Postcolonial popular cultures

Devadas, Vijay; Prentice, Chris

doi:10.1080/10304312.2011.591924

Cited by 3 publications

(3 citation statements)

References 7 publications

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“…Certain pioneers of postcolonialism in communication studies address globalization (Awwad, 2010;Devadas & Prentice, 2011;Gajjala, 2002;Hasian & Bialowas, 2009;Hegde, 2005;Kavoori, 2009;Kavoori & Arceneaux, 2012;Kavoori & Chadha, 2009;Ono, 2009;Parameswaran, 2008;Schwartz-DuPre, 2007;Shome, 2009Shome, , 2012Shome & Hegde, 2002a, 2014Stabile & Kumar, 2005). Yet, beyond our discipline, the debates between postcolonialism and globalization are so extensive that not only are they difficult to summarize, there is also no shortage of scholars who claim the postcolonial is dead (Gikandi, 2001;Young, 2012).…”

Section: Theoretical Foundationsmentioning

confidence: 99%

“…In defense of postcolonialism The promise and potential of postcolonial theory, Shome and Hegde (2002b) argue, is in "the distinctiveness of postcolonial studies from other forms of critical scholarship" and its "historical and international depth to the understanding of cultural power" (p. 252). Postcolonial scholarship demands that the contemporary global movement cannot divorce itself from the history of colonization that precedes it (Awwad, 2010;Devadas & Prentice, 2011;Hegde, 2011;Kavoori & Chadha, 2009;Kelly, 2012;Lunga, 2008;McCutcheon, 2011;Ono, 2009;Parameswaran, 2002Parameswaran, , 2008Schaefer & Karan, 2011;Shakuntala, 2011;Shome, 2009Shome, , 2011Shome, , 2012Shome & Hegde, 2002a;Smith, 2008;Young, 2012).…”

Section: Postcolonial Palestinian Pridementioning

confidence: 99%

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Postcolonial Globalized Communication and Rapping theKufiyya

Schwartz-DuPre

Scott

2015

Communication, Culture & Critique

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This article is a response to the current reduction of postcolonial work in communication studies and the broader rejection of postcolonial theory in the humanities in favor of globalization studies. We detail the current relationships between postcolonial and globalization scholars to advance the claim that neither field is sufficient without a critical engagement of the other. To trace the important ways in which a joint postcolonial-globalized reading attends to the complexities of contemporary global culture, we focus on the adoption of the historical Palestinian kufiyya by war activists, fashion icons, and antiterrorism constituencies in the United States.

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Section: Theoretical Foundationsmentioning

confidence: 99%

Section: Postcolonial Palestinian Pridementioning

confidence: 99%

Postcolonial Globalized Communication and Rapping theKufiyya

Schwartz-DuPre

Scott

2015

Communication, Culture & Critique

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“…Vijay Devadas and Chris Prentice point out that in postcolonial contexts specifically, "mediated popular cultural practices" intersect with "everyday lived experiences" such as, amongst others, "food, sports, and religious practices and performances", and do so across cultural fields (2011: 690) . They thereby provide a more inclusive notion of popular culture as a field of practice that allows for encompassing the heterogeneous manifestations of popularity that accompany different orders of knowledge, perceptions of the world, and cultural hegemony (Devadas and Prentice 2011). This more inclusive notion of popular culture, which in fact blends a number of cultural fields, is better suited to the cultural setting of 1980s postcolonial India and to the textures and the particular position of Ramayan and Mahabharat at a specific historical juncture of the medium television.…”

Section: Understanding Sound and Music As Essential Narrative Element...mentioning

confidence: 99%

Epic Television – Music and Sound in Ramayan and Mahabharat

Lesniak¹

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Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Britta Lesniak aus Detmold Göttingen 2017 II was invaluable and always gave me impulses to think my work further. Prof. Dr. Andreas Waczkat I thank for his willingness to be a third reader of this dissertation, and his helpful feedback during earlier presentations. I want to thank Frank Kelleter and every member and associate member of the entire DFG-Research Unit Popular Seriality: Aesthetics and Practice for including me in this fantastic group for three years and for all the input and exchange during this time, from which I benefited immensely. For financing my research and writing with scholarships and funding, and for the substantial ideational support I want to thank the Studienstiftung des deutschen Volkes and the Graduiertenschule für Geisteswissenschaften Göttingen. My research in New Delhi and Mumbai, India, in 2015 and 2016 would have been impossible without the help from several people. I want to thank Prof. Dr. Philip Lutgendorf for providing me with the material from which I got my first contacts, and Dr. Shubha Chaudhuri at the Archives and Research Center for Ethnomusicology in Gurgaon for her help with my work there and her input. Minnie Vaid and Nitish Bharadwaj were especially helpful when I was trying to get my research started. They generously provided me with contacts and sacrificed their time to meet me, be interviewed by me and spend time with me. Thank you very much. I further want to thank (in alphabetical order) all those people who spent their spare time talking with me and answering my many -and often weird -questions:

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Repurposing Fantasy Island: Lani Wendt Young’s Telesā Series and the Politics of Postcolonial Romance

Calleja

2022

Interventions

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Postcolonial popular cultures

Cited by 3 publications

References 7 publications

Postcolonial Globalized Communication and Rapping theKufiyya

Postcolonial Globalized Communication and Rapping theKufiyya

Epic Television – Music and Sound in Ramayan and Mahabharat

Repurposing Fantasy Island: Lani Wendt Young’s Telesā Series and the Politics of Postcolonial Romance

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