Pub Date : 2023-10-04DOI: 10.1177/13675494231199951
Julie Gaillard
In the context of a failure of #MeToo in France and in light of the intrinsic limitations of this movement, ‘I believe you’ has become one of the battle cries of contemporary French feminism, appearing on protest signs during activist performances and demonstrations, but also on street-pastings disseminated in urban spaces by grassroots feminist collectives. Through a pragmatic analysis of this statement-slogan paradoxically addressed to everyone singularly and to no one in particular, this article demonstrates the performative dimension of post-#MeToo French feminism which aims at once to individually repair and collectively denounce the wrong caused by the silencing of victims of sexual and gender-based violence. Building on Jean-François Lyotard’s philosophical elaboration of the phrastic mechanisms at stake in negationism, as well as feminist scholarship on believability, to demonstrate how the pragmatics of silencing throws survivors into a state of social death, I show how ‘I believe you’ – through the interplay of first- and second-person pronouns – allows the re-subjectivation of individual survivors who encounter it serendipitously in public spaces. Turning to the contextual analysis of activist configurations that have recently mobilized ‘je te crois’ in public space, I then show how this slogan creates feminist counter-spaces where the vulnerability of assembled bodies becomes the site of political subversion.
{"title":"‘<i>Je te crois</i>’ (‘I believe you’): Pragmatics of a feminist slogan, or silencing and the scene of address in post-#MeToo France","authors":"Julie Gaillard","doi":"10.1177/13675494231199951","DOIUrl":"https://doi.org/10.1177/13675494231199951","url":null,"abstract":"In the context of a failure of #MeToo in France and in light of the intrinsic limitations of this movement, ‘I believe you’ has become one of the battle cries of contemporary French feminism, appearing on protest signs during activist performances and demonstrations, but also on street-pastings disseminated in urban spaces by grassroots feminist collectives. Through a pragmatic analysis of this statement-slogan paradoxically addressed to everyone singularly and to no one in particular, this article demonstrates the performative dimension of post-#MeToo French feminism which aims at once to individually repair and collectively denounce the wrong caused by the silencing of victims of sexual and gender-based violence. Building on Jean-François Lyotard’s philosophical elaboration of the phrastic mechanisms at stake in negationism, as well as feminist scholarship on believability, to demonstrate how the pragmatics of silencing throws survivors into a state of social death, I show how ‘I believe you’ – through the interplay of first- and second-person pronouns – allows the re-subjectivation of individual survivors who encounter it serendipitously in public spaces. Turning to the contextual analysis of activist configurations that have recently mobilized ‘je te crois’ in public space, I then show how this slogan creates feminist counter-spaces where the vulnerability of assembled bodies becomes the site of political subversion.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135592254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.1177/13675494231204966
Tanya Serisier
{"title":"Book review: Sarah Banet-Weiser and Kathryn Claire Higgins, <i>Believability: Sexual Violence, Media, and the Politics of Doubt</i>","authors":"Tanya Serisier","doi":"10.1177/13675494231204966","DOIUrl":"https://doi.org/10.1177/13675494231204966","url":null,"abstract":"","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136279998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.1177/13675494231199952
Christine Knight, Ana Tominc
Food television offers a new and unique lens on national identity, the Anglo-Scottish relationship, and their cultural representation in contemporary Britain. This article is based on the analysis of three British travelogue cooking shows, first broadcast between 1995 and 2011, about Scotland and its food. The programmes analysed exemplify and reinforce long-standing cultural constructions of the relationship between England and Scotland as sub-state nations of the United Kingdom, as well as illustrating and creating new national scripts, notably in relation to class and gender. These ‘homeland’ travelogue cooking shows consistently associate Scotland with a defined set of local and traditional foods, closely associated with a Romantic construction of Scotland, its history and landscape. However, the programmes also indicate wider changes in British and Scottish food culture during this period, including the rise of the local food movement and the increasing economic success and cultural confidence of the Scottish food and drink industry. The article highlights the role of celebrity chefs in the cultural construction of contemporary British sub-state national relationships.
{"title":"The travelogue cooking show in a sub-state nation: Representing Scotland in British food television","authors":"Christine Knight, Ana Tominc","doi":"10.1177/13675494231199952","DOIUrl":"https://doi.org/10.1177/13675494231199952","url":null,"abstract":"Food television offers a new and unique lens on national identity, the Anglo-Scottish relationship, and their cultural representation in contemporary Britain. This article is based on the analysis of three British travelogue cooking shows, first broadcast between 1995 and 2011, about Scotland and its food. The programmes analysed exemplify and reinforce long-standing cultural constructions of the relationship between England and Scotland as sub-state nations of the United Kingdom, as well as illustrating and creating new national scripts, notably in relation to class and gender. These ‘homeland’ travelogue cooking shows consistently associate Scotland with a defined set of local and traditional foods, closely associated with a Romantic construction of Scotland, its history and landscape. However, the programmes also indicate wider changes in British and Scottish food culture during this period, including the rise of the local food movement and the increasing economic success and cultural confidence of the Scottish food and drink industry. The article highlights the role of celebrity chefs in the cultural construction of contemporary British sub-state national relationships.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136280665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-29DOI: 10.1177/13675494231201558
Julian Johannes Immanuel Koch
Current discourse on the representation of genocide claims that we are currently experiencing ‘the shift from the era of the witness to the era of the perpetrator’. This raises ethical concerns over why and how documentaries engage with perpetrators. Based on an assessment of 203 documentaries on seven genocides, my article makes three kinds of contribution in addressing these concerns: (1) It discusses the ethics of representing perpetrators in archival footage, reenactments or interviews in a wider corpus than those covered in recent discussions. (2) It uncovers a broad range of ethical reasons for why documentary filmmakers engage with perpetrators, rather than seeking to establish a singular ethical ground for this engagement. This approach can do better justice to the varying cultural, historical and political contexts of the respective genocides, the different production contexts and target audiences of the documentaries, and the different styles and types of documentaries that inform the ethics of perpetrator representation. (3) It introduces two broad categories of perpetrator representation in documentaries that conceptualize the ethical purposes of this engagement differently.
{"title":"The ethics of representing perpetrators in documentaries on genocide","authors":"Julian Johannes Immanuel Koch","doi":"10.1177/13675494231201558","DOIUrl":"https://doi.org/10.1177/13675494231201558","url":null,"abstract":"Current discourse on the representation of genocide claims that we are currently experiencing ‘the shift from the era of the witness to the era of the perpetrator’. This raises ethical concerns over why and how documentaries engage with perpetrators. Based on an assessment of 203 documentaries on seven genocides, my article makes three kinds of contribution in addressing these concerns: (1) It discusses the ethics of representing perpetrators in archival footage, reenactments or interviews in a wider corpus than those covered in recent discussions. (2) It uncovers a broad range of ethical reasons for why documentary filmmakers engage with perpetrators, rather than seeking to establish a singular ethical ground for this engagement. This approach can do better justice to the varying cultural, historical and political contexts of the respective genocides, the different production contexts and target audiences of the documentaries, and the different styles and types of documentaries that inform the ethics of perpetrator representation. (3) It introduces two broad categories of perpetrator representation in documentaries that conceptualize the ethical purposes of this engagement differently.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135243438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-14DOI: 10.1177/13675494231198052
Tanvi Solanki
I examine the cultural acoustics of voice and listening in relation to the experience of migration and displacement through an analysis of a selection of digitized audio recordings of intimate one-on-one conversations between asylum seekers originally recorded by local British Broadcasting Corporation’s radio stations in booths set up throughout the United Kingdom, with the unedited recordings digitally archived by the British Library for the public. My approach to this archive is constituted by a concept and practice I call listening to difference. My case studies are two Somali siblings, a Syrian father and son, and two friends from Algeria and the Congo, and their relationality to the norms of Standard British Listening. My aim is to show how listening to these conversations can make us aware of our own limiting preconceptions in our listening and when and why they occur. Listening to ourselves listening will work against aurally mediated racial ideologies as it necessitates reflecting upon our own automatized, enculturated biases, as well as that of technologies of recording and transcription such as automated speech recognition. It challenges preconceptions about those voices marked as deviating from unmarked norms long established by the legacies of European Enlightenment humanism. Critically listening to those who are othered and belong to communities radically different from our own involves the exposure of aural power differentials and is particularly urgent during a time of an unprecedented increase of refugees accompanied by an increased controlling of national borders antagonistic to refugees and immigrants.
{"title":"Listening to the cultural acoustics of migrant voices: The archived conversations of the British Broadcasting Corporation and the British Library’s ‘Listening Project’","authors":"Tanvi Solanki","doi":"10.1177/13675494231198052","DOIUrl":"https://doi.org/10.1177/13675494231198052","url":null,"abstract":"I examine the cultural acoustics of voice and listening in relation to the experience of migration and displacement through an analysis of a selection of digitized audio recordings of intimate one-on-one conversations between asylum seekers originally recorded by local British Broadcasting Corporation’s radio stations in booths set up throughout the United Kingdom, with the unedited recordings digitally archived by the British Library for the public. My approach to this archive is constituted by a concept and practice I call listening to difference. My case studies are two Somali siblings, a Syrian father and son, and two friends from Algeria and the Congo, and their relationality to the norms of Standard British Listening. My aim is to show how listening to these conversations can make us aware of our own limiting preconceptions in our listening and when and why they occur. Listening to ourselves listening will work against aurally mediated racial ideologies as it necessitates reflecting upon our own automatized, enculturated biases, as well as that of technologies of recording and transcription such as automated speech recognition. It challenges preconceptions about those voices marked as deviating from unmarked norms long established by the legacies of European Enlightenment humanism. Critically listening to those who are othered and belong to communities radically different from our own involves the exposure of aural power differentials and is particularly urgent during a time of an unprecedented increase of refugees accompanied by an increased controlling of national borders antagonistic to refugees and immigrants.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134911519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-14DOI: 10.1177/13675494231198512
Ana Tominc
{"title":"Book review: Joanne Hollows, <i>Celebrity Chefs, Food Media and the Politics of Eating</i>","authors":"Ana Tominc","doi":"10.1177/13675494231198512","DOIUrl":"https://doi.org/10.1177/13675494231198512","url":null,"abstract":"","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134912327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-05DOI: 10.1177/13675494231193812
M. Lindhardt, Emma Balslev Brandsborg, Camilla Vesterager Hansen, Anne Bentzen Nielsen
Based on an interview study with Danish women, this article explores how the frequent use of pregnancy mobile applications shapes the lived or experienced pregnancy. More specifically, we look at a reported dilemma between, on one hand, using the information of pregnancy apps on bodily and fetal developments to gain a sense of control over individual pregnancies and, on the other hand, an experience of the apps becoming something of a controlling factor in the lives of pregnant women. Respondents reported that the information of the apps created different kinds of concerns and that they became almost obsessed with comparing their own symptoms with the apps’ standardized information on what they could expect to experience at specific stages of the pregnancy. Our analysis draws on a socio-material perspective that acknowledges the ability of technology to enact certain kinds of experiences and shape concerns. We argue that the power of the apps (so to speak) is related, in part to the abundance of information they provide, which may contribute to a sensation of never knowing enough, but also in part to the use of apps becoming an integrated part of everyday cell phone routines.
{"title":"The digital pregnancy: A qualitative study of Danish women’s use of pregnancy apps","authors":"M. Lindhardt, Emma Balslev Brandsborg, Camilla Vesterager Hansen, Anne Bentzen Nielsen","doi":"10.1177/13675494231193812","DOIUrl":"https://doi.org/10.1177/13675494231193812","url":null,"abstract":"Based on an interview study with Danish women, this article explores how the frequent use of pregnancy mobile applications shapes the lived or experienced pregnancy. More specifically, we look at a reported dilemma between, on one hand, using the information of pregnancy apps on bodily and fetal developments to gain a sense of control over individual pregnancies and, on the other hand, an experience of the apps becoming something of a controlling factor in the lives of pregnant women. Respondents reported that the information of the apps created different kinds of concerns and that they became almost obsessed with comparing their own symptoms with the apps’ standardized information on what they could expect to experience at specific stages of the pregnancy. Our analysis draws on a socio-material perspective that acknowledges the ability of technology to enact certain kinds of experiences and shape concerns. We argue that the power of the apps (so to speak) is related, in part to the abundance of information they provide, which may contribute to a sensation of never knowing enough, but also in part to the use of apps becoming an integrated part of everyday cell phone routines.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":" ","pages":""},"PeriodicalIF":2.4,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46781320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-31DOI: 10.1177/13675494231193821
Hannah Curran-Troop
This paper analyses the working practices of several feminist creative and cultural enterprises in London (which I term ‘feminist CCIs’). In particular, it shows how pandemic precarity has driven feminist CCIs towards more entrepreneurial, self-promotional, and self-branding practices in order to sustain their work. Drawing on both digital ethnographic material and interviews with 12 workers in feminist CCIs conducted online between 2020 and 2022, the article provides insights into the landscape and contemporary realities of arts and cultural funding within these fields. It considers how decades of austerity measures and cuts have forced some feminist CCIs to operate independently outside of the UK public sector funding models. Survival tactics include adopting corporate funding models, subscription and membership schemes, platformisation and digitalisation. Focusing on funding, money and subjectivity, it unpacks the contradictions these imperatives bring to feminist politics: tensions about which some feminist CCI workers themselves are aware of and critical of. In the process, this paper considers how activism, feminism, entrepreneurialism, and precarity are fused together and negotiated in this form of ‘freelance feminism’.
{"title":"‘We live in a capitalist world, we need to survive!’: Feminist cultural work, platform capitalism, and pandemic precarity","authors":"Hannah Curran-Troop","doi":"10.1177/13675494231193821","DOIUrl":"https://doi.org/10.1177/13675494231193821","url":null,"abstract":"This paper analyses the working practices of several feminist creative and cultural enterprises in London (which I term ‘feminist CCIs’). In particular, it shows how pandemic precarity has driven feminist CCIs towards more entrepreneurial, self-promotional, and self-branding practices in order to sustain their work. Drawing on both digital ethnographic material and interviews with 12 workers in feminist CCIs conducted online between 2020 and 2022, the article provides insights into the landscape and contemporary realities of arts and cultural funding within these fields. It considers how decades of austerity measures and cuts have forced some feminist CCIs to operate independently outside of the UK public sector funding models. Survival tactics include adopting corporate funding models, subscription and membership schemes, platformisation and digitalisation. Focusing on funding, money and subjectivity, it unpacks the contradictions these imperatives bring to feminist politics: tensions about which some feminist CCI workers themselves are aware of and critical of. In the process, this paper considers how activism, feminism, entrepreneurialism, and precarity are fused together and negotiated in this form of ‘freelance feminism’.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":" ","pages":""},"PeriodicalIF":2.4,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49312840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-31DOI: 10.1177/13675494231194156
Zoë Glatt
The careers of social media content creators, or influencers, live or die by their ability to cultivate and maintain an invested audience-community. To this end, they are encouraged to practise what has been framed as ‘emotional labour’ (Hochschild, 2002 [1983]) and ‘relational labour’ (Baym, 2018), commodifying their personalities, lives and tastes in order to build ‘authentic’ self-brands and intimacy with audiences. Drawing on an ethnographic study of the London influencer industry (2017–2023), this article examines emotional/relational labour through an intersectional feminist lens, foregrounding the ways in which structural inequalities shape relationships between creators and their audiences. The tolls of managing audience relationships are higher for marginalised creators – especially those making stigmatised and less brandable content genres – who find themselves on an uneven playing field in the challenges they face as well as the coping strategies at their disposal. These creators are in an intimacy triple bind, already at higher risk of trolling and harassment, yet under increased pressure to perform relational labour, adversely opening them up to further harms in the form of weaponised intimacy. This article explores four key tactics that creators employ in response to such conditions, as they navigate relational labour and boundaries with audiences: (1) leaning into making rather than being content; (2) (dis)engaging with anti-fans through silence; (3) retreating into private community spaces, away from the exposure of public platforms; and, in parallel, (4) turning off public comments. The adverse experiences of marginalised creators who speak about their identities and experiences online raise serious concerns about the viability of content creation as a career for these groups, as well as the lack of accountability and responsibility that platforms show towards the creators who generate profit for them.
{"title":"The intimacy triple bind: Structural inequalities and relational labour in the influencer industry","authors":"Zoë Glatt","doi":"10.1177/13675494231194156","DOIUrl":"https://doi.org/10.1177/13675494231194156","url":null,"abstract":"The careers of social media content creators, or influencers, live or die by their ability to cultivate and maintain an invested audience-community. To this end, they are encouraged to practise what has been framed as ‘emotional labour’ (Hochschild, 2002 [1983]) and ‘relational labour’ (Baym, 2018), commodifying their personalities, lives and tastes in order to build ‘authentic’ self-brands and intimacy with audiences. Drawing on an ethnographic study of the London influencer industry (2017–2023), this article examines emotional/relational labour through an intersectional feminist lens, foregrounding the ways in which structural inequalities shape relationships between creators and their audiences. The tolls of managing audience relationships are higher for marginalised creators – especially those making stigmatised and less brandable content genres – who find themselves on an uneven playing field in the challenges they face as well as the coping strategies at their disposal. These creators are in an intimacy triple bind, already at higher risk of trolling and harassment, yet under increased pressure to perform relational labour, adversely opening them up to further harms in the form of weaponised intimacy. This article explores four key tactics that creators employ in response to such conditions, as they navigate relational labour and boundaries with audiences: (1) leaning into making rather than being content; (2) (dis)engaging with anti-fans through silence; (3) retreating into private community spaces, away from the exposure of public platforms; and, in parallel, (4) turning off public comments. The adverse experiences of marginalised creators who speak about their identities and experiences online raise serious concerns about the viability of content creation as a career for these groups, as well as the lack of accountability and responsibility that platforms show towards the creators who generate profit for them.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":" ","pages":""},"PeriodicalIF":2.4,"publicationDate":"2023-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43439776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-26DOI: 10.1177/13675494231193811
Johanna Hokka
This study examines the affective milieus in the neoliberal university. Previous studies have demonstrated that, despite harsh neoliberal realities, academics still express a love for academic work. This study uses love as its conceptual tool to analyse the different forms of love that academics attach to science. Drawing on Sara Ahmed’s theoretisations of affect, this study shows that emotions play a crucial role in organising social order. Emotions work to divide academia into separate ingroups that have different visions of the virtues of science that represent the object of love for its proponents. While analysing higher education magazines with affective-discursive reading, the results of this study show that the neoliberal university favours the forms of love in which the individual ethos and competition are highly valued, while those forms of love that highlight collegial and emancipatory values are on trial. Overall, this study contributes to critical discussions of the neoliberal university by demonstrating the power of emotions in the construction of conflicting, intersecting and overlapping ways of othering and the complex assemblage of affective milieus that exist in today’s academia.
{"title":"Science as an ‘object of love’ – affective milieus in the neoliberal university","authors":"Johanna Hokka","doi":"10.1177/13675494231193811","DOIUrl":"https://doi.org/10.1177/13675494231193811","url":null,"abstract":"This study examines the affective milieus in the neoliberal university. Previous studies have demonstrated that, despite harsh neoliberal realities, academics still express a love for academic work. This study uses love as its conceptual tool to analyse the different forms of love that academics attach to science. Drawing on Sara Ahmed’s theoretisations of affect, this study shows that emotions play a crucial role in organising social order. Emotions work to divide academia into separate ingroups that have different visions of the virtues of science that represent the object of love for its proponents. While analysing higher education magazines with affective-discursive reading, the results of this study show that the neoliberal university favours the forms of love in which the individual ethos and competition are highly valued, while those forms of love that highlight collegial and emancipatory values are on trial. Overall, this study contributes to critical discussions of the neoliberal university by demonstrating the power of emotions in the construction of conflicting, intersecting and overlapping ways of othering and the complex assemblage of affective milieus that exist in today’s academia.","PeriodicalId":47482,"journal":{"name":"European Journal of Cultural Studies","volume":" ","pages":""},"PeriodicalIF":2.4,"publicationDate":"2023-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44893265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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