Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0139
J. Judd
Abstract At the height of the Great Depression, the American Labor Movement was ascendant as union strongholds and the belief in the power of collective action and labor solidarity were re-asserted. The energy and activism along the west-coast waterfront fomented the resurgent movement. With the revitalization of the International Longshoremen’s Union in 1933 came a succession of events that captured the American populace’s attention, including mass demonstrations and coast-wide general strikes. With this surge of events on the west-coast waterfront, from 1934 to 1937, there was a corresponding flurry of imagery disseminated to the American populace using the west-coast waterfront as a constant backdrop. Thus, an examination of the issues posed and the reality suppressed by this imagery is a crucial part of understanding how collective action and union organization exist in American visual culture. A critical evaluation of the specific ways that these Hollywood portrayals do damage to the image and perception of organized labor will allow for a confrontation with the structures of power upheld and held in tension through the dissemination of these films. This study will involve a close analysis of the following films: Fog over Frisco, Wharf Angel, Waterfront Lady, Barbary Coast, Frisco Kid, San Francisco and Mannequin.
{"title":"“Riffraff” On the Waterfront: A Critical Analysis of Labor Imagery on the Imagined Docks of the Hollywood Dream Factory, 1934–1937","authors":"J. Judd","doi":"10.1515/culture-2020-0139","DOIUrl":"https://doi.org/10.1515/culture-2020-0139","url":null,"abstract":"Abstract At the height of the Great Depression, the American Labor Movement was ascendant as union strongholds and the belief in the power of collective action and labor solidarity were re-asserted. The energy and activism along the west-coast waterfront fomented the resurgent movement. With the revitalization of the International Longshoremen’s Union in 1933 came a succession of events that captured the American populace’s attention, including mass demonstrations and coast-wide general strikes. With this surge of events on the west-coast waterfront, from 1934 to 1937, there was a corresponding flurry of imagery disseminated to the American populace using the west-coast waterfront as a constant backdrop. Thus, an examination of the issues posed and the reality suppressed by this imagery is a crucial part of understanding how collective action and union organization exist in American visual culture. A critical evaluation of the specific ways that these Hollywood portrayals do damage to the image and perception of organized labor will allow for a confrontation with the structures of power upheld and held in tension through the dissemination of these films. This study will involve a close analysis of the following films: Fog over Frisco, Wharf Angel, Waterfront Lady, Barbary Coast, Frisco Kid, San Francisco and Mannequin.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"262 - 272"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45202073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0126
T. Edman, Hacer Gozen
Abstract This article intends to lay out a comparative study of Karma philosophy and literature scrutinizing Yann Martel’s novel Life of Pi through a panentheistic approach. Because Karma is one of the predominant philosophies in the novel and permeates the general atmosphere, this article intends to scrutinize Yann Martel’s novel Life of Pi through a panentheistic approach. Although karma is a very complex issue, since anyone committing evil acts can claim to be a mere agent of karma delivering punishment to others for sins they committed in their past lives, it is true that according to karma, our actions have consequences which affect the entirety of our lives, and this can also be seen as free will. Yet while this approach tends to focus on the action and reaction mechanisms of life, the flow of life in the universe should still be carefully contemplated, since if we believe the first story, Pi’s survival not only depends on his choices, but also on the opportunities that the universe offers him. In that sense, if we are to accept God as the soul of the universe, then the universal spirit must be omnipresent and omnipotent while also capable of transforming into anything in terms of s panentheistic approach. Thus God, being greater than the universe, is the ultimate force that balances everything, and is also the biggest karma controller. For this reason, this article analyzes Life of Pi from both inductive and deductive slants to demonstrate that all roads lead to God, the omniscient.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0129
Georgina Abreu
Abstract This essay argues that the bold affirmation of the political, rather than the religious, purpose of his liturgical parodies enabled the journalist, satirist, and publisher William Hone (1780–1842) to turn three accusations of blasphemous libel into the triple defence of the freedom of the press during his trials in December 1817. Hone was accused of blasphemous and seditious libel for having printed and published three liturgical parodies in the early months of that year. These were The Late John Wilkes’s Catechism of a Ministerial Member, The Political Litany, Diligently Revised and The Sinecurist’s Creed, or Belief. He conducted his own defence and, against the odds, was acquitted in all three trials. On January 23, 1818, Hone published the narrated transcripts of the trials. The present essay analyses and interprets those transcripts, highlighting Hone’s eloquence, his de-sacralisation of court ritual, and, most important, the strategic use of satire as a legitimate method of political criticism and as an index of the freedom of the press. The Conclusion focuses on the political and cultural significance of Hone’s rebuttal performance and claims his long-standing right to our attention.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0010
Angela N. Delutis-Eichenberger
Abstract In the scant scholarship relative to Alberto Blest Gana’s Mariluán, several critics have underscored the unfeasibility or superfluidity of the protagonist’s aspired project for restitution, indigenous assimilation, and fraternity in the Araucanía during the novel’s context of enunciation. Under the theoretical framework of Athena Athanasiou and Judith Butler on dispossession, and in dialogue with the concept of “sediments of time” by Reinhart Koselleck, this study argues that an analysis of the overlapping chronologies in “play” in Mariluán serves to revise the statements seemingly offered for advancement nearly 160 years ago. Mariluán’s pseudo-revival of a Lautaro and the manner in which he makes himself “present” or “becoming,” and remains “present” after his beheading, can be re-signified as a means to challenge the terms imposed from structures that inhibit, subjugate, and seek to fully exterminate or nullify the “other” – insomuch in the 1860s, as in future temporalities involving repetitions of historical events and their related, yet distinguishable, singularities. Through a reconsideration of the protagonist’s aims that refute his call for cultural assimilation as a necessary means of integration, today’s status quo on indigenous issues can be re-problematised, to contest the pervasive logic of dispossession and advocate for more practical and politically inclusive structures that celebrate Chile’s plurality.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0006
Patricia Vilches
Abstract This essay explores sensory stimuli in La aritmética en el amor [Arithmetic in Love/Economics of Love] (1860) as they relate to the consumer preferences (for clothing, furniture, jewellery) and purchasing practices of nineteenth-century Santiago, Chile. The novel presents detailed descriptions, for example, of fine fabrics, emphasising the sounds that the wearers of such fabric reproduce as they move about. Wealthy or not, people feel the pressure to present themselves in their best garments, but the “best noise” is made by the rich, who transmit the affect of opulence to the less fortunate. Overall, to radiate a sensory appeal, characters frequent the city of Santiago and patronise the finest clothing stores. From our very first encounter with the protagonist Fortunato Esperanzano, he is dressed accordingly, engaging with Santiago and showing in his persona that he shops only for nice clothes and the best cigars. From a Lefebvrian perspective, Fortunato represents how Chile’s modernisation transforms the capital’s “marketplace” as a social space where a new luxury economy flourishes and a traditional, rigid social order is maintained.
摘要:本文探讨了La aritmtica en el amor[爱的算术/爱的经济学](1860)中的感官刺激，因为它们与19世纪智利圣地亚哥的消费者偏好(服装，家具，珠宝)和购买实践有关。例如，小说对精美的织物进行了详细的描述，强调了穿着这种织物的人走动时发出的声音。不管是否富有，人们都感到穿着最好的衣服展示自己的压力，但“最好的噪音”是由富人发出的，他们把富裕的影响传递给不那么幸运的人。总的来说，为了散发感官吸引力，人物经常光顾圣地亚哥市，光顾最好的服装店。从我们与主角Fortunato Esperanzano的第一次相遇开始，他就相应地穿着，与圣地亚哥接触，并在他的角色中显示出他只买漂亮的衣服和最好的雪茄。从列非弗尔人的角度来看，福尔图纳托代表了智利的现代化如何将首都的“市场”转变为一个社会空间，在这里，新的奢侈品经济蓬勃发展，传统的、僵化的社会秩序得以维持。
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Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0140
Sophie Raynard-Leroy, Charlotte Trinquet du Lys
The project for this special volume emanated from the accelerated frequency of the expression “ gender fl uidity ” in the current vernacular and research theories. The general excitement over this new concept prompted reactions from some of our scholars of the early - modern, because we argue it is certainly not new ( even if the expression per se is ) . It has always been pervasive in literature and in fairy - tale/folklore studies – cross - dressing episodes in particular. The various studies that we o ff er in this volume are meant to show how this concept has been represented over time – from the early - modern to the post - modern periods – in fairy tales and children ’ s literature following a continuum from the implicit to the more explicit. As an expression, “ gender fl uidity ” has been only recently coined, therefore, it is essential to fi rst de fi ne it as it is currently understood in order to be able to re fl ect back on those texts representing gender - bending phenomena and theorize about them using today ’ s tools and new understandings about sexuality. A gender fl uid person will change either identity ( identifying themselves as male or female ) or expression ( expressing their gender to the rest of society, i.e., dressing as male or female ) , or both, from the gender they have been assigned at birth, throughout the course of their life. It is understood that gender usually develops from early childhood to adolescence, and most people identify with a gender in their early adulthood. However, gender - fl uid persons can experience more than one gender change during their life, while transgender persons will identify and express themselves with a gender di ff erent than the one assigned at birth for the rest of their life, whether they go through gender reassignment ( surgical and/or hormonal ) or not. This often results for gender - fl uid individuals in complex psychological hardship caused by the “ othering ” both from the transgender community, for whom they are not “ trans ” enough, or most con temporary societies, for which they are outside of the normative behavior set by the binary system of genders lands ( Wonderland, Looking - Glass land, Neverland ) as distorting, satirizing mirror images of an oppressive “ grown - up ” society. Alice is represented as an ever transforming and self - aware visitor of a fantastic realm, while Peter ’ s very existence is otherworldly, oblivious, constant, and cyclical. We are invited to read those texts using the pretext of a - historicity in fantastic children ’ s and fairy - tale stories, and applying Ricoeur ’ s postmodern theory of the linear quest of the hero and the circularity of the journey itself, so as to pay attention to the act of storytelling ( as ) and the authors in their role as narrators who indirectly perform a gendered, maternal act. explicitly illustrates the pro - gender fl uidity agenda than the other shows but does that symbo lically and perhaps just as e ffi ciently via the r
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0008
Luigi Patruno
Abstract In this article, I analyse Georg Lukács’s theories of realism in relation to Alberto Blest Gana’s work. For this purpose, I explore two essays that have greatly contributed to locating the Chilean author’s novels within the realm of literary realism. The texts chosen for my study are Jaime Concha’s prologue to the Martín Rivas edition by the Ayacucho Library and Ricardo A. Latcham’s essay “Blest Gana y la novela realista” [Blest Gana and the Realist Novel]. Concha and Latcham find appropriate categories for the interpretation of Blest Gana’s work in Lukács’s essays. In their readings, they accurately apply notions such as the selective principle or the typology of characters. However, while using those insights as a shared critical platform, they arrive at different interpretations of what is meant by realism. The article elucidates the role played by Concha and Latcham in the Chilean intellectual field and shows how literary genealogies inform their critical projects.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0136
V. Denzel
Abstract During its brief existence from 1976 to 1978 the French underground feminist magazine Ah!Nana represented a powerful medium to discuss various topics related to women, sexuality, and discrimination. One of its main goals was to challenge traditional (literary) female role models, including housewives, submissive mothers, and “damsels in distress.” Through the adaptation of fairy tales, a genre particularly suited through its imaginative worlds to challenge preconceptions and norms, Ah!Nana deconstructed and questioned binary gender roles and heteronormativity. This article analyzes cartoon artist Nicole Claveloux’s queer adaptation of the nineteenth-century fairy tale “Histoire de Blondine, Bonne-Biche et Beau-Minon” (Blondine, the Good Doe, and the Gallant Cat) by the Comtesse de Ségur. Claveloux addresses her queer parody to an adult audience, and conveys a new perspective on gender, sexuality, and humanness that is in line with Ah!Nana’s promotion of second-wave feminist standpoints and punk culture. She advocates the exploration of new sexual pleasures, and the disruption of bourgeoisie values, including binary gender roles.
摘要法国地下女权主义杂志《啊！娜娜代表了一个强大的媒介来讨论与女性、性和歧视有关的各种话题。它的主要目标之一是挑战传统（文学）女性榜样，包括家庭主妇、顺从的母亲和“困境中的少女”。通过改编童话故事，这是一种特别适合通过其想象力世界来挑战先入为主和规范的类型，啊！娜娜对二元性别角色和非规范性进行了解构和质疑。本文分析了漫画艺术家妮可·克拉维鲁对19世纪塞古尔伯爵夫人童话《布隆迪历史》（Blondine，the Good Doe，and the Gallant Cat）的古怪改编。Claveloux向成年观众讲述了她的酷儿戏仿，并传达了一个关于性别、性和人性的新视角，这与啊！娜娜对第二波女权主义立场和朋克文化的推动。她主张探索新的性快感，颠覆资产阶级价值观，包括二元性别角色。
{"title":"Ah!Nana’s Fairytale Punk-Comics: From the Comtesse de Ségur’s “Histoire de Blondine, Bonne-Biche et Beau-Minon” to Nicole Claveloux’s “Histoire de Blondasse, de Belle-Biche et Gros Chachat”","authors":"V. Denzel","doi":"10.1515/culture-2020-0136","DOIUrl":"https://doi.org/10.1515/culture-2020-0136","url":null,"abstract":"Abstract During its brief existence from 1976 to 1978 the French underground feminist magazine Ah!Nana represented a powerful medium to discuss various topics related to women, sexuality, and discrimination. One of its main goals was to challenge traditional (literary) female role models, including housewives, submissive mothers, and “damsels in distress.” Through the adaptation of fairy tales, a genre particularly suited through its imaginative worlds to challenge preconceptions and norms, Ah!Nana deconstructed and questioned binary gender roles and heteronormativity. This article analyzes cartoon artist Nicole Claveloux’s queer adaptation of the nineteenth-century fairy tale “Histoire de Blondine, Bonne-Biche et Beau-Minon” (Blondine, the Good Doe, and the Gallant Cat) by the Comtesse de Ségur. Claveloux addresses her queer parody to an adult audience, and conveys a new perspective on gender, sexuality, and humanness that is in line with Ah!Nana’s promotion of second-wave feminist standpoints and punk culture. She advocates the exploration of new sexual pleasures, and the disruption of bourgeoisie values, including binary gender roles.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"235 - 247"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45988041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0123
Juan Alberto Ruiz Casado
Abstract The situation generated by the pandemic has meant the acceleration of the ongoing hegemonic clash between the United States and China, as well as the intensification of the anti-China narrative and a deplorable wave of Sinophobia throughout the world. In this context, Taiwan has become a strategic hot spot for the development of the rhetoric of the enemy. This study analyses some of the direct consequences of the ensuing friend/foe discourses in the Taiwanese milieu. In the context of a new Cold War, certain groups of power and their media apparatuses have embarked into a race to discursively distance the country as quickly as possible from the despised global enemy, not to be dragged down by the proximity and commonalities shared with China. Moreover, social polarization within Taiwan and contempt for the internal “enemies” pose an added challenge both for the maintenance of liberal democracy and the preservation of peace and self-government on the island. These outcomes are facilitated by underlying populist and nationalist processes of identity construction and hegemonic struggle: distinct discourses re-articulating the Taiwanese identity as an underdog people and a victimized nation.
{"title":"The Pandemic and its Repercussions on Taiwan, its Identity, and Liberal Democracy","authors":"Juan Alberto Ruiz Casado","doi":"10.1515/culture-2020-0123","DOIUrl":"https://doi.org/10.1515/culture-2020-0123","url":null,"abstract":"Abstract The situation generated by the pandemic has meant the acceleration of the ongoing hegemonic clash between the United States and China, as well as the intensification of the anti-China narrative and a deplorable wave of Sinophobia throughout the world. In this context, Taiwan has become a strategic hot spot for the development of the rhetoric of the enemy. This study analyses some of the direct consequences of the ensuing friend/foe discourses in the Taiwanese milieu. In the context of a new Cold War, certain groups of power and their media apparatuses have embarked into a race to discursively distance the country as quickly as possible from the despised global enemy, not to be dragged down by the proximity and commonalities shared with China. Moreover, social polarization within Taiwan and contempt for the internal “enemies” pose an added challenge both for the maintenance of liberal democracy and the preservation of peace and self-government on the island. These outcomes are facilitated by underlying populist and nationalist processes of identity construction and hegemonic struggle: distinct discourses re-articulating the Taiwanese identity as an underdog people and a victimized nation.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":"5 1","pages":"149 - 160"},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48977048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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