Pub Date : 2020-10-01DOI: 10.1080/15405702.2020.1841901
J. Barker
ABSTRACT This study examines the presentation of evening dress within the first 50 issues of The Repository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics, from January 1809 to February 1813. Within this early nineteenth-century British magazine, published in London by Rudolph Ackermann, several visuals and voices emerge as its primary fashion communicators. Through the written observations of two author-characters, as well as elegant hand-colored fashion plates and tactile fabric swatches of domestic manufacture, The Repository of Arts provided a dynamic array of sartorial instructions for its readers to consider. This study illuminates the publication’s explanation of the temporal boundaries of evening dress and related dress categories, its discussion of good taste and variety in fashion, and its commentary on visual impact, light reflectivity, and bodily exposure, providing new insights into the significance of evening dress at the start of the nineteenth century.
{"title":"An evening with Ackermann: Evening dress in The Repository of Arts, 1809–1813","authors":"J. Barker","doi":"10.1080/15405702.2020.1841901","DOIUrl":"https://doi.org/10.1080/15405702.2020.1841901","url":null,"abstract":"ABSTRACT This study examines the presentation of evening dress within the first 50 issues of The Repository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics, from January 1809 to February 1813. Within this early nineteenth-century British magazine, published in London by Rudolph Ackermann, several visuals and voices emerge as its primary fashion communicators. Through the written observations of two author-characters, as well as elegant hand-colored fashion plates and tactile fabric swatches of domestic manufacture, The Repository of Arts provided a dynamic array of sartorial instructions for its readers to consider. This study illuminates the publication’s explanation of the temporal boundaries of evening dress and related dress categories, its discussion of good taste and variety in fashion, and its commentary on visual impact, light reflectivity, and bodily exposure, providing new insights into the significance of evening dress at the start of the nineteenth century.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"272 - 286"},"PeriodicalIF":1.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1841901","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44907368","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 : 2020-10-01DOI: 10.1080/15405702.2020.1839079
A. Oak, Julia Petrov
ABSTRACT The USA-based television program What Not To Wear (WNTW) was a staple of popular fashion media, informing audiences about acceptable modes of dress and appearance. We consider how aspects of this show and its accompanying book encompass features of traditional fashion reportage – particularly advice literature – and also approaches to fashion communication that overlap with the style and concerns of “New Journalism” (those modes of reporting – sometimes called “Gonzo” – that emphasize informality, emotional engagement, and an interest in “real” people and “real” lives). By examining the text, images, and talk deployed by the book and the TV show, we indicate how WNTW perceives, constructs, and conveys the fashioned subject in ways that link makeover media to broader contexts of cultural commentary.
摘要美国电视节目《不穿什么》（What Not To Wear，WNTW）是流行时尚媒体的主要节目，向观众介绍可接受的着装和外表模式。我们考虑了这场展览及其配套书籍的各个方面如何涵盖传统时尚报告文学的特征，特别是建议文学，以及与“新新闻”的风格和关注点重叠的时尚传播方法（这些报道模式——有时被称为“Gonzo”——强调非正式、情感参与和对“真实”的人和“真实”生活）。通过研究这本书和电视节目所使用的文本、图像和谈话，我们指出了WNTW是如何感知、构建和传达传统主题的，将改造媒体与更广泛的文化评论背景联系起来。
{"title":"Makeover media as fashion journalism: What Not To Wear, fashion, authority, and Gonzo subjectivity","authors":"A. Oak, Julia Petrov","doi":"10.1080/15405702.2020.1839079","DOIUrl":"https://doi.org/10.1080/15405702.2020.1839079","url":null,"abstract":"ABSTRACT The USA-based television program What Not To Wear (WNTW) was a staple of popular fashion media, informing audiences about acceptable modes of dress and appearance. We consider how aspects of this show and its accompanying book encompass features of traditional fashion reportage – particularly advice literature – and also approaches to fashion communication that overlap with the style and concerns of “New Journalism” (those modes of reporting – sometimes called “Gonzo” – that emphasize informality, emotional engagement, and an interest in “real” people and “real” lives). By examining the text, images, and talk deployed by the book and the TV show, we indicate how WNTW perceives, constructs, and conveys the fashioned subject in ways that link makeover media to broader contexts of cultural commentary.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"313 - 326"},"PeriodicalIF":1.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1839079","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42979698","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 : 2020-10-01DOI: 10.1080/15405702.2020.1839077
M. Alesina
ABSTRACT This article discusses how a fashion editor in a culturally “peripheral” country engages with the global cultural flow as a local gate-keeper. Classifying Paris as a metropolis and St. Petersburg as (semi-)periphery, it looks at one of the earliest Russian fashion publications, Modnyi magazin (1862–83), edited by Sofia (Rekhnevskaia-)Mei. The article examines Mei’s fashion editorials referring to recent insights into fashion journalism. It particularly focuses on the dialectics between local and global fashion-related discourses within them. In this regard, it is suggested that reflections of the Swedish social anthropologist Ulf Hannerz on the metropolis-province interplay, media, and local cultural actors provide an insightful framework for identifying the potentialities of peripheral fashion journalism and the role of a local editor in realizing them – as much nowadays as in the nineteenth century.
{"title":"“Your one and only source”: “peripheral” fashion editorship within the transnational cultural flow. St. Petersburg publication Modnyi magazin (1862–1883)","authors":"M. Alesina","doi":"10.1080/15405702.2020.1839077","DOIUrl":"https://doi.org/10.1080/15405702.2020.1839077","url":null,"abstract":"ABSTRACT This article discusses how a fashion editor in a culturally “peripheral” country engages with the global cultural flow as a local gate-keeper. Classifying Paris as a metropolis and St. Petersburg as (semi-)periphery, it looks at one of the earliest Russian fashion publications, Modnyi magazin (1862–83), edited by Sofia (Rekhnevskaia-)Mei. The article examines Mei’s fashion editorials referring to recent insights into fashion journalism. It particularly focuses on the dialectics between local and global fashion-related discourses within them. In this regard, it is suggested that reflections of the Swedish social anthropologist Ulf Hannerz on the metropolis-province interplay, media, and local cultural actors provide an insightful framework for identifying the potentialities of peripheral fashion journalism and the role of a local editor in realizing them – as much nowadays as in the nineteenth century.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"287 - 300"},"PeriodicalIF":1.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1839077","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47372403","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 : 2020-10-01DOI: 10.1080/15405702.2020.1844888
M. Barnard
ABSTRACT The essay introduces the sender/receiver model of communication and fashion communication by reviewing cultural studies and recent fashion journalism references to it. The essay argues that there are three major problems with this model. It then introduces and critiques various arguments around the cyborg, a human/machine “hybrid” as some theorists present it and argues that there are limitations and weaknesses in the conception of the prosthesis as found in the notion of the cyborg. The essay then analyses semiological models of communication and uses Derrida’s conception of the constitutive prosthesis to critique both traditional conceptions of the prosthesis and the model of communication as it is found in semiological models. Finally, the essay identifies some significant consequences of the constitutive prosthesis for fashion and the explanation of fashion as communication.
{"title":"Fashion as communication revisited","authors":"M. Barnard","doi":"10.1080/15405702.2020.1844888","DOIUrl":"https://doi.org/10.1080/15405702.2020.1844888","url":null,"abstract":"ABSTRACT The essay introduces the sender/receiver model of communication and fashion communication by reviewing cultural studies and recent fashion journalism references to it. The essay argues that there are three major problems with this model. It then introduces and critiques various arguments around the cyborg, a human/machine “hybrid” as some theorists present it and argues that there are limitations and weaknesses in the conception of the prosthesis as found in the notion of the cyborg. The essay then analyses semiological models of communication and uses Derrida’s conception of the constitutive prosthesis to critique both traditional conceptions of the prosthesis and the model of communication as it is found in semiological models. Finally, the essay identifies some significant consequences of the constitutive prosthesis for fashion and the explanation of fashion as communication.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"259 - 271"},"PeriodicalIF":1.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1844888","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45216122","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 : 2020-10-01DOI: 10.1080/15405702.2020.1839078
Helle Kannik Haastrup
ABSTRACT This article analyzes how a celebrity presents her star image on Instagram using fashion through a case study of British film and television star Emilia Clarke’s Instagram profile. Clarke is primarily known for playing the warrior queen Daenerys Targaryen in Game of Thrones (HBO, 2011–19). Previous studies of fashion and social media have focused, for example, on fashion bloggers or influencers as fashion entrepreneurs. In contrast, this study analyzes how fashion can be an important tool for a film and television star on Instagram to communicate. The article’s theoretical framework combines existing studies on celebrity and fashion in legacy media with star studies and theories of social media and celebrity culture. This case study aims to contribute to our understanding of agency when celebrities communicate through fashion using social media.
{"title":"The mother of dragons in Dior: fashion, star image and self-presentation on Instagram","authors":"Helle Kannik Haastrup","doi":"10.1080/15405702.2020.1839078","DOIUrl":"https://doi.org/10.1080/15405702.2020.1839078","url":null,"abstract":"ABSTRACT This article analyzes how a celebrity presents her star image on Instagram using fashion through a case study of British film and television star Emilia Clarke’s Instagram profile. Clarke is primarily known for playing the warrior queen Daenerys Targaryen in Game of Thrones (HBO, 2011–19). Previous studies of fashion and social media have focused, for example, on fashion bloggers or influencers as fashion entrepreneurs. In contrast, this study analyzes how fashion can be an important tool for a film and television star on Instagram to communicate. The article’s theoretical framework combines existing studies on celebrity and fashion in legacy media with star studies and theories of social media and celebrity culture. This case study aims to contribute to our understanding of agency when celebrities communicate through fashion using social media.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"327 - 340"},"PeriodicalIF":1.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1839078","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44716174","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 : 2020-10-01DOI: 10.1080/15405702.2020.1839075
Alanna McKnight
ABSTRACT At the turn of the twentieth century in Toronto, articles in local newspapers and magazines exposed women to disparate views on corsets. On one side of the argument were dress reformers who advised women to do away with corsetry for the sake of their health and wellbeing. On the other side, were fashion journalists who advised them about current styles, which often oscillated from year-to-year. Despite this disparity, corsets were an ever-present foundation of nineteenth century fashion, to the extent that they were a frequent, sexy addition to crime reporting. The exaggerated stories in the media subjected women to a tug-of-war over their body autonomy. This article is based on content analyses of periodicals and exposes how corsets were presented in Toronto periodicals such as The Toronto Star, The Globe, and The Canadian Dried Goods Review, among others.
{"title":"“Palpably Ugly” or “beauty of their form”?: Corsets in Toronto periodicals, 1871-1914","authors":"Alanna McKnight","doi":"10.1080/15405702.2020.1839075","DOIUrl":"https://doi.org/10.1080/15405702.2020.1839075","url":null,"abstract":"ABSTRACT At the turn of the twentieth century in Toronto, articles in local newspapers and magazines exposed women to disparate views on corsets. On one side of the argument were dress reformers who advised women to do away with corsetry for the sake of their health and wellbeing. On the other side, were fashion journalists who advised them about current styles, which often oscillated from year-to-year. Despite this disparity, corsets were an ever-present foundation of nineteenth century fashion, to the extent that they were a frequent, sexy addition to crime reporting. The exaggerated stories in the media subjected women to a tug-of-war over their body autonomy. This article is based on content analyses of periodicals and exposes how corsets were presented in Toronto periodicals such as The Toronto Star, The Globe, and The Canadian Dried Goods Review, among others.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"301 - 312"},"PeriodicalIF":1.1,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1839075","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49343366","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 : 2020-07-02DOI: 10.1080/15405702.2020.1781859
N. Dyer-Witheford
ABSTRACT “Commons” has been a concept crucial to movements opposing twenty-first century capitalism, and nowhere more so than in the field of communication, where it has underpinned critique of the commodification of digital networks. Yet the ideas about commons articulated at the turn of the millennium by anti-capitalist movements today show signs of exhaustion and disintegration. One reason is their failure to adequately reckon with the power of the modern state and its role as an organizational hub of contemporary capitalism. Starting with a recent exchange on this topic between peer-to-peer computing theorists Michel Bauwens and Jose Ramos and political economist Graham Murdock, this paper looks back at the alter-globalist movement in which contemporary “commonism” incubated and at why such analysis often circumvented the issue of the state. The shortfall in that position is demonstrated by an examination of how deeply state power was involved in the collapse of alter-globalism, and in the rise of the platform capitalism that appropriated many of its experiments in digital commoning. The role the digital pseudo-commons created by Google, Facebook, Twitter, and other platform capitalists played in both the immediate successes and longer-term failure of occupy movements, and in the subsequent rise of neofascism and right wing populism, is reviewed. The paper then discusses how, in the aftermath of these setbacks, contending models of left populism and communizing riots mutate or repudiate earlier notions of commons. It concludes by reviewing the possibilities, positive and negative, for the relation of commonists, populists, and communards.
{"title":"The state of the commons: commoners, populists, and communards","authors":"N. Dyer-Witheford","doi":"10.1080/15405702.2020.1781859","DOIUrl":"https://doi.org/10.1080/15405702.2020.1781859","url":null,"abstract":"ABSTRACT “Commons” has been a concept crucial to movements opposing twenty-first century capitalism, and nowhere more so than in the field of communication, where it has underpinned critique of the commodification of digital networks. Yet the ideas about commons articulated at the turn of the millennium by anti-capitalist movements today show signs of exhaustion and disintegration. One reason is their failure to adequately reckon with the power of the modern state and its role as an organizational hub of contemporary capitalism. Starting with a recent exchange on this topic between peer-to-peer computing theorists Michel Bauwens and Jose Ramos and political economist Graham Murdock, this paper looks back at the alter-globalist movement in which contemporary “commonism” incubated and at why such analysis often circumvented the issue of the state. The shortfall in that position is demonstrated by an examination of how deeply state power was involved in the collapse of alter-globalism, and in the rise of the platform capitalism that appropriated many of its experiments in digital commoning. The role the digital pseudo-commons created by Google, Facebook, Twitter, and other platform capitalists played in both the immediate successes and longer-term failure of occupy movements, and in the subsequent rise of neofascism and right wing populism, is reviewed. The paper then discusses how, in the aftermath of these setbacks, contending models of left populism and communizing riots mutate or repudiate earlier notions of commons. It concludes by reviewing the possibilities, positive and negative, for the relation of commonists, populists, and communards.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"170 - 184"},"PeriodicalIF":1.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1781859","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49001235","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 : 2020-07-02DOI: 10.1080/15405702.2020.1787094
Benjamin J. Birkinbine, D. Kidd
{"title":"Re-thinking the communication commons","authors":"Benjamin J. Birkinbine, D. Kidd","doi":"10.1080/15405702.2020.1787094","DOIUrl":"https://doi.org/10.1080/15405702.2020.1787094","url":null,"abstract":"","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"152 - 154"},"PeriodicalIF":1.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1787094","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49134004","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 : 2020-07-02DOI: 10.1080/15405702.2020.1781862
D. Kidd
ABSTRACT A new cycle of communications commons has become part of the contemporary repertoire of Indigenous first nations in North America. The mobilization of the Standing Rock Sioux is perhaps the best-known example of a continent-wide cycle of resistance in which Indigenous communities have employed a combination of collectively governed land-based encampments and sophisticated trans-media assemblages to challenge the further enclosure of their territories by the state and fossil fuel industries and instead represent their political and media sovereignty, and prefigure a more reciprocal relationship with other humans and with nature. Although their practices of commoning resemble other radical commons projects, the contemporary Indigenous commons begs for a reassessment of the critical framework of the commons. In this article, I discuss the critical commons literature and compare it with the practices of commoning in the anti-extractivist encampments of Standing Rock.
{"title":"Standing rock and the Indigenous commons","authors":"D. Kidd","doi":"10.1080/15405702.2020.1781862","DOIUrl":"https://doi.org/10.1080/15405702.2020.1781862","url":null,"abstract":"ABSTRACT A new cycle of communications commons has become part of the contemporary repertoire of Indigenous first nations in North America. The mobilization of the Standing Rock Sioux is perhaps the best-known example of a continent-wide cycle of resistance in which Indigenous communities have employed a combination of collectively governed land-based encampments and sophisticated trans-media assemblages to challenge the further enclosure of their territories by the state and fossil fuel industries and instead represent their political and media sovereignty, and prefigure a more reciprocal relationship with other humans and with nature. Although their practices of commoning resemble other radical commons projects, the contemporary Indigenous commons begs for a reassessment of the critical framework of the commons. In this article, I discuss the critical commons literature and compare it with the practices of commoning in the anti-extractivist encampments of Standing Rock.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"233 - 247"},"PeriodicalIF":1.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1781862","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45310179","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 : 2020-07-02DOI: 10.1080/15405702.2020.1781861
Téwodros W. Workneh
ABSTRACT Despite external and domestic pressures seeking liberalization and privatization, Ethiopia, until recently, maintained a highly centralized, vertically integrated, single service provider model of state monopoly of telecommunications. However, in 2019, the Ethiopian House of Representatives passed the Communications Service Proclamation, a historic bill that deregulated the Ethiopian telecommunications sector, paving the way for domestic and foreign companies to invest in one of the last remaining state-controlled telecommunications markets in the world. By probing the limitations of Ethiopia’s monopolistic arrangement in telecommunications akin to state vanguardism as well as critically examining the potential pitfalls of the impending liberalization of the sector and privatization of the sole telecommunication operator Ethio-Telecom, this article makes the case for instituting a commons-based approach that is pro-poor, pro-development, and contextually streamlined. It concludes by proposing three avenues of telecommunication commons, namely: infrastructure commons; last mile commons; and digital commons.
{"title":"Beyond state vanguardism and market fundamentalism: a case for telecommunications commons in Ethiopia","authors":"Téwodros W. Workneh","doi":"10.1080/15405702.2020.1781861","DOIUrl":"https://doi.org/10.1080/15405702.2020.1781861","url":null,"abstract":"ABSTRACT Despite external and domestic pressures seeking liberalization and privatization, Ethiopia, until recently, maintained a highly centralized, vertically integrated, single service provider model of state monopoly of telecommunications. However, in 2019, the Ethiopian House of Representatives passed the Communications Service Proclamation, a historic bill that deregulated the Ethiopian telecommunications sector, paving the way for domestic and foreign companies to invest in one of the last remaining state-controlled telecommunications markets in the world. By probing the limitations of Ethiopia’s monopolistic arrangement in telecommunications akin to state vanguardism as well as critically examining the potential pitfalls of the impending liberalization of the sector and privatization of the sole telecommunication operator Ethio-Telecom, this article makes the case for instituting a commons-based approach that is pro-poor, pro-development, and contextually streamlined. It concludes by proposing three avenues of telecommunication commons, namely: infrastructure commons; last mile commons; and digital commons.","PeriodicalId":45584,"journal":{"name":"Popular Communication","volume":"18 1","pages":"185 - 200"},"PeriodicalIF":1.1,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15405702.2020.1781861","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48488562","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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