Artykuły w czasopismach: „Critique de la culture”

1

Castro, Robert F. ":Racial Culture: A Critique". PoLAR: Political and Legal Anthropology Review 29, nr 2 (listopad 2006): 331–33. http://dx.doi.org/10.1525/pol.2006.29.2.331.

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Haslanger, Sally. "I—Culture and Critique". Aristotelian Society Supplementary Volume 91, nr 1 (czerwiec 2017): 149–73. http://dx.doi.org/10.1093/arisup/akx001.

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Chatterjee, P. "Critique of Popular Culture". Public Culture 20, nr 2 (1.04.2008): 321–44. http://dx.doi.org/10.1215/08992363-2007-028.

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McNamara, Laura A. "CULTURE, CRITIQUE AND CREDIBILITY". Anthropology Today 23, nr 3 (czerwiec 2007): 22–23. http://dx.doi.org/10.1111/j.1467-8322.2007.00515.x.

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Ikonen, Sirkku. "Cassirer’s critique of culture". Synthese 179, nr 1 (16.07.2009): 187–202. http://dx.doi.org/10.1007/s11229-009-9635-4.

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Couture, Francine. "L’effet critique de l’art : qu’en savons-nous?" Articles, nr 16 (19.04.2011): 89–103. http://dx.doi.org/10.7202/1002130ar.

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Au cours des années soixante, la sculpture cinétique a fait porter la réflexion sur les relations entre l’art et la technologie. Dans ce sens la réception immédiate des objets d’art de Serge Cournoyer et du groupe Fusion des Arts, par la critique d’art, est exemplaire du débat ayant animé le milieu artistique montréalais durant cette période. Elle a rendu perceptible l’inadéquation entre l’univers sémantique de ces oeuvres et les critères de définition de l’art de certains critiques d’art adhérant à l’expressionisme ou au formalisme. La reconstitution du contexte de ce débat nous apprend que la remise en question de certaines normes propres au modernisme est le principal effet social de ces oeuvres. En reconsidérant les modes dominants de penser l’art et la culture, elles ont contribué à la réflexion critique du champ culturel concernant les effets du récent développement de la culture de masse sur la vie artistique et intellectuelle.

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Perrin, Tom. "Critique, Tweaked". American Literary History 31, nr 3 (2019): 530–39. http://dx.doi.org/10.1093/alh/ajz021.

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Abstract Four recent monographs argue, in various ways, that the paradigm of critique is still a useful one for scholars to inhabit. Taken as a group, these authors broadly address the issues of how, and with what results, popular culture upholds hegemonic ideologies, and, by extension, whether the consumption of popular culture ought still to count as a guilty pleasure. Such questions are clearly related to the scholarly practice of studying popular culture by critiquing its ideological axioms. While these books all engage the problems with critique that have given rise to a contemporary postcritique movement, all ultimately conclude that key elements of critique remain useful as keystones of the study of literature and culture.

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Nowak, Raphaël, i Andrew Whelan. "“Vaporwave Is (Not) a Critique of Capitalism”: Genre Work in An Online Music Scene". Open Cultural Studies 2, nr 1 (1.11.2018): 451–62. http://dx.doi.org/10.1515/culture-2018-0041.

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Abstract Vaporwave, first emerging in the early 2010s, is a genre of music characterised by extensive sampling of earlier “elevator music,” such as smooth jazz, MoR, easy listening, and muzak. Audio and visual markers of the 1980s and 1990s, white-collar workspaces, media technology, and advertising are prominent features of the aesthetic. The (academic, vernacular, and press) writing about vaporwave commonly positions the genre as an ironic or ambivalent critique of contemporary capitalism, exploring the implications of vaporwave for understandings of temporality, memory and technology. The interpretive and discursive labour of producing, discussing and contesting this positioning, described here as “genre work,” serves to constitute and sediment the intelligibility and coherence of the genre. This paper explores how the narrative of vaporwave as an aesthetic critique of late capitalism has been developed, articulated, and disputed through this genre work. We attend specifically to the limits around how this narrative functions as a pedagogical or sensitising device, instructing readers and listeners in how to understand and discuss musical affect, the nature and function of descriptions of music, and perhaps most importantly, the nature of critique, and of capitalism as something meriting such critique.

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Jones, Jane Clare. "Idealized and Industrialized Labor: Anatomy of a Feminist Controversy". Hypatia 27, nr 1 (2012): 99–117. http://dx.doi.org/10.1111/j.1527-2001.2011.01217.x.

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Prompted by the ever‐increasing cesarean rate, this paper considers the interpretive disjunct between two significant strands of feminist analysis that have arisen in the last four decades as a consequence of the phenomenon of medicalized birth. In contrast to the dominant paradigm of bioethical “Principalism,” both modes of analysis, understood as “the critique of industrialized labor” and “the critique of idealized labor,” are attentive to the way in which social discourses inform bioethical deliberation and practice, but significantly diverge in the nature of their accounts. The “industrialization critique” understands the culture of medical intervention to be impelled by an “obstetric desire” to appropriate women's reproductive potency, whereas the “idealization critique” relates new mothers’ “low childbirth satisfaction” to a pernicious normative ideal propagated by the natural childbirth movement. This paper will explore the anatomy of both critiques and interrogate their fidelity to the phenomenological insight of the body as chiasm between material and ideal. I will argue that while the insights of the idealization critique are well grounded, we must exercise caution about the critique's tendency to reductively understand the embodied experience of labor as entirely discursively produced, a gesture that risks re‐performing the dematerialization of women often effected through obstetric intervention itself.

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Jones, Eric L. "Cultures Merging: A Historical and Economic Critique of Culture". Journal of Institutional and Theoretical Economics 163, nr 3 (2007): 526. http://dx.doi.org/10.1628/093245607781871336.

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Andrew, Brad. "Cultures Merging: A Historical and Economic Critique of Culture". Review of Social Economy 67, nr 2 (czerwiec 2009): 252–54. http://dx.doi.org/10.1080/00346760802621609.

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Mayhew, Anne. "Cultures Merging: A Historical and Economic Critique of Culture". Journal of Economic Issues 41, nr 1 (marzec 2007): 287–89. http://dx.doi.org/10.1080/00213624.2007.11507007.

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Duroy, Quentin M. H. "Cultures Merging: A Historical and Economic Critique of Culture". Social Science Journal 44, nr 1 (1.03.2007): 199–201. http://dx.doi.org/10.1016/j.soscij.2006.12.019.

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Reynolds, Paul. "Sexual Capitalism: Marxist Reflections on Sexual Politics, Culture and Economy in the 21st Century". tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 16, nr 2 (4.05.2018): 696–706. http://dx.doi.org/10.31269/triplec.v16i2.995.

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From an apparent impasse and crisis in the 1970s and 1980s – politically and intellectually – Marxism has recovered to offer critical insights into contemporary changes and developments in late capitalist societies. Sexuality has been one area where Marxist critiques of commodification and consumption, reification, cultural production and its hegemonic effects and the structures of feeling and meaning-making that compose contemporary subjectivities have been of significant value in decoding legal, political and cultural changes in the regulation, prohibition and propagation of forms of sex and sexuality. This discussion will draw from some of the most important contributions to Marxist critiques of sexuality, contemporary and historical, to outline the contours of a critique of contemporary sexuality in society, notably Peter Drucker, Holly Lewis, Rosemary Hennessy, David Evans, and Keith Floyd. The Marxist critique of contemporary sexual politics and rights claims both recognises the importance of these struggles and provides a materialist critique that demonstrates both the contemporary power of Marxist analysis and a critical engagement with queer and constructionist “orthodoxies”. Marxism has become a central and important ground for exploring the vagaries of sexuality under capitalism in all its objectifying, commodifying, alienating and exploitative forms.

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Larrain, Jorge, i Louis Dupre. "Marx's Social Critique of Culture." Contemporary Sociology 14, nr 6 (listopad 1985): 780. http://dx.doi.org/10.2307/2071490.

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Rockmore, Tom. "Marx’s Social Critique of Culture". International Studies in Philosophy 20, nr 1 (1988): 73–74. http://dx.doi.org/10.5840/intstudphil198820116.

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Gross, David. "The Religious Critique of Culture". Philosophy Today 54, nr 4 (2010): 392–400. http://dx.doi.org/10.5840/philtoday20105446.

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Bourg, Carroll J., i Louis Dupre. "Marx's Social Critique of Culture". Review of Religious Research 28, nr 1 (wrzesień 1986): 90. http://dx.doi.org/10.2307/3511342.

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Kellner, Douglas. "Nietzsche’s Critique of Mass Culture". International Studies in Philosophy 31, nr 3 (1999): 77–89. http://dx.doi.org/10.5840/intstudphil199931353.

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McBride, William Leon. "Marx’s Social Critique of Culture". Owl of Minerva 17, nr 2 (1986): 212–14. http://dx.doi.org/10.5840/owl19861726.

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Koirala, Prabal. "Critique of Essentialist Culture in Koirala’s Sumnima". AJOIS: Academic Journal of Interdisciplinary Studies 1, nr 1 (21.02.2024): 99–104. http://dx.doi.org/10.3126/ajois.v1i1.62945.

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This paper attempts to analyze how Bishweshwar Prasad Koirala’s novel Sumnima critiques essentialist culture by the rulers of the contemporary time. Presenting two characters from diverse cultural background, Koirala makes a subtle distinction between the culture and way of life. In doing so, he snubs the superiority or inferiority of the cultures and shows that they are unique in their own terms. By taking insights on culture and ethnicity embedded in the identity of a person, this paper reveals that Koirala chides the essentialist thoughts of the rulers.

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Weingand, Yanik. "Scholars, States, and Human Rights". Global Europe – Basel Papers on Europe in a Global Perspective, nr 122 (16.06.2022): 47–70. http://dx.doi.org/10.24437/globaleurope.i122.1109.

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This article investigates the similarities between different critiques towards the international human rights system from academia and state-actors. On the one hand, there are the critiques from scholars of the Third World Approaches to International Law (TWAIL) movement. On the other hand, there are critical points raised towards the international human rights system by China, Cuba, and Egypt in the reports from the first three cycles of their respective Universal Periodic Review (UPR) within the United Nations Human Rights Council (UNHRC). Through a literature review, the TWAIL critiques were first categorized and then worked into a framework of three basic pillars: the culture critique, the rhetoric critique, and the model critique. This framework was subsequently applied to the reports by way of a simplified Qualitative Content Analysis in order to extrapolate the similarities of the critiques from these two unlikely groups of actors.

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Lemos, André. "The critique of essentialist critique of cyberculture". Matrizes 9, nr 1 (23.06.2015): 29. http://dx.doi.org/10.11606/issn.1982-8160.v9i1p29-51.

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The objective of this paper is to analyze the critical perspective of cyberculture from the discussion on the essence of technology. The article revisits the classic discussion about the essence of technology and updates it from the visions of the new critics of digital culture. The central argument is that traditional critical perspective (fundamentalist or pessimistic) fails to address the phenomena of digital culture by essentialist bias. It proposes an analysis of cyberculture by Actor-Network Theory (ART) since a focused view, stucked to the constituent networks of technical phenomenon, and attached to social associations may offer a solution to the empirical failure of criticism.

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Bandini, Elisa, Jonathan Scott Reeves, William Daniel Snyder i Claudio Tennie. "Clarifying Misconceptions of the Zone of Latent Solutions Hypothesis: A Response to Haidle and Schlaudt". Biological Theory 16, nr 2 (18.02.2021): 76–82. http://dx.doi.org/10.1007/s13752-021-00374-x.

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AbstractThe critical examination of current hypotheses is one of the key ways in which scientific fields develop and grow. Therefore, any critique, including Haidle and Schlaudt’s article, “Where Does Cumulative Culture Begin? A Plea for a Sociologically Informed Perspective,” represents a welcome addition to the literature. However, critiques must also be evaluated. In their article, Haidle and Schlaudt (Biol Theory 15:161–174, 2020. 10.1007/s13752-020-00351-w; henceforth H&S) review some approaches to culture and cumulative culture in both human and nonhuman primates. H&S discuss the “zone of latent solutions” (ZLS) hypothesis as applied to nonhuman primates and stone-toolmaking premodern hominins. Here, we will evaluate whether H&S’s critique addresses its target.

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Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance". Sociological Perspectives 40, nr 2 (czerwiec 1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.

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Truwant, Simon. "From the Critique of Reason to a Critique of Culture". Epoché: A Journal for the History of Philosophy 23, nr 1 (2018): 85–104. http://dx.doi.org/10.5840/epoche2018724121.

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This paper argues that Cassirer’s development of ‘the critique of reason into a critique of culture’ was prompted by two motives that ultimately seem to collide. On the one hand, Cassirer attempts to overcome the Kantian dichotomy between the faculties of sensibility and the understanding. To this end, he turns to the schemata of the Critique of Judgment. On the other hand, Cassirer expands the scope of transcendental philosophy to include cultural domains such as myth, language, and the human sciences. His desire to maintain both the differences between these domains and the unity of reason however leads to a new dualism between the material modalities of the symbols and their ideal, recurring, forms. Yet, by adopting both a constitutive and a regulative conception of objectivity, Cassirer renders this duality legitimate, and his motives for a philosophy of culture on a Kantian foundation compatible.

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PATTEN, ALAN. "Rethinking Culture: The Social Lineage Account". American Political Science Review 105, nr 4 (24.10.2011): 735–49. http://dx.doi.org/10.1017/s000305541100030x.

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Persuaded by the critique of cultural essentialism, many critics believe that there is no defensible way of identifying distinct cultures, or of distinguishing cultural loss from cultural change, that is compatible with the normative agenda of multiculturalism. This article challenges this widely shared belief by developing a concept of culture that can withstand the critique of essentialism and support the positive claims of multiculturalists. Culture, in the view developed here, is what people share when they have shared subjection to a common formative context. A division of the world, or of particular societies, into distinct cultures is a recognition that distinct processes of socialization operate on different groups of people. Because culture in this view is the precipitate of a common social lineage, the view is called the “social lineage account” of culture.

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Barebina, Natalya, i Galina Kostyushkina. "Analysis of the Deviant Usage of Criticism in Discourse Innovations of Cancel Culture and Woke Culture". Bulletin of Baikal State University 34, nr 1 (29.03.2024): 134–43. http://dx.doi.org/10.17150/2500-2759.2024.34(1).134-143.

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The research analyzed the deviant usage of critique in discourse innovations in the form of cancel culture and woke culture. These innovations represent modern ways of criticism, which rapid spread is due to network communication. The basis for classifying these types of criticism as deviant usage is the destruction of the locus of critical rationality. The problem is that the heuristic ideal of critique may be changed significantly due to the legitimation of non-standard forms of criticism. The authors identified several clusters of the normative ideal of critical activity in the form of negative assessment, logic, social constructivism, in which the category of rationality is considered. This category allows us to analyze the discourse practice of critique regarding the correspondence theory of truth using linguo-argumentative method of analysis. While using these strategies the authors came to the following conclusions. The verbalization of cancel culture represents a reactive action of critique that implements polemical negation. Criticism in woke culture reveals signs of descriptive negation. The deviant usage of critique as reasoning in the innovations under discussion is represented by errors in argumentation, factoid nature of discourse, and a mixture of stylistic modes belonging to discourses of varying degrees of institutionalization, which constitute aberrations of the rational standard of criticism.

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Hunter, Siân. "Coppola's postfeminism: Emma Watson and The Bling Ring". Film, Fashion & Consumption 9, nr 1 (1.05.2020): 81–98. http://dx.doi.org/10.1386/ffc_00013_1.

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Abstract Sofia Coppola's The Bling Ring explores the contemporary obsession with commodities and celebrity culture which leads a group of Californian teenagers to break into the homes of celebrities, in order to steal their clothes and accessories. This article examines Coppola's critique of celebrity culture and consumerism through the movie itself, and through her casting of British actor Emma Watson and the ways in which she mobilizes the celebrity persona of Watson in order to further her critique. The Bling Ring will be compared to Coppola's work to understand how it contributes to her postfeminist image. Coppola's position as a celebrity figure through her association with her father, through her own work and through her participation within the worlds of fashion and music are also explored, in order to problematize the position from which she critiques celebrity culture.

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Slinn, E. Warwick. "Poetry and Culture: Performativity and Critique". New Literary History 30, nr 1 (1999): 57–74. http://dx.doi.org/10.1353/nlh.1999.0014.

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Smith, Michael French. "Cargo, Cult, and Culture Critique (review)". Contemporary Pacific 17, nr 2 (2005): 470–73. http://dx.doi.org/10.1353/cp.2005.0070.

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Corteel, Mathieu, Ariel Kyrou i Yann Moulier-Boutang. "Pour une culture critique de l’IA". Multitudes 78, nr 1 (2020): 51. http://dx.doi.org/10.3917/mult.078.0051.

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Lofts, Steve. "Ernst Cassirer in Japanese Philosophy". Journal of Transcendental Philosophy 2, nr 1 (1.04.2021): 143–65. http://dx.doi.org/10.1515/jtph-2021-0007.

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Abstract The primary goal of this paper is not to argue for the “influence” of Cassirer, but rather to make known the reception of Cassirer in Japanese philosophy, illustrate the interconnection between Cassirer’s critique of culture and that of Japanese philosophy, and hopefully spark interest in what might be a fruitful dialog between Cassirer scholars and those working in Japanese philosophy. Historically, the paper defines Japanese philosophy and makes known its engagement with Western philosophy and the Marburg school of neo-Kantianism and its project of a critique of culture during its own self-development. Systematically, the paper points to the possible interconnection between Cassirer’s critique of culture and that of Japanese philosophy and makes the case for a mutually productive dialog between Cassirer scholars and those working in Japanese philosophy. Implicitly, the paper attempted to show that an engagement with Japanese philosophy from the perspective of a critique of culture forces us to question the Western dichotomy between philosophy and religion and the importance of this for the further development of a non-Eurocentric critique of culture. And by extension, that a critique of culture must be cognitive of the historicity of the culture from which it speaks.

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Boynton, Anthony Dwayne. "August Wilson, Afrofuturism, & Gem of the Ocean". Open Cultural Studies 2, nr 1 (1.11.2018): 374–82. http://dx.doi.org/10.1515/culture-2018-0034.

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Abstract August Wilson's Century Cycle is as much a theatrical experiment of black cultural history and sociology as it is one of storytelling. Though often considered a realist playwright, Wilson walks beyond the realist landscape into speculative and imagined ones in Gem of the Ocean. His investment in cultural critique and history enhances the possibility of an enriching analysis of his work as speculative fiction. This research project locates the ties between Wilson’s affinity with history and the creation of a dystopian Pittsburgh in the play. In Wilson’s work, set in 1904, the antebellum past is so close to the post-Emancipation present, temporally and socio-politically, that there is almost no difference at all. The flattening of time Wilson insinuates through the milieu, a capitalist-police state, is articulated through characters’ relationship with it. Wilson is welcomed in conclusion into black speculative traditions of re-imagining time and using cultural histories to critique cultural realities.

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Aronsson, Mattias. "La réception de Marguerite Duras en Suède. La critique professionnelle et non-professionnelle". Moderna Språk 110, nr 2 (1.12.2016): 1–24. http://dx.doi.org/10.58221/mosp.v110i2.7858.

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Dans cet article nous examinons la réception suédoise de l’œuvre de Marguerite Duras, en comparant la critique professionnelle et la critique non-professionnelle. Le corpus est constitué de vingt comptes rendus professionnels publiés dans la presse, et vingt comptes rendus rédigés par des amateurs et publiés sur des blogs et des sites web personnels. La critique non-professionnelle des blogueurs représente un nouveau phénomène dans le paysage littéraire : une réception souvent subjective et sans prétentions intellectuelles, caractérisée par son ton personnel et parfois intime. Cette critique présente de nouvelles perspectives – celles des lecteurs ordinaires qui, avant la démocratisation de l’Internet, n’avaient pas accès au débat littéraire public. Les critiques amateurs de notre corpus sont en majorité des femmes. Elles rédigent des comptes rendus succincts qui traitent d’un grand nombre d’ouvrages durassiens et non seulement des publications les plus récentes. D’un point de vue commercial, les avis formulés on-line par ces blogueurs amateurs deviennent tout aussi importants que ceux qui sont exprimés par les critiques professionnels dans la presse traditionnelle. Il s’agit là d’un aspect de la culture dite « de convergence » (Jenkins 2006) et « de participation » (Jenkins et al. 2015) qui est la nôtre.

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DUMONT, Fernand. "L’idée de développement culturel : esquisse pour unepsychanalyse". Sociologie et sociétés 11, nr 1 (14.12.2010): 7–31. http://dx.doi.org/10.7202/001217ar.

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L’auteur discute en profondeur de la notion de développement culturel en seposant les questions suivantes : de quelle culture s’agit-il lorsque l’on parle dedéveloppement culturel? Et pourquoi le développement? C’est parce que l’auteurplaide pour la primauté de la culture dans l’observation sociale qu’il se montretrès critique envers les idées reçues.

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McDougall, Michael, Mark Nesti, David Richardson i Martin Littlewood. "Emphasising the culture in culture change: Examining current perspectives of culture and offering some alternative ones". Sport & Exercise Psychology Review 13, nr 1 (marzec 2017): 47–61. http://dx.doi.org/10.53841/bpssepr.2017.13.1.47.

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Culture change has rapidly become a topic of interest and importance within applied and academic sport psychology circles. Despite a number of notable advances in the culture change literature though, a critique aimed at some of this research (Cruickshank, Collins & Minten, 2013a) is that it may not be studying culture at all (Gilmore, 2013). Considering and extending this critique, it is contended that sport psychology culture change research to date has been change focused, rather than based in a broader and deeper understanding of culture; an action-orientated approach that limits the clarity and practical utility of what is arguably the fundamental element of culture change – culture itself. To begin to address this issue, a definition of culture (cf. Cruickshank and Collins, 2012) is examined in detail so as to draw out fundamental assumptions about culture that have not been comprehensively considered in sport psychology culture change literature. To further broaden disciplinary understanding of culture, some alternative perspectives of culture are then presented.

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Karlsson, Jens. "Breakthrough in Chinese Kant Scholarship. Interview with Prof. Deng Xiaomang". Kantian journal 40, nr 2 (2021): 131–50. http://dx.doi.org/10.5922/0207-6918-2021-2-5.

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Prof. Deng Xiaomang’s translations of the Critique of the Power of Judgment (2002), the Critique of Practical Reason (2003), and the Critique of Pure Reason (2004), were the first Chinese editions of Kant’s three Critiques translated in their entirety from the German originals. This interview tracks his scholarship, placing it within the broader scope of historical and contemporary Kant scholarship in China. Among the topics addressed, the reception of Kantian philosophy among the so called “New Confucians”, as well as the utility of Kantian thought as a tool for the reformation of traditional Confucian culture, are given considerable attention. Professor Deng also shares some thoughts on the process of translating classical German philosophical texts into Chinese and provides an overview of his scholarship as a translator and thinker.

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Vokuev, Nikolai. "Politiser la sémiosphère : Juri Lotman et les études culturelles". Cygne noir, nr 10 (20.06.2023): 66–86. http://dx.doi.org/10.7202/1100682ar.

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Le nom du sémioticien soviétique Juri Lotman, ainsi que la sémiotique de la culture de l’École de Tartu-Moscou en général, ne sont pas associés à la théorie critique. Les approches critiques visent à analyser la société contemporaine et sa transformation : les philosophes, comme le disait Marx, expliquent le monde, mais la tâche est de le changer. Dans la science soviétique, cependant, les postulats marxistes sont devenus des dogmes dont les sémioticiens ont voulu se libérer. Cette aspiration s’est incarnée non pas dans une critique du système existant, mais dans une coexistence presque escapiste avec celui-ci : les chercheurs ont abordé des questions historiques et créé un langage théorique difficile à comprendre, développant ainsi une science alternative au discours universitaire officiel. En partie à cause de cette incompatibilité de projets, la sémiotique de la culture a été ignorée par les études culturelles (cultural studies) politiquement engagées. Cependant, la sémiotique de la culture, en particulier le concept de sémiosphère de Lotman, a beaucoup en commun avec le discours critique des études culturelles. Dans cette optique, je place les idées de Lotman dans le contexte des tendances actuelles des études culturelles, ou « tournants culturels ». En comparant les études culturelles et la sémiotique de la culture de l’École de Tartu-Moscou, j’arrive à la conclusion que le politique a été refoulé du langage des sémioticiens soviétiques, et que le dialogue entre les deux traditions suppose de découvrir ce politique refoulé, notamment dans le concept de sémiosphère.

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Smith, Rogers M. "Response to Karen Orren". Journal of Policy History 8, nr 4 (październik 1996): 479–90. http://dx.doi.org/10.1017/s0898030600005431.

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Karen Orren's critique wages more war with itself than it does with my main arguments and evidence, most of which she does not engage directly. The bulk of my essay was devoted to textual critiques of Tocqueville, Myrdal, Hartz, and a number of more recent authors. I argued that their assumptions that liberal democratic traditions formed the core of American political culture led to inadequate accounts of major systems of ascriptive hierarchy, especially racist, nativist, and patriarchal ones. Orren mentions none of the authors I critiqued except Carol Pateman, whom she invokes in a paragraph ending, like a third of her paragraphs in her first two sections, with a rhetorical question about my view, not a forthright contrary proposition. Her failure to address my specific critiques, and her recurring reliance on questions to do the work of affirmative arguments, make it unclear precisely how far she is defending the authors, challenging the criticisms, and disputing the evidence to which my essay was largely devoted.

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Črnič, Aleš. "A Critique of Islamophobia – in Defence of European Culture". European Review 28, nr 4 (2.03.2020): 707–20. http://dx.doi.org/10.1017/s1062798720000071.

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The fear of refugees and migrants that has flooded Europe in the last few years emphasises the threat posed to contemporary European culture by the supposedly radically different Islamic culture. However, the roots of European Islamophobia reach far beyond that, all the way back to the Crusades; while Central and parts of Eastern Europe have mostly been feeding these roots with memories of Ottoman invasions. After inspecting these roots, this article sheds light on the irrefutable Christian sources of European culture, but also exposes other influences without which the culture would not exist today – especially the antecedent Greco-Roman antiquity, and the subsequent Renaissance, Humanism and Enlightenment. This outlines modern European and Western culture, characterised mainly by secularity, which is the precondition for religious freedom of non-Christian, alternative, and ‘non-native’ religions as well. This article emphasises that it would be difficult to include Islam amongst these latter religions since it has been an important contribution to the shaping of European culture for centuries. The old antagonisms between European and Islamic cultures therefore do not stem from their irreconcilable differences but from their resemblances – in other words: in the West, we are not afraid of Muslims because they are so radically different but because they are strikingly similar. The real threat to European and Western culture is therefore not Muslim migrants but a demagogic fuelling of the fears of the supposed Islamic threat.

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Lacasse, Germain, Sacha Lebel i Hubert Sabino. "L’objet cinéma entre culture populaire et culture savante1". Globe 15, nr 1-2 (6.03.2013): 83–101. http://dx.doi.org/10.7202/1014627ar.

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Cet article envisage d’élargir et d’approfondir le champ de l’histoire culturelle en étudiant les relations entre culture académique et culture populaire. Prenant comme exemple diverses pratiques et institutions dans l’histoire du cinéma québécois (le bonimenteur, la censure, la critique), il propose de déconstruire leur histoire pour rappeler les exclusions sur lesquelles elle est souvent fondée. L’article s’inspire de travaux récents qui revalorisent les études culturelles et leur potentiel interdisciplinaire.

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Carravetta (book author), Peter, i Anna Ciamparella (review author). "After Identity: Migration, Critique, Italian American Culture". Quaderni d'italianistica 38, nr 1 (18.10.2018): 305–6. http://dx.doi.org/10.33137/q.i..v38i1.31236.

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RIOUX, Marcel. "Pour une sociologie critique de la culture". Sociologie et sociétés 11, nr 1 (14.12.2010): 49–55. http://dx.doi.org/10.7202/001638ar.

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L’auteur note que le concept de culture fait retour dans les sciences humaines et autres productions intellectuelles. Il propose qu’il soit intégré dans le cadre conceptuel d’une sociologie critique. Pour rendre compte du social-historique, il propose qu’une analyse de la culture soit menée non seulement au niveau des contenus et des structures mais aussi des formes de la culture.

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Guibal, Francis. "F. Nietzsche, critique de la culture occidentale". Revue d'histoire et de philosophie religieuses 72, nr 3 (1992): 289–310. http://dx.doi.org/10.3406/rhpr.1992.5190.

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Anagnostou, Yiorgos. "After Identity: Migration, Critique, Italian American Culture". Italian American Review 8, nr 2 (1.07.2018): 212–19. http://dx.doi.org/10.5406/italamerrevi.8.2.0212.

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Calabretta-Sajder, Ryan. "After identity: migration, critique, Italian American culture". Journal of Modern Italian Studies 26, nr 1 (1.01.2021): 97–99. http://dx.doi.org/10.1080/1354571x.2021.1888589.

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Tagami, Daisuke. "Rethinking Weber's Critique of Modern Western Culture：". Annual review of sociology 2013, nr 26 (2013): 123–34. http://dx.doi.org/10.5690/kantoh.2013.123.

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Jianyin, Sun. "Antinomies of culture and critique of modernity". Thesis Eleven 144, nr 1 (luty 2018): 3–12. http://dx.doi.org/10.1177/0725513618755774.

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The critique of modernity was one of the important themes in philosophy in the 20th century. Theorists focused on the spiritual characteristics of modernity by which they tried to find a solution to the crisis of modernity, a solution beyond economics and politics. György Márkus, one of the members of the Budapest School, focused on the culture of modernity for 30 years. He presented a critical theory of modern culture. His theory had a clear logic and offered a compelling view. At the core of his theory of cultural modernity was the idea of the ‘antinomies of culture’. These antinomies are of vital importance since the struggle and tension between the poles of culture provides, on his view, the energies and orientation required for the development of cultural modernity. In this essay, I will try to analyse the reality of cultural modernity in China employing Márkus’s ideas and evaluating the significance of his theory.

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Mitchell, W. J. T. "Showing seeing: a critique of visual culture". Journal of Visual Culture 1, nr 2 (sierpień 2002): 165–81. http://dx.doi.org/10.1177/147041290200100202.

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