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Journal articles on the topic 'Cultural imperialism'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Danail, Akrm E. "The Role of Literature in Challenging Cultural Imperialism." Cihan University-Erbil Journal of Humanities and Social Sciences 6, no. 1 (February 10, 2022): 35–39. http://dx.doi.org/10.24086/cuejhss.v6n1y2022.pp35-39.

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The reality of cultural imperialism is a subject that has been extensively explored by many scholars. Many writers have written out their thoughts about this crucial topic. In this sense, it is imperative to understand that imperialism would not exist without the establishment of an Empire. However, all dominated territories have experienced a high level of cultural imperialism; and this structure has affected their lives, history, identity, uniqueness, and the way they live. The truth is that the superior force subjugates the weaker one and imposes its culture over it and this is where the theorization of cultural imperialism begins to come into form. However, this mindset of cultural imperialism has made the modern superpower to continue to influence the way other nations of the world live even without the cultural consensus. The expansion of the modern Empire brought about colonialism and eventually led to cultural imperialism. The writers have tried to write in a way that reflects the resistant spirit in which the literature is used in challenging this peculiar phenomenon. It is in this sense this study examines how literature becomes an effective weapon in challenging cultural imperialism—a new form of imperialist system that we experience in recent times.

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2

Oliveira e Paiva, Vera Lúcia Menezes de. "Cultural imperialism." Estudos Germânicos 6, no. 1 (December 31, 1985): 433. http://dx.doi.org/10.17851/0101-837x.6.1.433-451.

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3

Grubbs, Joseph W. "Cultural imperialism." Journal of Organizational Change Management 13, no. 3 (June 2000): 221–34. http://dx.doi.org/10.1108/09534810010330878.

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4

Whiteley, Nigel. "‘Cultural Imperialism’?" Third Text 22, no. 2 (March 2008): 209–27. http://dx.doi.org/10.1080/09528820802013016.

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5

Narine, Shaun. "Review: Cultural Imperialism." International Journal: Canada's Journal of Global Policy Analysis 62, no. 1 (March 2007): 206–9. http://dx.doi.org/10.1177/002070200706200121.

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6

Friedman, Edward. "Reconstructing China's National Identity: A Southern Alternative to Mao-Era Anti-Imperialist Nationalism." Journal of Asian Studies 53, no. 1 (February 1994): 67–91. http://dx.doi.org/10.2307/2059527.

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By the 1990sit was a commonplace that Mao-era anti-imperialist nationalism in China was dead. The anti-imperialist perspective had pitted an exploitative foreign imperialism against a courageous Chinese people (Hu 1955). This nationalist understanding of Chinese history was encapsulated in the Great Leap Forward-era film on the Opium War,Lin Zexu, which drew a contrast between patriotic Sanliyuan villagers and traitorous ruling groups in the capital city. If the brave peasants would join with all patriotic Chinese and not fear to die, then, under correct leadership, the foreign capitalists who got rich in making Chinese poor by forcing opium into China would be thrown out. But ruling reactionaries, afraid of popular mobilization, preferred to sell out to the imperialists. As with patriots who had led exploited peasants throughout Chinese history, Mao's Communists would save the nation by providing the correct leadership that would mobilize patriotic Chinese, push imperialists out of China, and thus permit an independent China to prosper with dignity.

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7

Park, Pae Keun. "Korea and TWAIL: Does She Fit into the Picture?" Korean Journal of International and Comparative Law 1, no. 1 (2013): 49–64. http://dx.doi.org/10.1163/22134484-12340009.

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Abstract The historical experiences of Korea around the 19th century do not seem to fit well into the theoretical perspective of TWAIL. It was not Europeans who colonized Korea. Cultural differences cannot explain the Korean experience of exclusion and marginalization as they were brought about by Japan and China who belong to the same cultural sphere as Korea. The cause of imperialism and colonialism may not be confined only to cultural differences. It is not only Europeans who were imperialist and colonialist. Even though it is an undeniable fact that imperialism and colonialism were largely exerted by Westerners, imperialism and colonialism are not solely racial problems. These facts, together with many other facts about Korea, suggest the necessity of a revision of some of the assertions of TWAIL.

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8

Salsabila, Khansa. "NETFLIX: CULTURAL DIVERSITY OR CULTURAL IMPERIALISM?" Rubikon : Journal of Transnational American Studies 8, no. 1 (April 26, 2021): 15. http://dx.doi.org/10.22146/rubikon.v8i1.65480.

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The global rise of Netflix as subscription video-on-demand (SVOD) has emerged along with its capitalization of film, television, and technology industry for the audience's convenience. It replaces the interest of local television with its claim of 'a global TV network' with cultural diversity in its contents. However, the term cultural diversity itself should be questioned whether it means to leave the American cultural power or it is only to claim themselves as a global company where global identity is represented in their identity to attract a wider audience. By using transnational approach, this study finds the use of cultural diversity merely to fulfill the demand of the American audience, with several globalization consequences in Netflix Original series, especially in non-American series. Those consequences are the homogenization in European-made Netflix series, where they appear to be fully Americanized with American lifestyle or American perspective, and heterogenization in Asian-made Netflix series with its collaboration of Asian culture and American popular culture. The claim of a 'global TV network' itself does not leave the American cultural power. Instead, they are taking advantage of the cultural power to retain the existing audiences and to fascinate more audiences. Therefore, the dependency of non-American producers in relying on Netflix platform as a way to reach global audience, even the use of Americanization to their works for global audience's satisfaction, confirms the cultural power of America in its ability to bring economic advancement to other countries.

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9

Antolinovskaya, Vera Mikhailovna, and Tatiana Vladimirovna Stupina. "CULTURAL GLOBALISATION OR AMERICAL “CULTURAL IMPERIALISM”." V mire nauchnykh otkrytiy, no. 1.2 (January 31, 2014): 1092. http://dx.doi.org/10.12731/wsd-2014-1.2-22.

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10

Meyer, John. "Globalization and Cultural Imperialism." Journal of International Business and Economy 9, no. 1 (July 1, 2008): 113–36. http://dx.doi.org/10.51240/jibe.2008.1.6.

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When Tokyo Disneyland opened in 1983, the Japanese people welcomed this American cultural export with open arms and open wallets. The decade that followed saw continually rising profits and the highest spending-per-guest of any Disney theme park. In 1992, the Walt Disney Company attempted to emulate this success by opening Euro Disney, only to face financial disappointment and cultural backlash. While some basis for these divergent experiences might be found in the inherent differences between Japanese and European (specifically French) culture, this is by no means a full explanation. Instead, this article places more of the onus on organizations to approach globalization in a more responsive, rather than control-oriented, manner.

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11

Raposa, Kenneth. "Down with Cultural Imperialism." Foreign Policy, no. 108 (1997): 183. http://dx.doi.org/10.2307/1149120.

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12

Bowen, Ralph. "American Cultural Imperialism Reconsidered." Revue Française d'Etudes Américaines 24, no. 1 (1985): 179–93. http://dx.doi.org/10.3406/rfea.1985.1199.

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13

Radojković, Miroljub. "How cultural imperialism works." Journal of East and West Studies 24, no. 1 (April 1995): 79–87. http://dx.doi.org/10.1080/12265089508422847.

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14

Chambers, Ellie. "Cultural Imperialism or Pluralism?" Arts and Humanities in Higher Education 2, no. 3 (October 2003): 249–64. http://dx.doi.org/10.1177/14740222030023003.

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15

Paton, A. "Counterblasts to cultural imperialism." BMJ 304, no. 6835 (May 2, 1992): 1189. http://dx.doi.org/10.1136/bmj.304.6835.1189.

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16

Woods, Colleen. "Seditious Crimes and Rebellious Conspiracies: Anti-communism and US Empire in the Philippines." Journal of Contemporary History 53, no. 1 (January 9, 2017): 61–88. http://dx.doi.org/10.1177/0022009416669423.

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This article details how US colonial policymakers and Filipino political elites, intent on fostering a non-revolutionary Philippine nationalism in the late 1920s and 1930s, produced an anti-communist politics aimed at eliminating or delegitimizing radical anti-imperialism. Communist-inspired, anti-imperial activists placed US imperialism in the Philippines within the framework of western imperialism in Asia, thereby challenging the anti-imperial ideology of the US empire. Americans and elite Filipinos met this challenge by repressing radical, anti-imperialist visions of Philippine independence through inter-colonial surveillance and cooperation, increased policing, mass imprisonment, and the outlawing of communist politics in the Philippines.

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17

Umar, Muhammad Arabi. "The Impact of Cultural Imperialism on the Hausa Culture." South Asian Research Journal of Arts, Language and Literature 4, no. 4 (October 26, 2022): 138–43. http://dx.doi.org/10.36346/sarjall.2022.v04i04.003.

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Imperialism is substantially a global, historical, cultural, economic, and political phenomenon. In Africa, how European imperialism has affected people continues to be subjected to debate with varying viewpoints. However, most of the literature on imperialism places greater emphasis on its political and economic dimensions, with passing discussion on its cultural aspect. This study intends to examine the impact of cultural imperialism on the Hausa people. Over the years, from pre-colonial through the colonial and post-colonial periods, Hausa cultures have been subjected to different changes due to different factors, imperialism included. Using primary and secondary sources, this study shows that the major areas of Hausa culture mostly affected by British cultural imperialism include language, culinary habits, attire, traditional sports, lifestyles, and festivities. Given the complexity of the current scholarly debate on the topic, a compilation of multiple viewpoints would be useful. In addition, the linked concepts, such as cultural imperialism and the concept of culture will be examined in depth.

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18

Fiorentino, Daniele. "Eccezionalismo, identitŕ nazionale e interdipendenza : nuove sintesi italiane sulla storia degli Stati Uniti d'America." MONDO CONTEMPORANEO, no. 2 (August 2009): 177–90. http://dx.doi.org/10.3280/mon2009-002005.

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- The essay examines some central concepts of U.S. history and culture through the analysis of three volumes published in Italy in 2008. The author uses the concept of American Exceptionalism in order to provide a closer reading of the books and a better understanding of the image of the United States offered today, as well as the place of U.S. history in Italy. Cultural Pluralism is an important framework in the historical and historiographical narratives. Touching upon other central ideals of American identity such as Manifest Destiny, the Frontier, and Internationalism, this essay deals with the issue of Imperialism and the reactions against it in the 19th and 20th centuries. Through the question of immigration, reference is made to multiculturalism and the processes that led toward a progressive integration of different minorities on the basis of models proposed by the dominant society. The essay thus recapitulates some of the most widespread stereotypes concerning ethnic groups and the construction of a new model of Cultural Pluralism.Key words: U.S. history, exceptionalism, American imperialism, immigration, cultural pluralism, Melting PotParole chiave: storia degli Stati Uniti, eccezionalismo, imperialismo americano, immigrazione, pluralismo culturale, melting pot

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19

Jackson, Ronald Lee. "Cultural Imperialism or Benign Relativism?" International Philosophical Quarterly 28, no. 4 (1988): 383–92. http://dx.doi.org/10.5840/ipq198828432.

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20

B H. V. N. Lakshmi et al.,, B. H. V. N. Lakshmi et al ,. "Imperialism, Beauty and Cultural Identity." International Journal of English and Literature 7, no. 6 (2017): 37–42. http://dx.doi.org/10.24247/ijeldec20177.

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21

Brantlinger, Patrick, and John Tomlinson. "Cultural Imperialism: A Critical Introduction." Journal of American History 79, no. 4 (March 1993): 1694. http://dx.doi.org/10.2307/2080363.

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22

Rothkopf, David. "In Praise of Cultural Imperialism?" Foreign Policy, no. 107 (1997): 38. http://dx.doi.org/10.2307/1149331.

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23

Matheson, David. "Imperial culture and cultural imperialism." European Journal of Intercultural studies 7, no. 1 (January 1996): 51–56. http://dx.doi.org/10.1080/0952391960070106.

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24

David, Luis. "Notes on American Cultural Imperialism." Budhi: A Journal of Ideas and Culture 9, no. 1 (2005): 139–45. http://dx.doi.org/10.13185/budhi.v9i1.239.

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25

Auxter, Thomas. "The Debate over Cultural Imperialism." Proceedings and Addresses of the American Philosophical Association 59, no. 5 (June 1986): 753. http://dx.doi.org/10.2307/3131608.

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26

RAFFERTY, ANNE M. "Science, Medicine and Cultural Imperialism." Nursing History Review 5, no. 1 (January 1997): 230–31. http://dx.doi.org/10.1891/1062-8061.5.1.230.

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27

Sparks, Colin. "Media and cultural imperialism reconsidered." Chinese Journal of Communication 5, no. 3 (September 2012): 281–99. http://dx.doi.org/10.1080/17544750.2012.701417.

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28

Tonti-Filippini, Nicholas. "Revising Brain Death: Cultural Imperialism?" Linacre Quarterly 65, no. 2 (May 1998): 51–72. http://dx.doi.org/10.1080/00243639.1998.11878412.

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29

Mulcahy, Kevin V. "Cultural Imperialism and Cultural Sovereignty: U.S.-Canadian Cultural Relations." Journal of Arts Management, Law, and Society 31, no. 4 (January 2002): 265–78. http://dx.doi.org/10.1080/10632920209597929.

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30

Mulcahy, Kevin V. "Cultural Imperialism and Cultural Sovereignty: U.S.-Canadian Cultural Relations." American Review of Canadian Studies 30, no. 2 (August 2000): 181–206. http://dx.doi.org/10.1080/02722010009481050.

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31

Fahrimal, Yuhdi, and Asmaul Husna. "MEDIA DAN TAFSIR MASKULINITAS: SUATU TINJAUAN ATAS CULTURAL IMPERIALISM." SOURCE : Jurnal Ilmu Komunikasi 7, no. 2 (November 30, 2021): 148. http://dx.doi.org/10.35308/source.v7i2.4116.

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Masculinity is a topic that has attracted the attention of many researchers. They examine causes, patterns of change, and impacts. This article attempts to understand masculinity in the perspective of cultural imperialism. Through the perspective of cultural imperialism, we find evidence that masculinity is not born from the womb of the local community's culture, but rather as a result of the practice of colonialism and imperialism. In the era of media globalization, cultural imperialism places more emphasis on the psychological aspect where advertisements and television shows set a new standard of masculinity for men. This paper will discuss the influence of cultural imperialism and media hegemony on the construction of masculinity in society.

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32

Alex, Jolly. "The Politics of Missionary Discourses." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i11.10126.

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Missionaries have characteristically been charged with, cultural annihilation and for conjuring up biased images of diverse and distant peoples and places. Employing the tools of rhetorical analysis, to bear upon such “non-literary texts”, it can be contended that the relation between mission and imperialism is one of ambivalence, which refuses to be restricted in the binary framework but is in reality an amalgamation of dynamic and complex relationships. The aim is to evaluate critically the charges of imperial orthodoxy levelled on missionaries, being considered to be co-conspirators with the imperialists. Though, the missionaries cannot be said to be totally free from the influence of the empire and it has been conceded that they have their faults yet they may more appropriately designated as “ambivalent imperialist”.

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33

Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Combating cultural imperialism and cultural misorientation to preserve Afrikan intangible cultural heritage." Legon Journal of the Humanities 33, no. 1 (September 20, 2022): 114–37. http://dx.doi.org/10.4314/ljh.v33i1.5.

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This study aims to address combating cultural imperialism and cultural misorientation to preserve Afrikan=Black intangible cultural heritage noting that the priority must be on indigenous Afrikan=Black people to push our own agenda. The study takes the 2019 UNESCO-ICM Open School as a case study in terms of substantive efforts (or lack thereof) to combat cultural imperialism and cultural misorientation. The study addresses matters of terminology, the implications of using the equal sign between Afrikan and non-Afrikan concepts, cultural misorientation and disorientation, false narratives and alien-self/anti-self-disorders, soft power, what must be done in terms of combating these ills. The study concludes with a section addressing the way forward for the Afrikan=Black Warrior Tradition and Afrikan Combat Scientists in light of the preservation of our intangible cultural heritage.

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34

Figueira, Carla. "Cultural diplomacy and cultural imperialism: European perspective(s)." International Journal of Cultural Policy 20, no. 4 (July 17, 2013): 513–15. http://dx.doi.org/10.1080/10286632.2013.817401.

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35

Tasrif, Muh. "DIMENSI SPIRITUAL KEBUDAYAAN DI TENGAH RELASI YANG TIMPANG ANTARA UTARA DAN SELATAN." El-HARAKAH (TERAKREDITASI) 10, no. 2 (August 10, 2008): 107. http://dx.doi.org/10.18860/el.v10i2.4429.

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<p>Moslem society as a part of the population of the south world, culturally, is in the influence of the hegemony of non-moslem culture, mainly, European, American, and Australian as parts of the north world population. Until the mid twentieth century, the hegemony existed in the form of military imperialism. Meanwhile, in the post mid twentieth century the hegemony changed into cultural imperialism in many areas, such as social, economic, social and even art. The countries of the south world have really done some efforts to face the neo imperialism, but have not suceeded well. Therefore, more serious effort should be done to face the neo imperialism, that is the creativity to make the European and American cultural products as materials that can be creatively rearranged and matched with the local culture. In the creative process the spiritual dimension of culture should become the basis of cultural production process at present and in the future to create a fair relation. The use of spiritual dimension of culture can create new cultural products. In turn, the cultural products of the south world will exist, and finally they can be exchanged with the products of the north world. This is what China is doing with its developing economic power to balance out the domination of Europe and America. The same hopefully appears from the Islam world although it needs more serious cultural works. According to Faisal Ismail, the awakening of Islam and its culture depend on the moslem themselves and their cultural works.</p><p> </p><p>Masyarakat Muslim sebagai bagian dari populasi dunia selatan, secara kultural, berada dalam pengaruh hegemoni budaya non-muslim, terutama Eropa, Amerika, dan Australia sebagai bagian dari populasi dunia utara. Sampai pertengahan abad ke-20, hegemoni itu ada dalam bentuk imperialisme militer. Sementara itu, pada pertengahan abad ke-20 hegemoni berubah menjadi imperialisme budaya di banyak bidang, seperti sosial, ekonomi, sosial dan bahkan kesenian. Negara-negara di dunia selatan telah benar-benar melakukan beberapa upaya untuk menghadapi imperialisme neo, namun belum berhasil dengan baik. Karena itu, usaha yang lebih serius harus dilakukan untuk menghadapi neo imperialisme, yaitu kreativitas membuat produk budaya Eropa dan Amerika sebagai bahan yang bisa ditata ulang secara kreatif dan disesuaikan dengan budaya lokal. Dalam proses kreatif dimensi spiritual budaya harus menjadi dasar proses produksi budaya saat ini dan di masa depan untuk menciptakan hubungan yang adil. Penggunaan dimensi spiritual budaya bisa menciptakan produk budaya baru. Pada gilirannya, produk budaya dunia selatan akan ada, dan akhirnya mereka bisa dipertukarkan dengan produk-produk dari dunia utara. Inilah yang dilakukan China dengan kekuatan ekonomi yang berkembang untuk mengimbangi dominasi Eropa dan Amerika. Hal yang sama semoga muncul dari dunia Islam meski membutuhkan karya budaya yang lebih serius. Menurut Faisal Ismail, kebangkitan Islam dan budayanya bergantung pada umat Islam sendiri dan karya budaya mereka.</p>

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36

Grosh, Madeline M. H., Aidan S. McBride, and KJ Ross-Wilcox. "The Cultural Significance of "Jack and the Beanstalk"." Digital Literature Review 4 (January 13, 2017): 53–76. http://dx.doi.org/10.33043/dlr.4.0.53-76.

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“Jack and the Beanstalk” is a widely known fairy tale with a longstanding tradition of rewrites to fit the cultural norm. Andrew Lang’s version from 1890 is just another such version of the classic story. However, his version has distinct influence from the culture around him at the time, namely those of Marxism and British imperialism mindsets, which were wildly influential at the time. It is within these cultural ideologies that Lang’s Jack exists, as Jack the oppressor and Jack the oppressed. Along with other artifacts of the time, this paper seeks to position Lang’s version against the Marxist and British imperialist influences to paint a full picture of the cultural significance of “Jack and the Beanstalk.” Madeline

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37

Hall, Martin, and John M. Hobson. "Liberal International theory: Eurocentric but not always Imperialist?" International Theory 2, no. 2 (July 2010): 210–45. http://dx.doi.org/10.1017/s1752971909990261.

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This article has two core objectives: first to challenge the conventional understanding of liberal international theory (which we do by focussing specifically on classical liberalism) and second, to develop much further postcolonialism’s conception of Eurocentrism. These twin objectives come together insofar as we argue that classical liberalism does not always stand for anti-imperialism/non-interventionism given that significant parts of it were Eurocentric and pro-imperialist. But we also argue that in those cases where liberals rejected imperialism they did so not out of a commitment to cultural pluralism, as we are conventionally told, but as a function of either a specific Eurocentric or a scientific racist stance. This, in turn, means that Eurocentrism can be reduced neither to scientific racism nor to imperialism. Thus while we draw on postcolonialism and its critique of liberalism as Eurocentric, we find its conception of Eurocentrism (and hence its vision of liberalism) to be overly reductive. Instead we differentiate four variants of ‘polymorphous Eurocentrism’ while revealing how two of these rejected imperialism and two supported it. And by revealing how classical liberalism was embedded within these variants of Eurocentrism so we recast the conventional interpretation. In doing so, we bring to light the ‘protean career of polymorphous liberalism’ as it crystallizes in either imperialist or anti-imperialist forms as a function of the different variants of Eurocentrism within which it is embedded. Finally, because two of these variants underpinmodernliberalism (as discussed in the Conclusions) so we challenge international relations scholars to rethink their conventional understanding of both classical- and modern-liberalism, as much as we challenge postcolonialists to rethink their conception of Eurocentrism.

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38

Dubey, Vivek Mohan. "Cultural Imperialism and the Global South." Jindal Journal of International Affairs 1, no. 6 (June 1, 2022): 36–50. http://dx.doi.org/10.54945/jjia.v1i6.57.

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This essay addresses the issue of Cultural Imperialism and the National Identities of the countries of the Global South. The binarism in which both of them are portrayed is the main focus of this essay. It tries to conclusively demonstrate the untenability of the same binarism by highlighting the various local worlds that empirically exist in the contemporary world. The overlap of many complex social processes and concepts have been unravelled to refute the popular and faulty understanding of the current human condition that cries out for better explication.

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39

Boy, Pradana. "LANGUAGE AND CULTURAL IMPERIALISM: INDONESIAN CASE." International Journal on Language, Research and Education Studies 1, no. 1 (August 8, 2017): 165–72. http://dx.doi.org/10.30575/2017081212.

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40

Kurlick, Bruce. "Commentary: The Future of Cultural Imperialism." Diplomatic History 24, no. 3 (July 2000): 503–8. http://dx.doi.org/10.1111/0145-2096.00229.

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41

FØrde, Olav Helge. "Is imposing risk awareness cultural imperialism?" Social Science & Medicine 47, no. 9 (November 1998): 1155–59. http://dx.doi.org/10.1016/s0277-9536(98)00187-7.

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42

Ndlovu-Gatsheni, Sabelo J. "Metaphysical Empire, Linguicides and Cultural Imperialism." English Academy Review 35, no. 2 (July 3, 2018): 96–115. http://dx.doi.org/10.1080/10131752.2018.1530178.

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43

Salwen, Michael B. "Cultural imperialism: A media effects approach." Critical Studies in Mass Communication 8, no. 1 (March 1991): 29–38. http://dx.doi.org/10.1080/15295039109366778.

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44

Modiano, M. "Linguistic imperialism, cultural integrity, and EIL." ELT Journal 55, no. 4 (October 1, 2001): 339–47. http://dx.doi.org/10.1093/elt/55.4.339.

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45

Arisaka, Yoko. "Beyond “East and West” Nishida's Universalism and Postcolonial Critique." Review of Politics 59, no. 3 (1997): 541–60. http://dx.doi.org/10.1017/s0034670500027716.

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During the 1930s and 1940s, many Japanese intellectuals resisted Western cultural imperialism. This theoretical movement was unfortunately complicit with wartime nationalism. Kitaro Nishida, the founder of modern Japanese philosophy and the leading figure of the Kyoto School, has been the focus of a controversy as to whether his philosophy was inherently nationalist or not. Nishida's defenders claim that his philosophical “universalism” was incompatible with the particularistic nationalism of Japan's imperialist state. From the standpoint of postcolonial critique, it is argued that this defense is insufficient. Philosophical universalism is not in itself anti-imperialist, but can in fact contribute to imperialist ideology.

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46

Brantlinger, Patrick. "Imperialism." Victorian Literature and Culture 46, no. 3-4 (2018): 735–39. http://dx.doi.org/10.1017/s1060150318000694.

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47

Nelwan, Kristy. "Is Cultural Imperialism a Thing of the Past ?" Jurnal ULTIMA Comm 3, no. 2 (December 1, 2011): 71–78. http://dx.doi.org/10.31937/ultimacomm.v3i2.199.

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Teori imperialisme budaya yang menjadi topik hangat perdebatan sosial di skala internasional di awal tahun 1970-an pernah dituduh sebagai paradigma yang bertanggungjawab terhadap serangkaian eksploitasi dan kehancuran budaya di dunia ketiga yang dilakukan oleh negaranegara maju. Sejalan waktu, teori imperialisme budaya dianggap sudah usang dan tidak lagi relevan, terutama berkat sukses berkembangnya industri film lokal serta pemerataan pendidikan lewat jalur beasiswa. Selanjutnya, untuk mencapai keseimbangan dan mengisi kekosongan teori yang ada menyangkut relasi budaya antara dunia pertama dengan dunia ketiga, sejumlah konsep tandingan diusulkan untuk menggantikannya, misalnya dengan konsep globalisasi, atau imperialisme media, yang dianggap tidak berat sebelah. Akan tetapi, dengan menggunakan analisis wacana, penulis akan menunjukkan bahwa ide imperialisme budaya masih tertanam dalam konsep globalisasi, dan terus hidup hingga sekarang, meskipun dalam bentukbentuk yang lebih canggih dan terpoles, sehingga tidak bisa dikatakan bahwa imperialisme budaya merupakan artefak masa lalu. Kata kunci: imperialisme budaya, globalisasi, imperialisme media.

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Nelwan, Kristy. "Is Cultural Imperialism a Thing of the Past ?" Jurnal ULTIMA Comm 4, no. 2 (August 1, 2012): 71–78. http://dx.doi.org/10.31937/ultimacomm.v4i2.208.

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Abstract:

Teori imperialisme budaya yang menjadi topik hangat perdebatan sosial di skala internasional di awal tahun 1970-an pernah dituduh sebagai paradigma yang bertanggungjawab terhadap serangkaian eksploitasi dan kehancuran budaya di dunia ketiga yang dilakukan oleh negaranegara maju. Sejalan waktu, teori imperialisme budaya dianggap sudah usang dan tidak lagi relevan, terutama berkat sukses berkembangnya industri film lokal serta pemerataan pendidikan lewat jalur beasiswa. Selanjutnya, untuk mencapai keseimbangan dan mengisi kekosongan teori yang ada menyangkut relasi budaya antara dunia pertama dengan dunia ketiga, sejumlah konsep tandingan diusulkan untuk menggantikannya, misalnya dengan konsep globalisasi, atau imperialisme media, yang dianggap tidak berat sebelah. Akan tetapi, dengan menggunakan analisis wacana, penulis akan menunjukkan bahwa ide imperialisme budaya masih tertanam dalam konsep globalisasi, dan terus hidup hingga sekarang, meskipun dalam bentukbentuk yang lebih canggih dan terpoles, sehingga tidak bisa dikatakan bahwa imperialisme budaya merupakan artefak masa lalu. Kata-kata kunci: imperialisme budaya, globalisasi, imperialisme media.

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Yudipratomo, Okeu. "BENTURAN IMPERIALISME BUDAYA BARAT DAN BUDAYA TIMUR DALAM MEDIA SOSIAL." Jurnal Audience 3, no. 2 (October 26, 2020): 170–86. http://dx.doi.org/10.33633/ja.v3i2.3718.

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AbstrakMedia sosial di era saat ini melebur menjadi sebuah kebutuhan primer untuk aktualisasi diri, dengan pengguna tanpa batas dan dapat diakses kapanpun dimanapun di seluruh dunia menjadikan konten dalam media sosial menjadi sebuah isu yang menarik terkait imperialisme. Pengakuan akan budaya dan norma masing-masing yang ada di dalam media sosial membuat sebuah tekanan yang dapat memicu benturan budaya. Hal tersebut dikarenakan adanya faktor kemudahan akses dalam berselancar di media sosial. Hal yang menarik dalam fenomena ini adalah sebuah konsumsi dari produk-produk budaya yang ditampilkan secara ringkas namun sarat akan makna yang disebarkan melalui media sosial. Fokus kajian ini adalah mengkaji benturan antara budaya barat dan budaya timur di dalam konten media sosial melalui paham imperialisme, orientalisme dan oksidentalisme secara konseptual. Kedua paham budaya tersebut mewakili budaya dan harfiahnya masing-masing dalam menunjukkan kualitas dalam kehidupan. Penyerapan informasi dari konten yang tersedia di media sosial diantara kedua budaya tersebut dapat menjadi subjektif dan mempengaruhi sikap. Dalam kajian konseptual ini menggambarkan pengguna media sosial yang terlibat dengan narasi sosial yang panjang atau konten media sosial yang kompleks menjadikan cultural crossfit atau persilangan budaya menjadi salah satu aspek dalam terjadinya benturan.Kata Kunci: Media Sosial, Imperialisme Budaya, Orientalisme, Oksidentalisme, Konten Media Sosial AbstractIn the current era, social media has merged into a primary need for self- actualization, with unlimited users and can be accessed anytime anywhere in the world, making content on social media an interesting issue related to imperialism. The recognition of each other's culture and norms in social media creates a pressure that can trigger a clash of cultures. The pressure comes due to the ease of access factor in surfing on social media. The exciting thing in this phenomenon is the consumption of cultural products presented briefly but full of meaning spread through social media. This study focuses on examining the clash between western and eastern cultures in social media content through conceptual imperialism, orientalism and occidentalism. The two cultural understandings represent a culture and their literal each other in showing quality in life. The absorption of information from content available on social media between the two cultures can be subjective and affect attitudes. This conceptual study describes social media users who are involved with long social narratives or complex social media content, making cultural crossfit one of the aspects in the occurrence of a collision.Keywords: Cultural Imperialism, Occidentalism, Orientalism, Social Media, Social Media Content

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Nafia Fakhrulddin, Saif Raed, and Ida Baizura Bahar. "Social Oppression and American Cultural Imperialism: The Crisis of the Muslim Minority Groups’ Identity in Terrorist by John Updike." International Journal of Applied Linguistics and English Literature 11, no. 1 (January 31, 2022): 1–10. http://dx.doi.org/10.7575/aiac.ijalel.v.11n.1p.1.

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Terrorist (2006) by John Updike has been classified within the post-9/11 novel genre where many American authors depict their counter-narratives to the horrific event of 9/11. The novel revolves around the life of a young teenager named Ahmad and his religious mentor, Shaikh Rashid, who are accused as terrorists. This study problematises the issue of the identity of Muslim characters in facing oppression using the concept of cultural imperialism by Iris Marion Young (1990), focussing on the social treatment of Muslim minority characters in America perceived as inferior to the entire American cultural mainstream. The objective of this study then is to examine the author’s depictions of the American society as the cultural imperialism persecuting Muslim characters. The findings highlight the Muslim characters’ inability to emulate the prevailing American cultural imperialism which oppresses them. As such, the study’s originality lies in the interpretation of the aversive affinity between Muslim minority groups and American cultural imperialism from a social perspective. Thus, the social aspects of social oppression and the American cultural imperialism will be the core of the study’s novelty regarding the view of Muslims in America in the years ensuing the events of 9/11.

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