ahead with the conference, shifted it to Bahir Dar University at the last minute. In many African countries, where the illegality of homosexuality is often affirmed by notions of national, religious and traditional culture, the uneven terrain of who and what gets to constitute the 'popular' is laid bare.
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