Cultural Theory: The Key Thinkers

Edgar, Andrew; Sedgwick, Peter

doi:10.4324/9780203996423

Cited by 47 publications

(30 citation statements)

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“…The use of ''identity'' is inspired by Durkheim's thought that the individual is a product of society (Durkheim, 1984). A crude elaboration of the idea is that all members of a pre-industrial society with no division of labor will be similar in attitudes, values, and norms (Edgar and Sedgwick, 2002). In the present context, ethnic identity refers to the awareness of the Fulani (or the Wolof or the Moor) of their own cultural distinctiveness -their shared practices, values, and systems of belief.…”

Section: Dynamics In Pastoral Livelihood Activitiesmentioning

confidence: 99%

Continuity and Change in Pastoral Livelihoods of Senegalese Fulani

Adriansen

2006

Agric Hum Values

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Based on fieldwork in northern Senegal, this paper shows how some pastoralists in Ferlo have managed to use market opportunities as a means to maintain their ''pastoral way of life'' Increased market involvement has enlarged the field of opportunities for pastoral activities as well as the vulnerability of these activities. This has given rise to a dialectic process of diversification and specialization. The paper is concerned with the portfolio of livelihood activities pastoralists use in order to respond to adverse socio-economic and environmental conditions. Depending on the possibilities and values of a household, a certain combination of activities is chosen and this may change from one year to another. Hence, the activities are used in a dynamic way within households. On the basis of pastoral livelihood activities, four ideal types of pastoral livelihood strategies can be constructed: ''agro-pastoralism,'' ''Tabaski pastoralism,'' ''commercial pastoralism,'' and ''non-herding pastoralism.'' These four types illustrate how pastoralists re-invent their livelihoods in order to continue a pastoral way of life.

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Section: Dynamics In Pastoral Livelihood Activitiesmentioning

confidence: 99%

Continuity and Change in Pastoral Livelihoods of Senegalese Fulani

Adriansen

2006

Agric Hum Values

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“…That is to say, older Marxist theories interpret capitalism (or even capitalist modernism) as the organisation of production or the resultant of the relations between the two opposing dominant economic classesbourgeois (which owns the means for production) and the proletariat (which possesses only their personal ability to work). 30 The characters we find inside the two Parisian cafés are mostly clearly defined by class, but -of course -the mentioned social stratification is by no means all-present or the only valid one. We are, however, of the opinion that the author's critical allusiveness does go in that direction.…”

Section: IVmentioning

confidence: 81%

America and the Non-European World in the Plays of Josip Kosor's “Parisian Cycle”

Rafolt

2006

Neohelicon

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Josip Kosor's dramatic work is well known to both Croatian and European readership and theatre public. First of all, common reader is well acquainted with the author's so called 'rural dramatic cycle'-especially his most 'specific' and the most appreciated modernistic play, Flame of Passion. This paper will try to interpret-using the critical concepts of literary anthropology, intercultural studies and theatre sociology-the so called 'Parisian phase' of his literary work, his intercultural dramas In Café du Dôme and Rotonda. After positioning his dramas in their cultural, historical and literary context, after analyzing their performative background, we will try to (1) discover the so called 'extraliterary alusiveness' that is present in Kosor's dramatic cycle, (2) read out some of the concepts of social, gender and, especially, ethnic stratification, as well as their function in producing cultural stereotypes about American and non-European, especially Far-Eastern world of the early twentieth century. I Among Josip Kosor's plays Flame of Passion and Reconciliation 1 are often mentioned as paradigmatic. Unlike these plays, bluntly naturalistic, with some elements of the expressionist dramaturgy, but with utterly rural themes, theatre pieces of the Kosor's so-called Parisian period are characterised by certain metropolitan liveliness, international spirit and an interest for the exotic, "for the black Africa, yellow East, India, Japan, China, Babylon, Greece, mysticism, philosophy, esoterica, old aristocratic Europe faced with a mythic phenomenon-America, and its main greatest asset-cap-0324-4652/$20.

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“…Ethnic, historic and linguistic criteria as well as political notions such as legitimacy and bureaucracy must be taken into account to frame an understandable conception which is based on a shared cultural heritage. While some scholars like Ernest Gellner (2006: 1) define nationalism as 'a political principle, which holds that the political and the national unit should be congruent', others like Eric Hobsbawm and Elie Kedourie suggest that nationalism is an invention on the part of social elites which fails to address the arbitrary and contingent formation of nations, instead positing invented tradition which thus constitutes a superficial cultural heritage (Edgar and Sedgwick 1999). Similar to other Chinese studies, there are contradictory views about Chinese nationalism.…”

Section: Cultural Nationalism and Political Propagandamentioning

confidence: 99%

Red songs and the main melody: cultural nationalism and political propaganda in Chinese popular music

Wang¹

2013

prbt

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Red songs and the main melody: cultural nationalism and political propaganda in Chinese popular music Qian Wang is a lecturer in popular music and the creative industries at Yibin University. His research is focused on Chinese popular music and the popular music scene in mainland China. Currently, he is doing research on queer culture in Chinese popular music. AbstractRed songs were revolutionary songs and propaganda songs. In recent years, the government has repackaged red songs as popular music and adapted popular music into red song repertoire simultaneously. The fusion between red songs and popular music makes young people's ideological education more effective. The classification of red song repertoire and the identification of the main melody publicize what kind of (popular) cultural product the government welcomes for reward, benefit and profit. Highlighting the cultural context of nationalism can soften the coerciveness and aggressiveness of political propaganda. The popularity of red song TV singing contests and local singing activities demonstrates that politics and culture, propaganda and commerce, education and entertainment are all mixed together for the smooth operation of ideological control in today's China. But to a certain extent, the commercialization of red songs into entertainment also corrupts the seriousness of political propaganda.

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Cultural Theory: The Key Thinkers

Cited by 47 publications

References 0 publications

Continuity and Change in Pastoral Livelihoods of Senegalese Fulani

Continuity and Change in Pastoral Livelihoods of Senegalese Fulani

America and the Non-European World in the Plays of Josip Kosor's “Parisian Cycle”

Red songs and the main melody: cultural nationalism and political propaganda in Chinese popular music

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