Littérature scientifique sur le sujet « Cultural critics »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Sommaire
Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Cultural critics ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Articles de revues sur le sujet "Cultural critics"
1
Gregory, Chase. « Critics on Critics ». GLQ : A Journal of Lesbian and Gay Studies 25, no 1 (1 janvier 2019) : 101–6. http://dx.doi.org/10.1215/10642684-7275572.
Texte intégral
2
HADDOCK, BRUCE. « National Cultural Autonomy and its Contemporary Critics ». Nations and Nationalism 12, no 2 (avril 2006) : 365–66. http://dx.doi.org/10.1111/j.1469-8129.2006.00245_5.x.
Texte intégral
3
Corciolani, Matteo, Kent Grayson et Ashlee Humphreys. « Do more experienced critics review differently ? » European Journal of Marketing 54, no 3 (13 février 2020) : 478–510. http://dx.doi.org/10.1108/ejm-01-2019-0095.
Texte intégralRésumé :
Purpose Cultural intermediaries define the standards many consumers use when evaluating cultural products. Yet, little research has focused on whether cultural intermediaries may systematically differ from each other with regard to the standards they emphasize. The purpose of this paper is to build on Bourdieu’s theory of cultural production to examine how the type of subfield reviewed and/or the cultural intermediary’s expertise (or “field-specific cultural capital”) affect the standards an intermediary uses. Design/methodology/approach This paper employed a computer-aided content analysis of the full corpus of “Rolling Stone” music album reviews (1967-2014). Findings Critics with lower field-specific cultural capital reflect the same logic as the subfield they are critiquing. Critics with higher field-specific cultural capital reflect the opposite logic. Research limitations/implications Bourdieu was ambivalent about whether cultural intermediaries will reflect the logic of a subfield. Results show that the answer depends on the intermediary’s field-specific cultural capital. The results also reinforce previous findings that individuals with high field-specific cultural capital are more likely to break with the logic of a field. Practical implications Not all intermediaries are created equal. Producers and consumers who rely on cultural intermediaries should understand the intermediary’s critical analysis within the context of his/her experience. Originality/value This is one of the first studies to examine how a cultural intermediary’s field-specific cultural capital impacts his or her work. The findings are based on a large review sample and include reviewers’ analyses as they developed from having lower to higher field-specific cultural capital.
4
Symeou, Pavlos C., Philemon Bantimaroudis et Stelios C. Zyglidopoulos. « Cultural Agenda Setting and the Role of Critics ». Communication Research 42, no 5 (27 mai 2014) : 732–54. http://dx.doi.org/10.1177/0093650214534971.
Texte intégral
5
Soegito, Anthony. « Fans vs. critics : Challenging critical authority through memes ». Journal of Fandom Studies 7, no 3 (1 septembre 2019) : 279–301. http://dx.doi.org/10.1386/jfs_00005_1.
Texte intégralRésumé :
This article explores how fans of the DC Extended Universe (DCEU) film franchise challenge the authority of film critics regarding their negative appraisal of comic book film Batman V. Superman: Dawn of Justice (Snyder, 2016). Observing memes shared in Facebook fan pages, I argue that fans construct their own authority by defining themselves against critics via questioning critics’ taste, constructing critics as villains, and enacting their own sophisticated cultural capital. My research shows how fans use Internet memes to control the discussion and validation of their object of fandom amongst fans on social media. Observing the year following the film’s release, this study analyses memes via a visual rhetoric and modal analysis. While comic-book movie fandom has previously been academically explored, this subset of fans remains under-analysed. What is at stake for DCEU fans is the respect of popular culture, social media and fandom at large, their status impacted by the film’s critical failure.
6
Watts, Steven. « Reply to the Critics ». American Quarterly 44, no 3 (septembre 1992) : 459. http://dx.doi.org/10.2307/2712986.
Texte intégral
7
Korppi-Tommola, Riikka. « The Cultural Context of Reception : ». Nordic Journal of Dance 3, no 2 (1 décembre 2012) : 38–55. http://dx.doi.org/10.2478/njd-2012-0010.
Texte intégralRésumé :
Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.
8
Begum, Md Shahazadi. « Pertaining the Feminist Vision of Ecocriticism for Environmental Justice against Gender Biases and Women Critics : A Literature on the International and National Perception ». International Journal of English Literature and Social Sciences 7, no 2 (2022) : 182——186. http://dx.doi.org/10.22161/ijels.72.23.
Texte intégralRésumé :
To explore environmental literature from a feminist perspective, a large diversity of feminist eco-critical approaches to affirm the continuing contribution, it is necessary and relevant to present a feminist perspective in environmental literature, culture, and science. Feminist ecocriticism is considered as a substantial history that defines women's environmental writing and social change activism with the eco-cultural critic. This research mainly defines the connection of the feminist vision of eco-criticism by taking the international and national perception against gender biases and women critics. The main purpose of the study is the elaboration of ecocriticism for environmental justice against gender biases and women’s critics.
9
McConnell, William R. « Cultural Guides, Cultural Critics : Distrust of Doctors and Social Support during Mental Health Treatment ». Journal of Health and Social Behavior 58, no 4 (12 octobre 2017) : 503–19. http://dx.doi.org/10.1177/0022146517736291.
Texte intégralRésumé :
Research on relationships and health often interprets culture as the passively transmitted “content” of social ties, an approach that overlooks the influence of cultural resources on relationships themselves. I propose that mental health patients seek social support partly based on cultural resources held by their network members, including members’ medical knowledge and beliefs. I test hypotheses using data from the Indianapolis Network Mental Health Study, an egocentric network survey of new mental health patients ( N = 152) and their personal relationships ( N = 1,868). Results from random-intercept regressions show that patients obtain support from network members who trust doctors and who have experience with mental problems. In contrast, network members who distrust doctors disproportionately cause problems for patients. I discuss how cultural resources can categorize network members as supportive cultural guides or disruptive cultural critics. Reconsidering how culture shapes relationships clarifies the role of networks during illness management and illustrates their potentially harmful effects.
10
Tite, Philip. « Editor’s Corner : Critics or Caretakers ? » Bulletin for the Study of Religion 44, no 3 (7 septembre 2015) : 38–39. http://dx.doi.org/10.1558/bsor.v44i3.26866.
Texte intégralRésumé :
A short essay, in responding to an online roundtable (the Religious Studies Project), explores the role of progressive ideology in the academic study of religion, specifically with a focus on debates over Russell McCutcheon's distinction between scholars functioning as cultural critics or caretakers of religious traditions. This short piece is part of the "Editor's Corner" (an occasional section of the Bulletin where the editors offer provocative musings on theoretical challenges facing the discipline).
Thèses sur le sujet "Cultural critics"
1
Silva, Israel Machado da. « Dançando, sentindo, pensando, amando... : o consumo de filmes por críticos de cinema e cinéfilos em Porto Alegre ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/127227.
Texte intégralRésumé :
Os críticos de cinema são vistos como figuras próximas da elite cultural, gostando de filmes que a maior parte das pessoas não gosta e tendo um gosto que por vezes não se assemelha aos de seus consumidores. Os cinéfilos ou apaixonados por cinema são consumidores vorazes de filmes que buscam estar sempre assistindo uma produção, conversando sobre filmes, buscando informações. Nesse caso discute-se a possibilidade que esses mediadores entre produção e consumo e esses consumidores mais entusiasmados pelo cinema tenham práticas de consumo semelhantes e tenham visão semelhante sobre como apreciar esse produto. Com base em estudos de hierarquização cultural, consumo de cultura popular e de massa, crítica e cinefilia esse estudo busca compreender se os hábitos de consumo de críticos de cinema – considerados pelo Marketing como auxiliares na hora de um consumidor escolher um produto – e dos cinéfilos – consumidores em quantidade e variedade de filmes – compartilham das mesmas visões e se o que caracteriza um grupo caracteriza o outro ou não. Para responder isso fizemos 19 entrevistas em profundidade com críticos e 16 com cinéfilos na região de Porto Alegre. Há bastantes semelhanças na forma como tratam o cinema, em especial com relação à maneira como assistem ao filme e o quanto buscam de informações antes de ver um filme. Os críticos acreditam no seu papel como aumentando a conversa e reflexão sobre um filme, mas entendem que muitas vezes são utilizados como uma fonte de informação sobre o filme. Cinéfilos buscam menos entender de detalhes técnicos e possuem uma visão mais negativa com relação aos grandes lançamentos. Ambos os críticos de cinema e cinéfilos consomem de todos os tipos de filmes, reforçando o consumo onívoro por parte dos mesmos, mas os críticos sabem explicar mais porque veem todos os tipos de filmes. Em linhas gerais, os críticos de cinema precisam saber mais de filmes diversos porque precisam expor esse conhecimento ao passo que cinéfilos podem se aprofundar em um tipo de filme. Ambos os grupos acreditam que possuem uma experiência mais completa e que assistem filmes mais desafiadores do que a maioria das pessoas. Os cinéfilos são mais negativos em falar do tipo de filme que tem grande bilheteria e é apreciado por uma grande parte de espectadores. Por vezes esses cinéfilos consumiam os tipos de filmes mais autorais como forma de mostrar maior capital cultural frente a outras pessoas, mas por muitas vezes não eram capazes de usar esses conhecimentos em suas redes de relacionamentos.Film critics are many times seen as people close to cultural elite, enjoying movies that most people do not like and cultivating a taste that sometimes does not resemble those of their readers. Film buffs or passionate about film are voracious consumers of films always seeking to watch a motion picture, talking about movies, searching for information. In this paper we discuss the possibility that these mediators between production and consumption and those most enthusiastic consumers have similar cinema consumption practices and have similar views on how to enjoy this product. Drawing upon studies of cultural hierarchy, popular culture, criticism and cinephilia this study has the aim of understanding whether the habits of film critics - considered by Marketing as assistants for a consumer to choose a product - and film buffs or cinephiles - consumers in number and variety of films - share the same visions. To answer these questions we made 20 long interviews with critics and 16 long interviews with inhabitants of Porto Alegre area. There are many similarities in the way they treat the cinema, especially with respect to the way they watch the film and how much information they search before seeing a movie. Critics believe in its role as increasing the conversation and reflection on a movie, but they understand they are often used as an information source about the movie. Cinephiles search less understand technical details and have a more negative view in relation to major releases. Both film critics and cinephiles consume all kinds of movies, reinforcing the omnivorous consumption, but critics can explain more because they see all kinds of movies. In general, film critics need to know more about many films because they need to expose this knowledge while movie buffs can delve into a type of film. Both groups believe they have a richer experience and they watch most challenging films than others moviegoers. Film buffs are more negative in talking about the kind of movie that has big box office and is appreciated by a large number of spectators. Sometimes these cinephiles consumed these auteur movies as a way to show more cultural capital, but often they were not able to use this knowledge in their social networks.
2
Bacquelaine, Vidal de Llobatera Flora. « La cultura participativa en el ámbito local. La ciudad contemporánea y las políticas culturales ». Doctoral thesis, Universitat de Girona, 2017. http://hdl.handle.net/10803/457593.
Texte intégralRésumé :
This research is framed in the context of the current reflection on the new theoretical paradigms that revolve around the so-called Network Society that presents itself as the great revolution of the cultural regime. This thesis analyzes the ideology that underlies the technosociety and the participatory culture associated with; Reflects on how this paradigm influences the public-private debate, as well as on the concept of representativeness or on the urban issue. At the same time, this investigation pays attention to the central position in which creativity is placed within the hegemonic discourse. It also wants to confront municipal cultural practices and policies; the strategic projects articulated from the hegemonic block of power, such as cultural tourism, smart cities or "creative cities". In general terms, the aim is to respond to the question of the city model on which these projects are basedAquesta investigació s'emmarca en el context de la reflexió actual sobre els nous paradigmes teòrics que giren al voltant de l'anomenada societat xarxa. Un tipus de societat que es presenta com la gran revolució del règim cultural. En aquesta tesi s'analitza la ideologia subjacent a la tecnosocietat i la cultura participativa que porta associada. Es reflexiona sobre la manera com aquesta influeix sobre la dialèctica públic-privat, sobre el concepte de representativitat o sobre allò urbà. I es presta atenció igualment a la posició central en què se situa la creativitat en el marc del discurs hegemònic. També es vol confrontar les pràctiques i les polítiques culturals municipals; els projectes estratègics articulats des del bloc hegemònic de poder, com són el turisme cultural, les smart cities o les "ciutats creatives". En termes generals, es pretén donar resposta a la qüestió sobre el model de ciutat en què s'inspiren aquests projectes
Esta investigación se enmarca en el contexto de la reflexión actual sobre los nuevos paradigmas teóricos que giran alrededor de la llamada sociedad red. Un tipo de sociedad que se presenta como la gran revolución del régimen cultural. En esta tesis se analiza la ideología que subyace en la tecnosociedad y la cultura participativa que lleva asociada. Se reflexiona sobre el modo como esta influye sobre la dialéctica público-privado, sobre el concepto de representatividad o sobre lo urbano. Y se presta atención igualmente a la posición central en la que se sitúa la creatividad dentro del discurso hegemónico. También se quieren confrontar las prácticas y las políticas culturales municipales; los proyectos estratégicos articulados desde el bloque hegemónico de poder, como son el turismo cultural, las smart cities o las “ciudades creativas”. En términos generales, se pretende dar respuesta a la cuestión sobre el modelo de ciudad en el que se inspiran estos proyectos
3
Guilherme, Maria Manuela Duarte. « Critical cultural awareness : the critical dimension in foreign culture education ». Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1533/.
Texte intégral
4
Castells, Ros Ramon. « Determinants de l'èxit cinematogràfic. Model d'anàlisi de la producció catalana 2008-2014 ». Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/405389.
Texte intégralRésumé :
Cada divendres les cartelleres cinematogràfiques s’omplen de nous títols que cerquen atraure el màxim nombre d’espectadors al cinema. Poques pel·lícules aconseguiran mantenir-se a la gran pantalla durant algunes setmanes; la majoria seran reemplaçades ràpidament per deixar lloc a les noves produccions, que esperen ser estrenades. Des dels anys vuitanta del segle XX molts autors s’han interessat per determinar a partir d’un model matemàtic quins factors ajuden a aconseguir l’èxit d’una pel·lícula i, d’aquesta manera, mitiguen l’alt risc que suposa el negoci cinematogràfic. Algunes de les preguntes que s’han plantejat aquests autors de forma més recurrent són les següents: com responen els espectadors davant l’obtenció d’un premi?, com influeix en el públic incloure en l’elenc un actor reconegut? o quin efecte té la crítica professional en la decisió d’anar al cinema a veure una pel·lícula determinada?
El repte principal d’aquesta recerca ha estat adaptar a la realitat del cinema català els criteris que fins ara s’han emprat per analitzar altres indústries cinematogràfiques, sobretot la nord-americana. La disparitat entre el model cultural i industrial d’aquestes dues cinematografies augurava uns resultats significativament diferents.
S’ha recollit informació de 267 produccions catalanes estrenades entre els anys 2008 i 2014 i, seguint el treball dels autors consultats, s’ha realitzat una anàlisi multivariable per contrastar de forma conjunta tots els possibles factors que poden intervenir en l’èxit cinematogràfic. Només d’aquesta manera ha estat possible reduir considerablement el nombre de determinants de l’èxit per establir els que realment tenen influència en l’explotació en sala d’una pel·lícula.
Els resultats que s’han assolit són reveladors i definidors de la realitat en la qual es desenvolupa la producció de cinema a Catalunya i refermen amb evidències científiques el coneixement subjectiu d’aquest sector. Per tant, el principal valor d’aquesta recerca radica en el contrast objectiu mitjançant una tècnica provada estadísticament, que, en refermar el coneixement subjectiu previ, aporta seguretat a l’hora de prendre mesures i d’actuar sobre la realitat examinada.
Una primera conclusió general del treball realitzat és la poca connexió d’una part de la producció cinematogràfica catalana amb els espectadors ja que un terç de la producció catalana del període analitzat no ha estat vista per gairebé cap espectador. En segon lloc, i com a resum de les conclusions que s’han obtingut amb aquesta recerca es pot avançar que els aspectes pressupostaris i l’estructura empresarial del sector són els aspectes que més influeixen en l’èxit d’una pel·lícula catalana, seguits del reconeixement generat pels guardons principals dels premis Goya —i dels premis Gaudí a Catalunya—, que comporta una forta repercussió en el nombre d’espectadors que aconseguirà aquella pel·lícula. Per contra, la presència en festivals no té cap influència en l’èxit intern d’una pel·lícula, però és determinant en la internacionalització. Pel que fa als factors artístics, només s’ha trobat una relació directa entre l’idioma utilitzat per al rodatge i els resultats obtinguts en taquilla. La resta de factors que s’han introduït en l’anàlisi s’han descartat, atès que no aporten informació significativa al model.
La comparació de l’anàlisi sectorial amb els resultats del treball empíric assenyala una peculiar coincidència entre els principals problemes que afecten el sector cinematogràfic català i els factors que intervenen en l’èxit de la seva producció: nivell de pressupost i estructura empresarial són factors que limiten la producció cinematogràfica catalana, però, alhora, apareixen com els determinants més influents en la consecució d’uns bons resultats d’explotació, tant al mercat interior (l’espanyol) com a l’exterior (l’europeu).Every Friday, movie listings fill up with new films seeking to attract as many moviegoers to the cinema as possible, but only a few movies will manage to stay on the big screen for weeks. During the 1980s, many researchers used mathematical models to attempt to determine the factors which help to make a film successful, and so mitigate the high risks involved in the movie business. The main challenge of this study has been to adapt to the Catalan cinema industry the criteria which have been used to analyze other film industries, above all the American industry. Following the work of the researchers consulted, data from 267 new Catalan productions from between 2008 and 2014 was obtained, and a multivariable analysis was carried out to evaluate all the possible factors which might contribute to the success of a film. The results obtained are revealing, and help to clarify the reality of film production in Catalonia, providing scientific evidence to back up the subjective knowledge of the sector. Thus the value of the study lies in employing a statistically proven method to reinforce previously subjective knowledge, and provide security when making key decisions in film-making. To summarize the conclusions obtained in this study, it can be stated that budgetary factors and production company characteristics are the aspects which play the most important role in the success of a Catalan film, followed by the recognition generated by the main awards, the Goyas – and the Gaudi awards in Catalonia – which also have a major impact on the number of moviegoers who choose to see the film. By contrast, movies’ presence at festivals has no influence on the national success of a film but is decisive in its international career. As for artistic factors, it has only been possible to establish a direct relationship between the language in which the film is made and the results at the box office. The rest of the factors introduced in the analysis have been discounted, given that they do not contribute any significant information to the model.
5
Adair, David Francis, et n/a. « 'Queer Theory' : Intellectual and Ethical Milieux of 1990s Sexual Dissidence ». Griffith University. School of Arts, Media and Culture, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20041014.102015.
Texte intégralRésumé :
The main problem addressed by this thesis is the question of how to assess the politics and the cultural effects and implications of 'Queer Theory' during the period of the 1990s. 'Queer' was invoked in numerous institutions, spaces, and cultural practices over this period, and yet queer-identified theorists and many of their critics have often assumed that this term refers to a relatively unified object. I ask if it is appropriate to treat these 'queer' occasions in this manner, and whether this 'dispersed' object requires a different approach: one that sets out to describe means and routes by which it became possible and desirable to pose 'queer' problems across so many diverse sites and practices. In addition, if there are discernible patterns to these distributed cultural capacities and inclinations, what political significance do they have? These questions inform my account of the career of 'Queer Theory' during the 1990s. A post-humanist approach to these matters is not premised on an essential or a socially constituted general category of 'subjectivity'. Instead, it addresses 'Queer Theory' as a problem, without automatically critiquing it; it is sceptical of the perfectionist pulsion that has treated this critical practice as either a good or a bad object: dual roles that are mandated by the logic of dialectical criticism. These roles are exemplified by the frequent relegation of 'queer' in the relevant literature to the 'innately political' or the 'merely aesthetic'. In this thesis I identify ethical, cultural, and political yields of these conventional choices and the modes of problematisation in which they operate; I positively redescribe them as aesthetico-political practices. My approach therefore not only deviates from the 'good' or 'bad' critical options, but also from a third option: the equally rationalist response of assuming that 'Queer Theory' is fundamentally a problem of under-theorisation.
6
Adair, David Francis. « 'Queer Theory' : Intellectual and Ethical Milieux of 1990s Sexual Dissidence ». Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367520.
Texte intégralRésumé :
The main problem addressed by this thesis is the question of how to assess the politics and the cultural effects and implications of 'Queer Theory' during the period of the 1990s. 'Queer' was invoked in numerous institutions, spaces, and cultural practices over this period, and yet queer-identified theorists – and many of their critics – have often assumed that this term refers to a relatively unified object. I ask if it is appropriate to treat these 'queer' occasions in this manner, and whether this 'dispersed' object requires a different approach: one that sets out to describe means and routes by which it became possible and desirable to pose 'queer' problems across so many diverse sites and practices. In addition, if there are discernible patterns to these distributed cultural capacities and inclinations, what political significance do they have? These questions inform my account of the career of 'Queer Theory' during the 1990s.
A post-humanist approach to these matters is not premised on an essential or a socially constituted general category of 'subjectivity'. Instead, it addresses 'Queer Theory' as a problem, without automatically critiquing it; it is sceptical of the perfectionist pulsion that has treated this critical practice as either a good or a bad object: dual roles that are mandated by the logic of dialectical criticism. These roles are exemplified by the frequent relegation of 'queer' in the relevant literature to the 'innately political' or the 'merely aesthetic'. In this thesis I identify ethical, cultural, and political yields of these conventional choices and the modes of problematisation in which they operate; I positively redescribe them as aesthetico-political practices. My approach therefore not only deviates from the 'good' or 'bad' critical options, but also from a third option: the equally rationalist response of assuming that 'Queer Theory' is fundamentally a problem of under-theorisation.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Full Text
7
Cavaleri, Giuseppe. « Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ». Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.
Texte intégralRésumé :
Nous pouvons appréhender le Cinéma comme un vecteur culturel capable de cristalliser les us et coutumes d’une société, ou comme un outil susceptible d’en manifester les aspirations. L’industrie cinématographique italienne demeure parmi celles qui ont su imposer dans l'imaginaire des publics des œuvres venues aussitôt enrichir le patrimoine culturel mondial. De nos jours, sa présence internationale est plus modérée, et le rayonnement de ses œuvres ne dépasse que rarement les limites nationales. Les quelques auteurs tels que Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ont su gagner une visibilité désormais incontestable, leur permettant de devenir le symbole d’un cinéma italien contemporain renaissant. Les contenus de leurs filmographies sont le résultat de formes cinématographiques tout aussi riches que variées, et leur influence semble capable de modifier et de mettre à jour l’imaginaire des passionnés de culture italienne. Nos travaux veulent étudier et comprendre l’impact de leurs œuvres au sein d’un pays comme la France. À travers une étude qui se veut historique, sociologique et économique, nous analysons la représentation du réel dans l’histoire du cinéma transalpin, un idéal intellectuel qui semble intéresser particulièrement les publics français. Puis nous nous consacrons aux contenus de nos trois filmographies de référence, pour en extrapoler les données socio-politico-économiques. L’étude de l’impact de ces œuvres sur les critiques cinématographiques français conclut ces travaux, qui se penchent également sur la distribution et l’exploitation de ce cinéma, présent non seulement dans les salles de l'Hexagone, mais diffusé parallèlement au sein de nombreux festivalsOne may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival
8
Camargo, Sílvio César 1969. « Trabalho imaterial e produção cultural : a dialetica do capitalismo tardio ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280475.
Texte intégralRésumé :
Orientador: Josue Pereira da SilvaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-13T14:59:33Z (GMT). No. of bitstreams: 1 Camargo_SilvioCesar_D.pdf: 832428 bytes, checksum: 4241948fb3bd0562b4b225a31375f5b3 (MD5) Previous issue date: 2009
Resumo: Nossa pesquisa se refere a debates em teoria social contemporânea. Nesta tese procuramos mostrar e ao mesmo tempo problematizar a categoria trabalho imaterial, considerando que tal categoria está se mostrando como historicamente central para o processo de produção da riqueza capitalista e acumulação do capital ao longo, aproximadamente, dos últimos trinta anos. A hipótese do trabalho imaterial como central para o atual momento histórico está, ao mesmo tempo, ligada às transformações da cultura contemporânea, principalmente, na forma de produção cultural. Procuramos conceber este entrelaçamento como o aspecto chave de um novo estágio do capitalismo, concebido pelo conceito de capitalismo tardio. Neste sentido, investigamos alguns problemas que também dizem respeito à tradição da Escola de Frankfurt. Em nossa hipótese de investigação conhecimento e cultura são conceitos centrais para o entendimento deste novo estágio do capitalismo tardio, possibilitando-nos um novo olhar quanto aos problemas da dominação e da emancipação na sociedade contemporânea.
Abstract: Our research concerns debates in contemporary social theory. In this dissertation we intend to show as well as query the immaterial labor category, considering that such category has shown itself as historically central for the production process of capitalist wealth and capital accumulation in the last thirty years, approximately. The hypothesis of immaterial labor as central for the present historical context is, at the same time, linked with the contemporary culture transformations, principally in the form of culture production. We intend to conceive this entwinement as the key aspect of a new stage of the capitalism, regarded under the late capitalism concept. In this sense we have investigated some issues that are also concerned to the Frankfurt School tradition. In our hypothesis of work, the concepts of knowledge and culture play a central part for the understanding of this new stage of late capitalism, providing a new outlook on domination and emancipation problems in contemporary society.
Doutorado
Doutor em Sociologia
9
Meghji, Ali. « Cultural capital and cultural repertoires among the black middle-class : race, class, and culture in the racialised social system ». Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/285101.
Texte intégralRésumé :
In this thesis, I ask 'Do racism and anti-racism affect black middle-class cultural lives?' I answer this question through interviews with thirty-two black Brits in professional occupations, and ethnographic work across middle-class spaces in London. I argue there are three black middle-class identity modes - strategic assimilation, ethnoracial autonomous, and class-minded - that each show a different relationship between racism, anti-racism, and cultural lives. Each of these identity modes are characterised by specific cultural repertoires. Individuals towards strategic assimilation draw on cultural repertoires of code-switching and cultural equity. Through the repertoire of code-switching, individuals towards strategic assimilation 'switch' identities when around the white middle-class. This identity-switching is based on the premise that one must become palatable to the white middle-class in order to attain legitimate middle-class cultural membership. Racism thus affects such individuals' cultural identities as they show racialised (white) barriers to middle-class cultural membership. Nevertheless, such individuals draw on the anti-racist repertoire of cultural equity, meaning they strive to be equal to the white middle-class in terms of cultural capital. Such individuals therefore often 'decode' traditional middle-class culture as white, but consume such culture to maintain an equal standing to the white middle-class in terms of cultural capital. Those towards the ethnoracial autonomous identity mode draw on cultural repertoires of 'browning' and Afro-centrism. Through their anti-racist repertoire of browning, they stress that people ought to be proud of being black. They therefore resist 'code-switching' and challenge the view that one must assimilate with white norms to prove their middle-class status. Such individuals also use the anti-racist repertoire of Afro-centrism to argue that they have a moral duty to positively uphold black diasporic histories, identities, and culture. They therefore prioritise consuming cultural forms which give positive, authentic representations of the black diaspora, consequently challenging the devaluation of blackness in British society. Lastly, those towards the class-minded identity mode draw on cultural repertoires of post-racialism and de-racialisation. Such individuals believe British society is 'beyond' racism, and they define as 'middle-class' rather than 'black', often reproducing negative stereotypes of other black people. Such individuals use their consumption of middle-class cultural forms to symbolically separate themselves from other black people. Racism affects their cultural lives, therefore, as they often reproduce negative ideologies of other black people as being culturally myopic, uncultivated, or 'playing the race card'. My thesis develops the 'two streams' of research on Britain's black middle-class. Firstly, studies of black British middle-class identity have been unidimensional, focusing predominantly on strategic assimilation. My research shows that strategic assimilation is only one identity mode. Secondly, the literature on black middle-class cultural consumption is also unidimensional, making it appear as though all black middle-class people seek to consume 'middle-class' cultural forms that have a 'black' focus (for example, literature exploring black identity). My research shows that certain black middle-class people (those towards the class-minded identity mode) have no affinity towards 'black' cultural forms, while others (those towards strategic assimilation) make sure to consume 'traditional' middle-class culture to maintain an equal standing with the white middle-class.
10
Moraes, Felipe Augusto de. « A Dramaturgia no Cinema Brasileiro (1936-1951) ». Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-17092018-173941/.
Texte intégralRésumé :
Com a chegada dos \"filmes falados\" nos anos finais da década de 20, o cinema brasileiro, que como outros ao redor do mundo vivia então um momento de grande vigor criativo, é obrigado a se reinventar, a praticamente recomeçar. Para os mais puristas, esse recomeço implicou numa recaída do cinema na velha arte teatral; para os mais otimistas, representou a consagração do dispositivo cinematográfico como o modo mais moderno e efetivo de dramatização. O cinema narrativo, com o acréscimo do som sincronizado, ao contrário das previsões iniciais, atinge rapidamente um novo estágio de popularidade. Esta pesquisa estuda de que modo nas duas décadas que se seguiram a novidade do \'cinema falado\', a dramaturgia do filme e a dramaturgia teatral dialogaram entre si para a construção de modelos dramáticos que pudessem atender as expectativas de um novo tipo de público, mais urbano e cosmopolita, num país que rapidamente buscava superar seu passado rural e as estruturas sociais e mentais a ele associadas.With the arrival of \"talkies\" in the final years of the 1920s, Brazilian cinema, which like others around the world was living in a moment of great creative vigor, is forced to reinvent itself, practically starting again. To the more purists, this new beginning implied a relapse of the cinema into the old theatrical art; for the most optimistic, represented the consecration of the cinematographic \'dispositif\' as the most modern and effective mode of dramatization. Narrative cinema, with the addition of synchronized sound, unlike initial predictions, quickly reaches a new stage of popularity. This research studies how, in the two decades that followed the novelty of sound film, the dramaturgy of the film and theatrical dramaturgy interacted with each other to construct dramatic models that could meet the expectations of a new type of audience, more urban and cosmopolitan, in a country that quickly sought to overcome its rural past and the social and mental structures associated with it.
Livres sur le sujet "Cultural critics"
1
Ephraim, Nimni, dir. National cultural autonomy and its critics. London : Routledge, 2005.
Trouver le texte intégral
2
Arif, Dirlik, Xie Shaobo 1954- et Wang Fengzhen, dir. Dialogues on cultural studies : Interviews with contemporary critics. Calgary : University of Calgary Press, 2002.
Trouver le texte intégral
3
Marien, Mary Warner. Photography and its critics : A cultural history, 1839-1900. Cambridge, U.K : Cambridge University Press, 1997.
Trouver le texte intégral
4
Paul, Hansom, dir. Twentieth-century European cultural theorists. Detroit : Gale Group, 2001.
Trouver le texte intégral
5
Paul, Hansom, dir. Twentieth-century European cultural theorists. Detriot : Gale, 2004.
Trouver le texte intégral
6
Ernest, Cashmore, et Rojek Chris, dir. Dictionary of cultural theorists. London : Arnold, 1999.
Trouver le texte intégral
7
Ernest, Cashmore, et Rojek Chris, dir. Dictionary of cultural theorists. New York : Arnold, 1999.
Trouver le texte intégral
8
Essin, Christin. Stage designers in early twentieth-century America : Artists, activists, cultural critics. New York, New York : Palgrave Macmillan, 2015.
Trouver le texte intégral
9
Miles, Patrick. Mikhail Gromov : Chekhov scholar and critic : an essay in cultural difference. Nottingham : Astra, 2003.
Trouver le texte intégral
10
Miles, Patrick. Mikhail Gromov : Chekhov scholar and critic : an essay in cultural difference. Nottingham : Astra, 2003.
Trouver le texte intégralChapitres de livres sur le sujet "Cultural critics"
1
Kalela, Jorma. « Cultural Critics ». Dans Making History, 113–45. London : Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35658-0_5.
Texte intégral
2
Johnson, Lesley. « Conclusion : cultural studies ». Dans The Cultural Critics, 199–208. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-9.
Texte intégral
3
Johnson, Lesley. « Introduction : intellectuals and their ideas ». Dans The Cultural Critics, 1–17. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-1.
Texte intégral
4
Johnson, Lesley. « Williams's contemporaries ». Dans The Cultural Critics, 174–98. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-8.
Texte intégral
5
Johnson, Lesley. « Arnold's contemporaries ». Dans The Cultural Critics, 39–67. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-3.
Texte intégral
6
Johnson, Lesley. « Leavis's contemporaries ». Dans The Cultural Critics, 116–49. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-6.
Texte intégral
7
Johnson, Lesley. « Entr'acte : 1890–1920 ». Dans The Cultural Critics, 68–92. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-4.
Texte intégral
8
Johnson, Lesley. « Raymond Williams ». Dans The Cultural Critics, 150–73. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-7.
Texte intégral
9
Johnson, Lesley. « F. R. Leavis ». Dans The Cultural Critics, 93–115. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-5.
Texte intégral
10
Johnson, Lesley. « Matthew Arnold ». Dans The Cultural Critics, 18–38. London : Routledge, 2023. http://dx.doi.org/10.4324/9781032645414-2.
Texte intégralActes de conférences sur le sujet "Cultural critics"
1
Avramović, Zoran. « KNjIŽEVNE SLOBODE I DRUŠTVENE GRANICE U SRBIJI ». Dans IDENTITETSKE promene : srpski jezik i književnost u doba tranzicije. University of Kragujevac, Faculty of Edaucatin in Jagodina, 2022. http://dx.doi.org/10.46793/zip21.135a.
Texte intégralRésumé :
The paper discusses the absolute freedom of literary (artistic) creation. The difference between general and literary freedom is emphasized. In the second part, different boundaries of literary creation in anti-democratic and democratic systems are pointed out. In anti-democratic systems, it is public authority that sets boundaries of artistic freedom, and in democratic systems it is the readers, critics, market, cultural institutions. It is concluded that criticism, condemnation (rejection by individuals and some institutions) of a literary content in democracy does not mean endangering the freedom of literary creation due to the fact that there are many publishers and cultural institutions. The claim of absolute freedom of creativity is also disputed.
2
Malcoci, Vitalie. « Scenographic art from Moldova - beginnings and evolutions ». Dans Conferința științifică internațională Patrimoniul cultural : cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.03.
Texte intégralRésumé :
Th e end of the XIX century intensifi es the theatrical life in Bessarabia, a fact that leads to the improvement of staging methods and plastic and decorative solutions of the stage space. Th is gains even greater revival towards the middle of the XX century, being oft en mentioned by critics in the press of the time, who describe the decorations and the costumes in the staged performances. A new phase in the decorative-theatrical art of Bessarabia begins with the appearance of the great personalities who contributed to the creation and development of the Bessarabian Romanian scenography. Th is phase coincides with the activity of some outstanding personalities of the scene-painting in Bessarabia from the beginning of the XX century, such as Auguste Baillayre, Th eodor Chiriakoff , George Löwendal, Boris Nesvedov, Natalia Bragalia, Elisabeth Ivanovsky, Maria Starcevschi, Natalia Danilcenco, Elena Barlo and others. Th e decorations made by these plastic artists starts to be known to the local public. Th is familiarization takes place mainly through the tours in Bessarabian cities and towns, as well as in cultural centers.
3
Slamova, Karolina. « CZECH LITERARY CRITICISM FROM THE EXILE PERSPECTIVE ». Dans 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.05.
Texte intégralRésumé :
The paper deals with the exile view of Czech literary criticism in the past decades, reflected in two essays: one by Igor Hajek, and the other one by Kvetoslav Chvatik. Igor Hajek (1931�1995), a Czech literary critic, who went to exile in 1969, played a significant role in presenting Czech literature abroad. Kvetoslav Chvatik (1930�2012) was a Czech philosopher, aesthetician, art historian, and literary theorist. Hajek taught at universities in the English-speaking world, while Chvatik worked in a German-speaking environment. Two periods are covered and compared in the paper: the first period, the period of pluralistic democracy and the resulting cultural structure when the literary criticism contributed to the fact that Czech literature reached the European level, and the period after February 1948 when the ruling ideology started to interfere in the development of literature. Two completely contradictory conceptions are described showing the radical changes that took place in literary criticism after 1948. The text looks at the role of literary criticism in an era when plurality of opinion is possible, and at the impact of the suppression of freedom of speech on the work of literary critics. It also shows how the process of the shift of literary criticism towards its true function in the spirit of democratising tendencies had gradually won its way.
4
Slamova, Karolina. « CZECH LITERARY CRITICISM FROM THE EXILE PERSPECTIVE ». Dans 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.05.
Texte intégralRésumé :
The paper deals with the exile view of Czech literary criticism in the past decades, reflected in two essays: one by Igor Hajek, and the other one by Kvetoslav Chvatik. Igor Hajek (1931�1995), a Czech literary critic, who went to exile in 1969, played a significant role in presenting Czech literature abroad. Kvetoslav Chvatik (1930�2012) was a Czech philosopher, aesthetician, art historian, and literary theorist. Hajek taught at universities in the English-speaking world, while Chvatik worked in a German-speaking environment. Two periods are covered and compared in the paper: the first period, the period of pluralistic democracy and the resulting cultural structure when the literary criticism contributed to the fact that Czech literature reached the European level, and the period after February 1948 when the ruling ideology started to interfere in the development of literature. Two completely contradictory conceptions are described showing the radical changes that took place in literary criticism after 1948. The text looks at the role of literary criticism in an era when plurality of opinion is possible, and at the impact of the suppression of freedom of speech on the work of literary critics. It also shows how the process of the shift of literary criticism towards its true function in the spirit of democratising tendencies had gradually won its way.
5
Dong, Hanzhang. « A cross-cultural contextual study of Wong Kar-wai’s films driven by online reviews ». Dans Human Interaction and Emerging Technologies (IHIET-AI 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004562.
Texte intégralRésumé :
With the development of science and technology, the distance between people in space is getting smaller and smaller, and economic globalization has been a historical inevitability. At the time of accelerating globalization, the film and television industry, as a part of the economy, cannot escape the impact of globalization. Moreover, compared with other industries, film and television works often carry more cultural connotations. How should filmmakers cope with the cultural differences in storytelling, create cross-cultural works, and get the same or different word-of-mouth feedback from different cultural groups? In the current multi-cultural context, Wong Kar-wai can be said to be one of the representative figures. In his films, From "Carmen", "Ashes of Time" and "Days of Being Wild" to "Chungking Express", "In the Mood for Love" and "The Grandmaster", Wong Kar-wai has been widely understood and accepted in different cultural and social contexts. This article start with online comments and study the elements of cross-cultural film creation in the context of globalization according to data mining technology. Research methods and processes: Firstly, data acquisition and pre-processing are carried out. The data source of online comments needs to be determined before crawling the review data. For the research objects selected in this study, the relevant sections of online movie rating websites, online movie platforms and social attribute platforms with large audiences were chosen as data source. For example, metascore has a weighted average of many movie reviews from well-known critics, which is highly reliable. Then, the key step in text mining is word segmentation. It's the process of breaking a sentence into several words. Accurate word segmentation can improve the efficiency and accuracy of subsequent text mining. After the word cloud is established, attribute features of the comments are extracted and classified, and the factors that highly affect the acceptance and empathy of Wong Kar-wai's film works in the cross-cultural context are summarized. Finally, combined with the study of his film scenes and narrative structure, the research focuses on the following factors:1.Theme selection: Explore universal themes, such as love, loneliness, loss and dreams. These themes are cross-cultural, and people face similar issues and emotions across cultures.2.Narrative structure: Such as non-linear narrative structure, which not only increases the complexity of the film, but also provides the audience with space to think and interpret, so that audiences from different cultural backgrounds can interpret the film in different ways.3.How emotions are expressed: Wong Kar-wai's films emphasize the emotions and inner world of characters, which is a universal emotional experience that can touch people's emotions across cultural boundaries.4.Character complexity: Complex and multi-dimensional characters with unique personalities, desires and inner conflicts enable the audience to immerse themselves in understanding the inner journey of these characters, regardless of their cultural background.5.The beauty of cultural elements: Different cultural elements, such as the backgrounds and traditions of China Mainland, Hong Kong, or elsewhere. Although these elements sometimes have a specific impact on the story, they are usually presented in an aesthetic and emotional way that allows the audience to enjoy the film without knowing the cultural details.6.Aesthetic of sight and sound: Films have a distinctive vision and sound style. Create memorable movie atmospheres. This visual and aural allure can transcend the language barrier and touch the hearts of the audience.In a word, the reason why Wong Kar-wai's films can be accepted and understood by people in cross-cultural contexts will be explored in a more specific way along the above directions, and the methods of film creation will be explored under the background of multi-context globalization.
6
November, Nancy, Sean Sturm et 'Ema Wolfgramm-Foliaki. « Critical Thinking and Culturally-Sustaining Teaching : Developing the Historical Literacy of Māori and Pasifika Undergraduates in Aotearoa/New Zealand ». Dans Sixth International Conference on Higher Education Advances. Valencia : Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.11179.
Texte intégralRésumé :
In this paper, we explore critical thinking in the context of developing culturally-sustaining historical literacy in Māori and Pasifika students at a large, multicultural university in Aotearoa/New Zealand. Critical thinking and culturally-sustaining historical literacy might seem like an odd couple insofar as critical thinking tends to be associated with liberal Western (academic) culture. Students can resist developing their critical thinking, not least because culturally-sustaining ‘critical being’ is a threshold concept, requiring a flexible, yet clearly structured pedagogical approach. But the development of critical being is vital to culturally-sustaining teaching because of the role the associated skills and dispositions play in supporting cultural autonomy and voice. We talked with nineteen teachers of a range of ethnicities from across the historical disciplines at the University of Auckland to document the pedagogical strategies they used to develop the critical thinking skills of their Māori and Pasifika students in a culturally-sustaining way: fostering peer dialogue that draws on personal experience; practising perspective-taking; drawing on popular culture for its contemporary and cultural relevance; drawing on one’s culture in choosing relevant topics; and creating learning spaces conducive to critical being.
7
Loinjak, Igor. « POWER AS THE FOUNDATION OF CULTURAL CAPITAL AND A PREREQUISITE IN CREATING THE VALUE OF AN ARTWORK ». Dans European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/mhjv1841.
Texte intégralRésumé :
In his studious analysis of art in the context of its status and social function, French sociologist Pierre Bourdieu analyzed the problem of the distribution of power within the area that he refers to as the “field of art”. The habitus of the protagonists active in this field plays a decisive role in it, determining the perception of the value of artwork. The interests maintaining the field dynamics are essential elements of any field, making the field a battleground in which various interests battle for domination, nevertheless presupposing a consensus between the participants in the battle and their roles. Bourdieu, like Weber, believes that any social action is based on the interests of social protagonists, because no one will engage in something that has no material or ideal value and does not include a certain motive or profit, which does not necessarily have to be economic. Furthermore, aesthetic conflicts in the field of art often have a political dimension and are merely an embellished form of the battle fought in order to impose the dominant vision of the social reality on others. The field is an imaginary space where the real social power is generated. It is superior to the concept of institution, because institutions imply consensual relations within the society, while the field also includes phenomena that are not institutionalized or defined by firm boundaries at the given moment. The objective of this study is to analyze the role of critics and other protagonists in the field of art in the process of shaping values in visual arts, and to show the importance of power in the formation of symbolic capital in a broader cultural context. For the purposes of this research, the author will use the methodology that Bourdieu applies to literature in his book The Rules of Art, whose main theses help us better understand the economic, symbolic and cultural relationships in the fields of visual arts, with an emphasis on the situation in Croatia after the war.
8
Ameri, Amir H. « Critical Historiography and the Design Studio Pedagogy ». Dans 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.6.
Texte intégralRésumé :
The cultures that in their divergent multiplicity were once effectively segregated in space and time, find themselves in close proximity, dialogue and potential competition and conflict in both literal and virtual space as a direct consequence of globalization. Coupled as globalization is with the technologies of the information age, it has dramatically and fundamentally transformed our cultural and cross-cultural modes of communication and exchange, and along with it our cultural experience of space and time. These transformations are not formal and aesthetic per se, but more profoundly cultural and ideological. As such, they are measurably changing all cultures involved in unforeseeable directions. These changes, along with a multi-cultural context to architectural practice in a global economy require a shift of emphasis in architectural pedagogy to better prepare the next generation of architects to meet the unique demands of a plurality of cultures in a state of flux and change.
9
Tate Porter, Zachary. « Piles of Bits : Notes on the Virtual Grounds of Post-digital Practice ». Dans 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.35.
Texte intégralRésumé :
The relationship between building and ground is one of the most significant dynamics within the discipline of architecture. During the twentieth century, for instance, numerous critics interpreted the building/ground joint as a symbolic representation of the discipline’s conceptual posture towards modernity’s shifting technological, socio-cultural, and geopolitical conditions. This paper examines architectural conceptions of ground amidst another transformative moment: namely, the arrival of a “post-digital” or “second digital” era. Whereas designers of the so-called “first digital turn” emphasized the formal possibilities facilitated by virtual space’s liberation from gravity and physics, there is an emerging generation of designers who are using digital tools in a completely different manner. Rather than formal virtuosity, these designers of the post-digital generation focus on the integration of physics, along with the properties of matter, into the virtual realm. Among the experimental approaches that fall within this larger conceptual project is the simulation of gravity, a technique that often results with the piling up of digital bits. By examining the recent proliferation of simulated piles, this paper highlights the ways in which shifting applications of digital tools are reshaping disciplinary conceptions of ground.
10
Simon, Madlen, Shainmaa Hameed Hussein et Gregory Weaver. « BRIDGING THE GAP STUDIO : Urban Design Education for a Global Community ». Dans 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.100.
Texte intégralRésumé :
Bridging the Gap studio brings US graduate students together with Iraqi graduate students for a collaborative urban design studio focusing on urban redevelopment proposals for selected commercial districts in the two capital cities of Washington DC and Baghdad. Each group serves as information sources, eyes-on-the-ground, cultural informants, fact-checkers, and design critics for their overseas counter-parts. We communicate through multiple digital means. The theoretical basis of the studio draws upon multiple disciplines. Initial motivation was citizen diplomacy, an international relations concept that engages private citizens in “individual endeavors that serve their own interests and diplomacy which includes a framework for cooperation be-tween countries.” 1 A key theoretical underpinning of the studio is globalization, cutting across multiple disciplines, spanning practice and academia. 2 Initial support came from a multi-national design firm that viewed the studio as a vehicle for inculcating competencies of global practice. Interaction with the firm’s architects, including a studio design competition bringing US and Iraqi students to the Washington DC office for internships, shows students how practitioners put those cultural understandings and skills into action. Globalization has also influenced the discipline of geography, leading to innovations in the field of comparative urbanism3 4 to work “across diverse human experiences.” Bridging the Gap Studio produces studies in comparative urbanism as the US and Iraqi students discover both similarity and difference in their focus districts. The pedagogical method draws upon situated learning theory, positing that learning should take place in authentic practice settings and within social communities.5 While one could argue that every architectural design studio exemplifies situated learning, Bridging the Gap studio offers a particularly robust example, creating a setting that mimics global practice and a social community that includes inhabitants of the urban places under study.
Rapports d'organisations sur le sujet "Cultural critics"
1
Thunø, Mette, et Jan Ifversen. Global Leadership Teams and Cultural Diversity : Exploring how perceptions of culture influence the dynamics of global teams. Aarhus University, octobre 2018. http://dx.doi.org/10.7146/aul.273.
Texte intégralRésumé :
In the 21st century, business engagements are becoming increasingly global, and global teams are now an established form of organising work in multinational organisations. As a result, managing cultural diver-sity within a global team has become an essential part of ensuring motivation, creativity, innovation and efficiency in today’s business world.Global teams are typically composed of a diversity of experiences, frames of references, competencies, information and, not least, cultural backgrounds. As such, they hold a unique potential for delivering high performance in terms of innovative and creative approaches to global management tasks; however, in-stead of focusing on the potentials of cultural diversity, practitioners and studies of global teams tend to approach cultural diversity as a barrier to team success. This study explores some of the barriers that cultural diversity poses but also discusses its potential to leverage high performance in a global context.Our study highlights the importance of how team leaders and team members perceive ‘culture’ as both a concept and a social practice. We take issue with a notion of culture as a relatively fixed and homogeneous set of values, norms and attitudes shared by people of national communities; it is such a notion of culture that tends to underlie understandings that highlight the irreconcilability of cultural differences.Applying a more dynamic and context-dependent approach to culture as a meaning system that people negotiate and use to interpret the world, this study explores how global leadership teams can best reap the benefits of cultural diversity in relation to specific challenging areas of intercultural team work, such as leadership style, decision making, relationship building, strategy process, and communication styles. Based on a close textual interpretation of 31 semi-structured interviews with members of global leader-ship teams in eight Danish-owned global companies, our study identified different discourses and per-ceptions of culture and cultural diversity. For leaders of the global leadership teams (Danish/European) and other European team members, three understandings of cultural diversity in their global teams were prominent:1)Cultural diversity was not an issue2)Cultural diversity was acknowledged as mainly a liability. Diversities were expressed through adifference in national cultures and could typically be subsumed under a relatively fixed numberof invariable and distinct characteristics.3)Cultural diversity was an asset and expressions of culture had to be observed in the situationand could not simply be derived from prior understandings of cultural differences.A clear result of our study was that those leaders of global teams who drew on discourses of the Asian ‘Other’ adherred to the first two understandings of cultural diversity and preferred leadership styles that were either patriarchal or self-defined as ‘Scandinavian’. Whereas those leaders who drew on discourses of culture as dynamic and negotiated social practices adhered to the third understanding of cultural di-versity and preferred a differentiated and analytical approach to leading their teams.We also focused on the perceptions of team members with a background in the country in which the global teams were co-located. These ‘local’ team members expressed a nuanced and multifaceted perspective on their own cultural background, the national culture of the company, and their own position within the team, which enabled them to easily navigate between essentialist perceptions of culture while maintain-ing a critical stance on the existing cultural hegemonies. They recognised the value of their local knowledge and language proficiency, but, for those local members in teams with a negative or essentialist view of cultural diversity, it was difficult to obtain recognition of their cultural styles and specific, non-local competences. 3Our study suggeststhat the way global team members perceive culture, based on dominant societal dis-courses of culture, significantly affects the understandings of roles and positions in global leadership teams. We found that discourses on culture were used to explain differences and similarities between team members, which profoundly affected the social practicesand dynamics of the global team. We con-clude that only global teams with team leaders who are highly aware of the multiple perspectives at play in different contexts within the team hold the capacity to be alert to cultural diversity and to demonstrate agility in leveraging differences and similarities into inclusive and dynamic team practices.
2
Mejía, María Clara, et William L. Partridge. Guide to Critical Issues for Socio-Cultural Analysis. Inter-American Development Bank, mars 2013. http://dx.doi.org/10.18235/0006974.
Texte intégralRésumé :
This document focuses on four sectors where socio-cultural analysis is particularly critical for addressing issues of reducing poverty and exclusion. In the case of major infrastructure projects, the primary concern is to minimize or mitigate their impacts on local communities. For projects in the areas of urban and rural development, the aim is to both minimize impacts and to ensure access to project benefits by poor and excluded groups. The primary challenge for social projects is to ensure maximum benefits to target groups and their sustainability over the long term.
3
Tucker, Lora L. Army Reserve Culture : A Critical Part of Transformation. Fort Belvoir, VA : Defense Technical Information Center, février 2008. http://dx.doi.org/10.21236/ada478417.
Texte intégral
4
Carroll, Allan B. The Critical Vulnerability of Technological Dependence : A Culturally Driven Phenomenon. Fort Belvoir, VA : Defense Technical Information Center, mai 2014. http://dx.doi.org/10.21236/ada611765.
Texte intégral
5
Hilaski, Paul J. Culture and Identity : Critical Considerations for Successful State-building Endeavors. Fort Belvoir, VA : Defense Technical Information Center, mai 2010. http://dx.doi.org/10.21236/ada522946.
Texte intégral
6
Clarke, Frederick S. Changing Army Culture : Creating Adaptive and Critical Thinking Officer Corps. Fort Belvoir, VA : Defense Technical Information Center, novembre 2007. http://dx.doi.org/10.21236/ada477948.
Texte intégral
7
Berggren, Erik. Migration and Culture. Linköping University Electronic Press, août 2024. http://dx.doi.org/10.3384/9789180757638.
Texte intégralRésumé :
This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.
8
Gambrell, James. A Critical Race Analysis of Travel for Transformation : Pedagogy for the Privileged or Vehicle for Socio-Cultural Transformation ? Portland State University Library, janvier 2000. http://dx.doi.org/10.15760/etd.2482.
Texte intégral
9
Halych, Valentyna. SERHII YEFREMOV’S COOPERATION WITH THE WESTERN UKRAINIAN PRESS : MEMORIAL RECEPTION. Ivan Franko National University of Lviv, février 2021. http://dx.doi.org/10.30970/vjo.2021.49.11055.
Texte intégralRésumé :
The subject of the study is the cooperation of S. Efremov with Western Ukrainian periodicals as a page in the history of Ukrainian journalism which covers the relationship of journalists and scientists of Eastern and Western Ukraine at the turn of the XIX-XX centuries. Research methods (biographical, historical, comparative, axiological, statistical, discursive) develop the comprehensive disclosure of the article. As a result of scientific research, the origins of Ukrainocentrism in the personality of S. Efremov were clarified; his person as a public figure, journalist, publisher, literary critic is multifaceted; taking into account the specifics of the memoir genre and with the involvement of the historical context, the turning points in the destiny of the author of memoirs are interpreted, revealing cooperation with Western Ukrainian magazines and newspapers. The publications ‘Zoria’, ‘Narod’, ‘Pravda’, ‘Bukovyna’, ‘Dzvinok’, are secretly got into sub-Russian Ukraine, became for S. Efremov a spiritual basis in understanding the specifics of the national (Ukrainian) mass media, ideas of education in culture of Ukraine at the end of XIX century, its territorial integrity, and state independence. Memoirs of S. Efremov on cooperation with the iconic Galician journals ‘Notes of the Scientific Society after the name Shevchenko’ and ‘Literary-Scientific Bulletin’, testify to an important stage in the formation of the author’s worldview, the expansion of the genre boundaries of his journalism, active development as a literary critic. S. Yefremov collaborated most fruitfully and for a long time with the Literary-Scientific Bulletin, and he was impressed by the democratic position of this publication. The author’s comments reveal a long-running controversy over the publication of a review of the new edition of Kobzar and thematically related discussions around his other literary criticism, in which the talent of the demanding critic was forged. S. Efremov steadfastly defended the main principles of literary criticism: objectivity and freedom of author’s thought. The names of the allies of the Ukrainian idea L. Skochkovskyi, O. Lototskyi, O. Konyskyi, P. Zhytskyi, M. Hrushevskyi in S. Efremov’s memoirs unfold in multifaceted portrait descriptions and function as historical and cultural facts that document the pages of the author’s biography, record his activities in space and time. The results of the study give grounds to characterize S. Efremov as the first professional Ukrainian-speaking journalist.
10
Lavadenz, Magaly, et Elvira Armas. An Exploratory Study of Bilingual Teacher Residencies in California. California Council on Teacher Education (CCTE), 2023. http://dx.doi.org/10.15365/ceel.article.2023.1.
Texte intégralRésumé :
This research brief presents a study that explores the underexamined area of bilingual teacher residencies (BTRs) in California. The authors build upon research on teacher residencies to better understand the perspectives of program leaders- those who implement BTRs in Local Education Agencies (LEAs) and Institutions of Higher Education (IHEs). The study describes the program leaders’ insights into the implementation of BTRs at various stages of development and implementation based on the California Commission on Teacher Credentialing’s (CTC) funding phases from 2018 to 2023. Four findings are highlighted: 1) Forging New Relationships to Build on Community Cultural and Linguistic Wealth, 2) Designing Bilingual Teacher Residency District-University Partnerships and Programs, 3) The Burden of Support: Augmented Financial Barriers for Bilingual Teacher Residents and, 4) Bilingual Teacher Pedagogies: Critical Consciousness and Culturally Responsive Teaching. Based upon the findings, the research brief proposes three key recommendations for policy and practice to address the ongoing and projected California’s bilingual teacher shortages at the state and local levels: 1) Create Coherent and Articulated Cross-State Agency Efforts, 2) Differentiate Bilingual Networks of Support, and 3) Strengthen Bilingual Teacher Residency Communities of Practice.