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Journal articles on the topic 'Capital fictif'
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1
Papuchon, Adrien. "Ce qu’Alis nous dit de ses amis. L’effet de désirabilité sociale et sa variabilité au prisme de questions portant sur une prestation sociale fictive." Bulletin of Sociological Methodology/Bulletin de Méthodologie Sociologique 137-138, no. 1 (2018): 120–39. http://dx.doi.org/10.1177/0759106318761563.
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En 2014 et 2016, une allocation fictive, l’ALIS, a été introduite dans une série de questions visant à évaluer la connaissance des principales prestations du système de protection sociale français. Les données recueillies permettent d’évaluer empiriquement l’ampleur de certains comportements de réponse (phénomènes de satisficing notamment) et de mieux saisir la complexité des biais de désirabilité sociale dans les enquêtes par questionnaire réalisées en face–à–face. 12% des enquêtés déclarent avoir déjà entendu parler de la prestation fictive. Cette proportion varie en fonction des caractéristiques sociales des enquêtés et de la position de l’item fictif dans le questionnaire. Les résultats se traduisent par un « paradoxe de l’expert », selon lequel la probabilité d’affirmer avoir entendu parler d’une prestation qui n’existe pas augmente avec le degré de connaissance déclarée du sujet. Ce paradoxe se manifeste avec une acuité particulière chez les personnes à fort capital scolaire, qui seraient plus sensibles à la nécessité de faire démonstration de leurs compétences sociales face à l’enquêteur.
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Dinetc, Daria, and Mikhail Konotopov. "Transregionalism and fictive capital." E3S Web of Conferences 135 (2019): 04033. http://dx.doi.org/10.1051/e3sconf/201913504033.
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A relevance of research is recent trend in regrouping forces in the global financial arena with transregional unions based on fictive capital’ expansion. The objective of this research is revisal of transregional integration conditions by the analysis of modern geopolitical aims of the world financial system’s leaders and also it is practical recommendations forming to prevent the Russian economy trapping by the fictive capital of transregional unions. It has been shown that the global finance circulation model is drastically changing - trade and economic unions like the Regional Comprehensive Economic Partnership or Transatlantic Trade and Investment Partnership are aimed at forming the markets for goods, works and services produced in countries, which have been proclaimed as the world financial centres. That politics doesn’t allow to develop industry and it arrive to financial bubbles at branches of economy, which are cooperated with transregional financial flows. For the leaders of transregional groups, it’s a way to solve geopolitical problems with financial methods shifting responsibility for their mistakes in industrial policy. There are significant features of the east and west leaders dominance in transregional unions in the article. These are respectively hub infrastructure dependence and currency speculations. The conclusion is it should be formed a secured non-speculative currency in transregional union for geopolitical dependence eliminate. Besides the only reason for infrastructure international project realize could be an economic efficiency. These conclusions are very important for the modern stage of the globalization.
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Tierney, William G., and Kristan M. Venegas. "Fictive Kin and Social Capital." American Behavioral Scientist 49, no. 12 (2006): 1687–702. http://dx.doi.org/10.1177/0002764206289145.
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Ebaugh, Helen Rose, and Mary Curry. "Fictive Kin as Social Capital in New Immigrant Communities." Sociological Perspectives 43, no. 2 (2000): 189–209. http://dx.doi.org/10.2307/1389793.
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Fictive kin, defined as family-type relationships, based not on blood or marriage but rather on religious rituals or close friendship ties, constitutes a type of social capital that many immigrant groups bring with them and that facilitates their incorporation into the host society. We describe three types of fictive kin systems in different immigrant populations and argue that their functions are similar across various ethnic groups and types of fictive kin relationships. Fictive kin systems expand the network of individuals who provide social and economic capital for one another and thereby constitute a resource to immigrants as they confront problems of settlement and incorporation. While anthropologists have long noted systems of fictive kin in premodern and modernizing societies, sociologists have paid little attention to fictive kin networks. We argue, however, that systems of fictive kin constitute an important part of the social networks that draw immigrants to a particular locale and provide them with the material and social support that enables them to become incorporated into a new and often hostile society. Data are derived from interviews with informants from various immigrant groups in Houston, Texas, and from a Yoruba community in Brooklyn, New York.
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Marsh, Nicky. "Money'sdoubles: reading, fiction and finance capital." Textual Practice 26, no. 1 (2012): 115–33. http://dx.doi.org/10.1080/0950236x.2012.638766.
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De Marco, Alessandra. "Don Delillo's Fiction of Finance Capital." Literature Compass 11, no. 10 (2014): 657–66. http://dx.doi.org/10.1111/lic3.12182.
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CANAVAN, GERRY. "Capital as Artificial Intelligence." Journal of American Studies 49, no. 4 (2015): 685–709. http://dx.doi.org/10.1017/s002187581500167x.
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This article examines science-fictional allegorizations of Soviet-style planned economies, financial markets, autonomous trading algorithms, and global capitalism writ large as nonhuman artificial intelligences, focussing primarily on American science fiction of the Cold War period. Key fictional texts discussed include Star Trek, Isaac Asimov's Machine stories, Terminator, Kurt Vonnegut's Player Piano (1952), Charles Stross's Accelerando (2005), and the short stories of Philip K. Dick. The final section of the article discusses Kim Stanley Robinson's novel 2312 (2012) within the contemporary political context of accelerationist anticapitalism, whose advocates propose working with “the machines” rather than against them.
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Lizon, Martin. "“MANARAGA” AND OTHER WRITINGS (Some Aspects of the Russian Literature Model Formation in the Russian Book Market)." Philological Class 26, no. 1 (2021): 9–21. http://dx.doi.org/10.51762/1fk-2021-26-01-01.
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The article compares the functioning of Russian fiction works in the artistic narrative (“Manaraga”, the short story of Vladimir Sorokin) and in the space of the Slovak book market. It draws attention to the relationship between the works of fiction value and a certain literary space, that is, to the problem of a literary canon formation (pantheon) as an essential component of the literature system. The value in the text is understood as the cultural (symbolic) capital of a work of art, awarded to it by a certain institution, within which the work is functioning. To a certain extent, this perception is opposed by its identification in Sorokin’s short story with economic capital (the cost of individual publications) and the profit expectation from the sale of books by publishers, since these two antagonistic capitals – the cultural and the economic one – are, according to Pierre Bourdieu [Bourdieu 2010], an integral part of literature existence in the literary field. The value of works of fiction in these two systems is considered by the example of the Russian literature model and its hierarchy presented in “Manaraga” and on the basis of the Russian literature model that has developed over the past 30 years in the Slovak book market. The article reveals the parallels between these two systems, which indicate: firstly, Sorokin’s reflection on the Russian literature functioning in the space of world literature; secondly, the essential importance of the value attributed to individual literary texts (the status of a classical writer, or a representative of world literature), as an essential factor of the Russian literature model formation in the Slovak book market.
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Dinets, D. A., and R. A. Kamaev. "The Influence of Internal Contradictions in the Us Economy on Global Financialization and the Expansion of Fictitious Capital." Finance: Theory and Practice 25, no. 2 (2021): 6–34. http://dx.doi.org/10.26794/2587-5671-2021-25-2-6-34.
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The financialization genesis of the global economy centered in the United States is on the bifurcation point now— a fictive capital’ expansion is damaging with the social capital regeneration mechanism disaster. The method of identifying and estimating the fictive capital’ extension is absent for now. The fictive capital exists as a metaphor on the science papers but not as an institutional basis of the capital flows directions. The paper aims to update the configuration of the global financial system, its dependence on the performance of US corporations and banks; to identify the sources of vulnerability of world finance and global liquidity from the fictitious capital of American financial markets. The methodology is theoretical pattern’ of financial capital movements and its real statistical market indicators comparison. The empirical base is statistical data about the financial flows and financial results especially about the US as a global financial center. Based on the results the authors have revealed an origin of fictive capital on the US bank sector by the justification for the conclusion of liquidity above the profitable as the purpose of financial operations. This conclusion is confirmed with the scale of off-balance sheet transactions of banks. Besides the regression between the prices of derivative’ basis assets and stock indexes has been shown. Also, the market capitalization of American companies is not sensitive to change in market liquidity indicators. The authors concluded that global financialization is supported by significant internal contradictions in the US economy. The source of contradictions is the financial mechanism for withdrawing liquidity from the sphere of production and circulation into the sphere of financial markets. Capital investment using instruments of the US financial market entails the threat of losing their liquidity. Forecasting the dynamics of the global economy without taking into account the role of fictitious capital, which is emerging in the American financial markets, leads to global vulnerability and may cause the next financial crisis.
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Segal, Lee S., Paul P. Weitzel, and Richard S. Davidson. "Valgus Slipped Capital Femoral Epiphysis Fact or Fiction?" Clinical Orthopaedics and Related Research 322 (January 1996): 91–98. http://dx.doi.org/10.1097/00003086-199601000-00011.
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&NA;. "VALGUS SLIPPED CAPITAL FEMORAL EPIPHYSIS. FACT OR FICTION?" Journal of Pediatric Orthopaedics 16, no. 4 (1996): 555. http://dx.doi.org/10.1097/01241398-199607000-00053.
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Fielding, S. "Fiction and British Politics: Towards an Imagined Political Capital?" Parliamentary Affairs 64, no. 2 (2011): 223–32. http://dx.doi.org/10.1093/pa/gsr002.
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Dennis, Megan. "Combinations to Reflect All Nations." Logos 30, no. 3 (2020): 33–39. http://dx.doi.org/10.1163/18784712-03003002.
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As Children’s Laureate 2013–2015, Malorie Blackman raised awareness of the lack of racial diversity in children’s fiction. Underrepresentation of ethnic minorities in fiction and the publishing industry’s infrastructure is a severe problem in the world of children’s books, as illuminated by research into the publishing environment of the past 15 years, and the books populating current bestseller charts. Pierre Bourdieu’s theory of economic and symbolic capital is important to understanding how diversity is highlighted in the contemporary literary field, but his polarization of the different form of capital as motivation for creating art is reductive. Storytelling is about combining voices and experiences, and publishers can, and should, combine economic and symbolic motivations in publishing diverse fiction for children. Publishing a book because it will be successful economically and because it is the right thing to do are not mutually exclusive; in publishing diverse children’s fiction, both motives can and should inspire us.
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Overton, John, and Warwick E. Murray. "Fictive place." Progress in Human Geography 40, no. 6 (2016): 794–809. http://dx.doi.org/10.1177/0309132515625464.
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The construction of ‘fictive place’ is ever more common in capitalist production and exchange. It could be argued that the adoption of Geographical Indications (GIs) is a form of resistance to the homogenizing effects of globalization. In some ways fictive place-making can be seen as a means of adding value to land; however, we argue that fictive place has become a factor of production in its own right. We investigate this through a discussion of fictitious capital and the rise of GIs. We draw evidence from the wine sector and suggest that other networks are increasingly constituted of similar processes.
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Forter, Greg. "Atlantic and Other Worlds: Critique and Utopia in Postcolonial Historical Fiction." PMLA/Publications of the Modern Language Association of America 131, no. 5 (2016): 1328–43. http://dx.doi.org/10.1632/pmla.2016.131.5.1328.
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This essay traces the meanings and effects of postcolonial authors' recent refashioning of classical historical fiction. That refashioning has two aims: a materialist cartography that counters the nationalist vocation of classical historical fiction by revealing the supranational, global aspirations of colonial capitalism as a system; and an effort to retrieve from colonial modernity the residues of premodern, often presecular modes of solidarity that persist in yet lie athwart the colonial-modern. The analysis focuses on two novels: Barry Unsworth's Sacred Hunger (1992) and Amitav Ghosh's Sea of Poppies (2006). It engages with work on the Atlantic and Indian Ocean worlds, with theoretical critiques of utopia, and with the Lukácsian concept of typification (and Ian Baucom's criticism of it). The essay concludes by linking the birth of postcolonial historical fiction to the form of finance capital undergirding our contemporary moment—a form of capital that reprises while intensifying that which held sway at the moment of historical fiction's first emergence.
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LA BERGE, LEIGH CLAIRE. "Fiction Is Liquid: States of Money in The Sopranos and Breaking Bad." Journal of American Studies 49, no. 4 (2015): 755–74. http://dx.doi.org/10.1017/s002187581500170x.
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In this article, I read the television shows The Sopranos and Breaking Bad to explore how an illegitimate economy represents a legitimate one. I argue that what holds these shows together in some proto-generic organization is that money functions as both a criminal outside to capital and a structural assertion that capital has no outside. Thus I claim that capital is best represented by its own double, that legitimate enterprise is best represented by illegitimate enterprise, but that representation is only efficacious because ultimately there is no capitalist activity that, for the right price, cannot become legitimate. I suggest we might best see fiction itself as a kind of liquidity, one of the forms that circulating capital takes, and thus representation and the potential for accumulation become theoretical cognates.
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Escandell, Dari. "L’encaix de la narrativa sense ficció de Víctor Labrado en el paradigma de la novel·la històrica valenciana." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 329. http://dx.doi.org/10.7203/scripta.0.16374.
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Resum: L’escriptor valencià Víctor Labrado (Sueca, 1956) s’ha erigit com un dels grans referents contemporanis en el camp de la novel·la de no-ficció en català, subgènere narratiu que conjumina la intenció metanovel·lesca amb fidedignes discursos testimonials. Ara bé, ¿les obres cabdals de Labrado –peculiars, idiosincràtiques i gens usuals– poden ser considerades també, sense subterfugis ni matisos, novel·la històrica? A grans trets: trames guerracivilistes empeltades d’entrevistes, dosis generoses de periodisme documental i absència gairebé absoluta de ficció. La tècnica i l’estil propi no suposen, però, cap impediment perquè molts llibres seus siguen alhora novel·la històrica, si fem cas dels topoi convinguts per la crítica especialitzada. No debades, aquests exemplars esdevenen, al capdavall, testimoni viu d’un temps passat; vivències i peripècies de gent anònima que rescaten de l’oblit, des de la particularitat més universal, la realitat valenciana d’un segle passat vilment estigmatitzat pel conflicte civil de l’any 1936 i la dictadura consegüent. ¿N’hi ha prou amb això, però, perquè aquesta etiqueta o clixé siga atribuïble també a la resta de la seua obra i trajectòria? El present article analitza a nivell tècnic, argumental i conceptual els llibres essencials de Labrado per tal de determinar quina part de la seua novel·lística sense ficció pot o no considerar-se al seu torn novel·la històrica.Paraules clau: Víctor Labrado, novel·la sense ficció, novel·la històrica, literatura catalana, valencià.Abstract: The Valencian writer Víctor Labrado (Sueca, 1956) has emerged as one of the great contemporary references in the field of the non-fiction novel in Catalan, a narrative subgenre that combines the fictional intention with real testimonial speeches. However, can Labrado’s capital books –peculiar, idiosyncratic and unusual– be considered also, without subterfuges or hints, historical novels? Broadly speaking: are his Spanish civil war plots grafted with interviews, generous doses of documentary journalism and almost absolute absence of fiction, historical novels? Its techniques and style are no impediment to say so, if we pay attention to the topoi agreed by the specialized critic. In fact, these novels become, in short, a living testimony of our past time: they rescue from oblivion the experiences and adventures of anonymous people, from the most universal particularity, and the Valencian reality of a past century stigmatized by the civil conflict of 1936 and the consequent dictatorship. Is that enough, however, to attribute this label to the rest of his literary works? This paper analyses the techniques, the plots and the concepts of Labrado’s essential books to determine what part of his nonfiction novels may or may not be considered historical.Keywords: Víctor Labrado, nonfiction novel, historical novel, Catalan literature, Valencian
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van Es, Nicky, and Stijn Reijnders. "Making sense of capital crime cities: Getting underneath the urban facade on crime-detective fiction tours." European Journal of Cultural Studies 21, no. 4 (2016): 502–20. http://dx.doi.org/10.1177/1367549416656855.
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Crime-detective fiction tours are increasingly popular in cities around the world, providing both international and domestic tourists alike the possibility to visit and experience urban space through its associations with their favorite novels and adaptations. Engaging in a comparison between guided literary tours through Sherlock Holmes’ London, Philip Marlowe’s Los Angeles and Lisbeth Salander’s Stockholm, this research aims to answer the question of how and in what way(s) these crime-detective fiction tours create a sense of place in the postmodern metropolis. Based on participant observation, as well as interviews with the guides and/or organizers of these tours, results show that each of these literary tours is particularly corresponding to the act of reading crime-detective fiction in general: the tours perform a re-enactment of the text, as the guide-as-detective takes the participants to unknown urban locations, in pursuit of unraveling hidden histories of the city. The locations addressed on the tours are all, to varying extents, made sense of through a combination of multiple narratives, derived from both historical fact and fiction. In gradually exposing, analyzing and unraveling these narrative layers of significance on location, the tours convey a distinctively modernistic myth of a presumed core identity of the city.
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Tygstrup, Frederik. "Speculation and the End of Fiction." Paragrana 25, no. 2 (2016): 97–111. http://dx.doi.org/10.1515/para-2016-0031.
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AbstractThe propensity for speculation within modernity is well established. It ranges from the artifices of the “as if” – the thrills of imagining that everything that is might also be different, codified by Robert Musil as an inherent “sense of the possible” – to the daring betting on the “what if,” invoking better futures with an utopian spark or grim prospects to hedge oneself against. The twin inclinations to imagine the different and to project the future are the hinges of the modern imagination. In the early eighteenth century, three powerful media of speculation came into being almost at the same time: the calculus of probability, paper money, and literary fiction. In different ways, they enabled agencies of correlating what is and what is not – whether in terms of risk assessment, circulation of capital, or social self fashioning. By the beginning of the 21st century, these media of speculation seem to have reached a point of excess. With big data, probabilistic speculation is about to accustom us to read “what if”-questions in an altogether indicative mode, just as big finance has succeeded in reversing the hierarchy between value assets and the media of liquid capital. This then raises the question of what happens to the third medium of speculation in our late modernity, that of fiction? This article attempts to diagnose the fate of fiction in an age of hypertrophied speculation, how practices of fiction-making migrate, how the functions of fiction transform, and eventually how our present notion of fiction is due for a conceptual makeover.
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Beckman, Ericka. "Fiction and Fictitious Capital in Julián Martel’s La Bolsa." Hispanic Review 81, no. 1 (2013): 17–39. http://dx.doi.org/10.1353/hir.2013.0009.
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Smith, Dina, Casey Stannar, and Jenna Tedrick Kuttruff. "Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women." Fashion, Style & Popular Culture 7, no. 1 (2020): 29–50. http://dx.doi.org/10.1386/fspc_00004_1.
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Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.
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Natkovich, Svetlana. "Odessa as “Point de Capital”: Economics, History, and Time in Odessa Fiction." Slavic Review 75, no. 4 (2016): 847–71. http://dx.doi.org/10.5612/slavicreview.75.4.0847.
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Odessa was founded on the fault line between autocratic agricultural Russia and the international trade routes of emerging global capitalism. It was the place where the use value of agricultural products was converted into the exchange value of commodities. In the rift between these two systems of values, and between the epistemological and psychological perceptions associated with them, a third kind of ontological and epistemological space emerged. This space was conditioned by the evolving patterns of the Odessa grain trade regulated by stock trading, and induced in its turn a unique perception of time, history, and the relation between the real and fi ctitious. This article pinpoints the link between the mechanisms of the Odessa grain trade, the patterns of subjectivity and temporal perception that were molded by Odessa's business culture, and the modes of literary representation that elaborated these patterns into a specific literary idiom associated with Odessa literature.
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Álvarez, Brianne Orr. "Vinodh Venkatesh, The body as capital: masculinities in contemporary Latin American fiction." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 41, no. 3 (2016): 464–66. http://dx.doi.org/10.1080/08263663.2016.1225684.
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Dinetc, Daria. "Fictive capital and productivity of labor: technological backwardness through the monetary relations." E3S Web of Conferences 164 (2020): 09007. http://dx.doi.org/10.1051/e3sconf/202016409007.
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The article is devoted to describing system relations of technological stagnation, technical development, labor productivity and monetary standard. It has been shown that world dependence of dollar had based on need to mask labor productivity reduction without inflation methods. It was proven a destruct influence of American economy and its financial structure to quality development of advanced science and technology on a global scale by the comprising analysis of output, number of employers, labor productivity and real investments dynamics on American high-technology industries.
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Pittard, Christopher. ""The Unknown—with a capital U!" Richard Marsh and Victorian Popular Fiction." Clues: A Journal of Detection 27, no. 1 (2008): 99–103. http://dx.doi.org/10.3172/clu.27.1.99.
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Deckard, Sharae. "“This oil thing touches everything”: World-Literary Crime Fiction and Fossil Capital." Études anglaises Vol. 74, no. 1 (2021): 34–52. http://dx.doi.org/10.3917/etan.741.0034.
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Burns, Rob. "Picturing the New Berlin: Filmic Representations of the Postunification Capital." German Politics and Society 33, no. 1 (2015): 159–71. http://dx.doi.org/10.3167/gps.2015.330112.
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Just as Berlin as a political, social, ethnic, and material entity has undergone considerable change since 1989, so too the cinematic representations of the new capital over the last twenty years or so have projected a diverse set of images of the city. This article considers a selection of fiction films that can be grouped together under three broad thematic category headings: those dealing with Berlin's past, those addressing the city's multicultural identity and, most substantially, those films in which the capital of the new "Berlin Republic" can be read as a metaphor for postunification Germany. What all three categories have in common, it is argued, is that the image of Berlin that emerges from most of these films remains an overwhelmingly negative one, with the city portrayed predominantly as a site of either conflict or disorientation.
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Allington, Daniel. "Linguistic Capital and Development Capital in a Network of Cultural Producers: Mutually Valuing Peer Groups in the ‘Interactive Fiction’ Retrogaming Scene." Cultural Sociology 10, no. 2 (2015): 267–86. http://dx.doi.org/10.1177/1749975515598333.
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Pierce, Joseph M. "The Body as Capital: Masculinities in Contemporary Latin American Fiction by Vinodh Venkatesh." Hispanófila 181, no. 1 (2017): 213–16. http://dx.doi.org/10.1353/hsf.2017.0064.
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Carter, David. "The literary field and contemporary trade-book publishing in Australia: Literary and genre fiction." Media International Australia 158, no. 1 (2016): 48–57. http://dx.doi.org/10.1177/1329878x15622078.
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This article examines fiction as a major sector of trade-book publishing in exploring the place of Australian publishing within a globalised industry and marketplace. It traces the function of ‘literary fiction’ as industry category and locus of symbolic value and national cultural capital, mapping its structures and dynamics in Australia, including the impact of digital technologies. In policy terms, literature and publishing remain significant sites of national and state government investment. Following Bourdieu’s model of the field of cultural production, the literary/publishing field is presented as exemplary rather than as a high-cultural exception in the cultural economy. Taking Thompson’s use of field theory to examine US and UK trade publishing into account, it analyses the industry structures governing literary and genre fiction in Australia, demonstrating the field’s logic as determined by the unequal distribution of large, medium-sized and small publishers. This analysis reveals distinctive features of the Australian situation within a transnational context.
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REDIEN-COLLOT, RENAUD. "FEMALE ENTREPRENEURS' AUTHORITY: IS THE CREATIVE ASPECT OF AUTHORITY A MASCULINE FICTION IN MANAGERIAL AND ENTREPRENEURIAL PARADIGMS?" Journal of Enterprising Culture 17, no. 04 (2009): 419–41. http://dx.doi.org/10.1142/s0218495809000448.
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Authority is the confirmation of the control an individual has over norms and codes (Sennet, 1981). It stimulates the development of social capital. Gender shapes authority. Bourdieu (1994) stresses that in traditional societies men can interpret and produce norms whereas women reproduce them and consequently may experience difficulties in constructing their authority. Butler (1990) confirms that this dichotomy is still effective in post-modern contexts. In the literature on women entrepreneurs, scholars stress their lack of social capital as an impediment to growing the business and suggest that they should follow the male model (Aldrich et al., 1997; Ban et al., 1996). However, if one examines carefully the process of production of social capital, one would see that it is the result of a strict gender labor-division. In spite of their agentivity, female entrepreneurs fail to overcome this. Many of them may thus be tempted to adapt male patterns of authority. The present study examines how women entrepreneurs and minority business owners assimilate authority that is encapsulated in the traditional male entrepreneurial discourse. Then it analyses the perception of women entrepreneurs on authority and its impact on their style of internal management and their strategies of networking. The results reveal that either female entrepreneurs adopt authority as a repressive tool of management that helps them to develop their social capital in restricted circles of influence or they scorn authority as the display of norms that may endanger the reputation of their firms and their social influence without proposing a clear alternative. Apparently, women entrepreneurs deny the creative aspects of authority that Sennet and his Foucaldian followers have detected in managers' behaviors in the context of organizational sociology.
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Schnepf, J. D. "Collaborative Futures: Arts Funding and Speculative Fictions." Review of International American Studies 13, no. 2 (2020): 145–57. http://dx.doi.org/10.31261/rias.9995.
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According to scholars of literary sociology, US arts institutions—from the federal government to the writers’ colony to the creative writing program—have been central to the shaping of US literature for the better part of a century. This paper offers a preliminary investigation of the global crowdfunding platform Kickstarter as an emerging arts institution. Drawing on Kim Stanley Robinson and Marina Abramović’s artistic collaboration as a case study, the paper argues that the appearance of the Marina Abramović Institute (MAI) in Robinson’s novel New York 2140 troubles the author’s stated generic commitments to “realist speculative fiction”—fiction that bases its vision of the future on the state of things in our present. In addition to furnishing uncertain conditions of production for the novel, Kickstarter’s funding model solicits short-form speculative fiction organized around neoliberal selfhood from its artists. With the assistance of Kickstarter’s networked platform, the MAI’s capital campaign reimagined private funding as public performance art, as dutiful civic engagement, and as reward for artists willing to narrate entrepreneurial optimism.
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Schnepf, J. D. "Collaborative Futures: Arts Funding and Speculative Fictions." Review of International American Studies 13, no. 2 (2020): 145–57. http://dx.doi.org/10.31261/rias.9995.
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According to scholars of literary sociology, US arts institutions—from the federal government to the writers’ colony to the creative writing program—have been central to the shaping of US literature for the better part of a century. This paper offers a preliminary investigation of the global crowdfunding platform Kickstarter as an emerging arts institution. Drawing on Kim Stanley Robinson and Marina Abramović’s artistic collaboration as a case study, the paper argues that the appearance of the Marina Abramović Institute (MAI) in Robinson’s novel New York 2140 troubles the author’s stated generic commitments to “realist speculative fiction”—fiction that bases its vision of the future on the state of things in our present. In addition to furnishing uncertain conditions of production for the novel, Kickstarter’s funding model solicits short-form speculative fiction organized around neoliberal selfhood from its artists. With the assistance of Kickstarter’s networked platform, the MAI’s capital campaign reimagined private funding as public performance art, as dutiful civic engagement, and as reward for artists willing to narrate entrepreneurial optimism.
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Thomas, Deborah A. "THACKERAY, CAPITAL PUNISHMENT, AND THE DEMISE OF JOS SEDLEY." Victorian Literature and Culture 33, no. 1 (2005): 1–20. http://dx.doi.org/10.1017/s1060150305000707.
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VANITY FAIRIS A NOVEL OF ENIGMAS. In particular, after finishing the book, readers have often wondered why Thackeray refuses to tell us clearly whether or not Becky actually kills Joseph Sedley in chapter 67–a question recently given prominence by John Sutherland as one of the “Great Puzzles in Nineteenth-Century Literature” (66–72). The explanation most commonly given for Thackeray's evasiveness on this point is that such unanswered questions inVanity Fairare part of the artistry of this unconventional work of fiction, a book that A. E. Dyson has described as “surely one of the world's most devious novels” (76). This view ofVanity Fairas a novel of narrative legerdemain–intended to keep the reader constantly alert and pondering what is being shown (or concealed)–is certainly true. However, an additional possible explanation for Thackeray's ambiguity on the subject of Jos's death also ought to be considered. This explanation lies in Thackeray's horrified reaction to the public execution of François Benjamin Courvoisier on 6 July 1840. The echoes between Thackeray's appalled description of the events of that morning and his subsequent famous novel suggest that he privately conceived of Becky as murdering Jos. The echoes also suggest that one reason why Thackeray handled this fictional murder obliquely is that, by the time of writingVanity Fair, he had come to believe that, although executions might occur, they should not take place in public. Exploring the subtle connections between Thackeray's profound revulsion at the death of Courvoisier and Thackeray's later treatment of Jos's death gives deeper meaning to the intentional ambiguities in chapter 67. These connections make the ambiguities surrounding the death of Jos part of a widespread debate over capital punishment in the 1840s and have significant ramifications in terms of the parallel between public executions and pornography and with regard to the role of Becky in this novel.
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Hess, Jonathan M. "Leopold Kompert and the Work of Nostalgia: The Cultural Capital of German Jewish Ghetto Fiction." Jewish Quarterly Review 97, no. 4 (2007): 576–615. http://dx.doi.org/10.1353/jqr.2007.0060.
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Mehmood, Sadaf. "Seesaw of Spatial Metamorphosis in Aravind Adiga’s Last Man in Tower." NUML journal of critical inquiry 18, no. II (2021): 59–72. http://dx.doi.org/10.52015/numljci.v18iii.131.
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Urban space is inherently uneven. Economic pursuits and commercial integrity translate urban space into categorization of haves and have-nots.Neo-Marxists theorize spatial disequilibrium through the dynamics of capital accumulation.Analysis of Last Man in Tower by Aravind Adiga helps to explorecity space as a commodified place that serves the interests of capital accumulation by converting it as a space of differences, struggles and negotiations. While examining spatial alienation, I probe the making of urban other who experiences, evictions, and displacements followed by the development projects of capital accumulation in the theoretical frame of David Harvey’s accumulation by dispossession. The urban space expands and grows not for the urban other but for the elitist consumption. This directs the argument to inspect the creation of a critical spatial consciousness to assert the urban other’s right to the city. By retaliating to their evictions and dispossessions they devise strategies for remaking their space through their lived daily experiences. This has been supported by the theoretical lens of Henri Lefebvre’s “The right to the city”. The selected fiction defines uneven city space whereby the spatial metamorphosis dispossesses and displaces the urban other andraises critical spatial consciousness to obstruct subsequent displacements.
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Bold, Melanie Ramdarshan, and Corinna Norrick-Rühl. "The Independent Foreign Fiction Prize and Man Booker International Prize Merger." Logos 28, no. 3 (2017): 7–24. http://dx.doi.org/10.1163/1878-4712-11112131.
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There is a dramatic imbalance of cultural output in the global publishing industry. English-language publishers are disinclined to translate and publish foreign language books as a result of the popularity of English-language books and the high costs of translation. Three per cent is the oft-quoted number that indicates that foreign fiction in translation makes up only a minimal part of the UK book trade. This lack of bibliodiversity may have serious cultural consequences. There are thus several national and international initiatives to promote the publication and cultural capital of works in translation in order to reach a wider audience. Book prizes are generally understood to have a positive impact on the discoverability of a title and consequent sales; winning authors, as well as those on the longlist and shortlist of prestigious prizes, can expect a significant boost in sales of the books in question. But in a culture where translated foreign fiction titles represent only a small percentage of books published, does this phenomenon extend to prizes for translated foreign fiction? This paper explores the—audience-building and sales-generating—impact of the UK’s most prestigious award for literature in translation, the Independent Foreign Fiction Prize (IFFP), in particular in light of the prize’s recent merger with the Man Booker International Prize (MBIP), and speculates whether this may help with the ‘three per cent problem’.
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Omelsky, Matthew. "“After the End Times”: Postcrisis African Science Fiction." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 1 (2014): 33–49. http://dx.doi.org/10.1017/pli.2013.2.
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We live in a moment of “apocalyptic time,” the “time of the end of time.” Ours is a moment of global ecological crisis, of the ever-impending collapse of capital. That we live on the brink is too clear. What is not, however, is our ability to imagine the moment after this dual crisis. In recent years, African artists have begun to articulate this “moment after,” ushering in a new paradigm in African literature and film that speculates upon postcrisis African futures. Writers and filmmakers such as Nigeria’s Efe Okogu and Kenya’s Wanuri Kahiu have imagined future African topographies—spaces that have felt the fullest effects of climate change, nuclear radiation, and the imbalances of global capitalism. Biopolitics, sovereignty, and the human have all been reconfigured in these African science fictions. Okogu and Kahiu’s futurist aesthetics are specters that loom over our present, calling for a radically reimagined politics of the now.
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Edwards, Robert Roy. "“Lessons meete to be followed”: The European Reception of Boccaccio’s “Questioni d’amore”." Textual Cultures 10, no. 2 (2018): 146–63. http://dx.doi.org/10.14434/textual.v10i2.1075.
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The “Questioni d’amore” from Giovanni Boccaccio’s Filocolo were both works of imagination and forms of cultural capital in medieval and early modern Europe. Translations into French, Spanish, and English resituated the Questioni into new contexts of reading, reception, and social use. Prefaces and paratexts give direct evidence of recontextualizations within political structures, cultural programs, and regimes of self-fashioning. These recontextualizations depend to a significant extent, however, on Boccaccio’s fiction itself. If the Questioni are stabilized into forms of exemplary meaning, their aesthetic tensions remain in both the mimetic narratives and the hermeneutic frames.
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Comaroff, Jean, and John Comaroff. "In/ter/dependence: An afterword." Focaal 2021, no. 90 (2021): 70–73. http://dx.doi.org/10.3167/fcl.2021.900107.
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Our closing reflection on the collection of articles in this issue argues that the modernist bourgeois figure of the autonomous individual, founded from the first on a Promethean fiction, has long hidden the sorts of dependencies, interdependencies, and intradependencies intrinsic to social life everywhere. This is all the more so in the twenty-first century, under conditions in which the relations between capital and labor, patterns of sociality and social reproduction, and Euromodernity itself are undergoing wide-ranging changes, changes that are deepening the tensile coexistence of human autonomy and entanglement.
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Caporale-Bizzini, Silvia. "Narratives of Disposability in Contemporary British Fiction: Monica Ali's In the Kitchen and John Lanchester's Capital." English Studies 101, no. 5 (2020): 584–97. http://dx.doi.org/10.1080/0013838x.2020.1798139.
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McCARTHY, BILL, JOHN HAGAN, and MONICA J. MARTIN. "IN AND OUT OF HARM'S WAY: VIOLENT VICTIMIZATION AND THE SOCIAL CAPITAL OF FICTIVE STREET FAMILIES*." Criminology 40, no. 4 (2002): 831–66. http://dx.doi.org/10.1111/j.1745-9125.2002.tb00975.x.
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Simpson, Tim. "Scintillant Cities: Glass Architecture, Finance Capital, and the Fictions of Macau’s Enclave Urbanism." Theory, Culture & Society 30, no. 7-8 (2013): 343–71. http://dx.doi.org/10.1177/0263276413504970.
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This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of casino gaming revenue. Taken together, CityCenter and Macau are illustrative of the political economy and cultural logics of financialization. Foreign investment from Las Vegas entrepreneurs has vitrified Macau, transforming it into a phantasmagoria of glass resorts. Macau in turn plays a crucial functional role in capitalism’s recomposition in East Asia, similar to the autochthonous role of the Italian city-states of Venice and Genoa in the historical origins of capitalism. In order to ‘read’ the cities of Las Vegas and Macau, I explore intertextual legibilities among fictitious capital that relies on glass fiber-optic technology to enable grand architectural projects; expressionist fictional representations of glass architecture and its utopian transformative potential; and glass buildings that themselves dissimulate in a manner not unlike fiction.
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VOITOVYCH, Leontii. "STILSKO: BETWEEN FACTS AND FICTION." Ukraine: Cultural Heritage, National Identity, Statehood 33 (2020): 13–37. http://dx.doi.org/10.33402/ukr.2020-33-13-37.
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Research on the Stilsko settlement (Mykolaiiv district, Lviv region) was interrupted at the end of the 20th century due to a lack of funds. Gradually, around this important monument started to accumulate insufficiently substantiated hypotheses and fabrications, which were transformed into stereotypes. In particular, this concerns statements about the capital of White Croatia, cave pre-Christian temples and cave monasteries, a system of locks on the river Kolodnytsia. The author analyzed the discussion in European science about Great Croatia in Ukrainian Prykarpattia and the localization of White Croatia. Attention is drawn to the attempts of Polish historiography to prove that this region belonged only to the Lendians, as well as to the development of the latest discussion on Croatian ethnogenesis. Based on this analysis, it is stated that White Croatia was located on the Upper Vistula, Upper Oder, Saale, and White Elster, and Stolsko (Stilsko) in the 10th century was built as the center of the Croatian principality, which was formed, probably after poborani joined western zhytychi-trebovliany. The fortifications remained unfinished and were obtained by the Kyivan army in 992/993. No grounds for claiming the existence of cave temples, especially in the Austrian fortifications built in the early 20th century, were found, and hypotheses about their existence were found baseless, as well as the existence of locks, which were unnecessary on the river Kolodnytsia. However, the mysteries of Stilsko are only started because a certain source (the notebook of Metropolitan Theognostus) noted the existence of Stilsko, which paid 30 hryvnias to the metropolitan treasury around 1331. During the struggle for the Romanov heritage in 1370-1377 not revived as an urban settlement. The article states that its localization remains the main task for further research. Keywords: Stilsko, Great Croatia, White Croatia, cave temples, sluices, Feognost.
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Forés Rossell, Maria Consuelo. "Shakespeare for Revolution: From Canon to Activism in V for Vendetta and Sons of Anarchy." Revista Alicantina de Estudios Ingleses, no. 33 (December 23, 2020): 85. http://dx.doi.org/10.14198/raei.2020.33.07.
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Shakespeare’s works have long been a place of cultural and political struggles, and continues to be so. Twenty-first century non-canonical fiction is appropriating Shakespeare for activist purposes. The present article will analyze this phenomenon, applying the concept of cultural capital, the theories of cultural materialism, intertextuality, and appropriation in relation to popular culture, in order to study how Shakespeare’s plays are being appropriated from more radically progressive positions, and resituated in alternative contexts. Among the plethora of Shakespearean adaptations of the last decades, non-canonical appropriations in particular offer brand new interpretations of previously assumed ideas about Shakespeare’s works, popularizing the playwright in unprecedented ambits and culturally diverse social spaces, while giving voice to the marginalized. Thus, through entertainment, non-canonical fiction products such as V for Vendetta and Sons of Anarchy recycle the Shakespearean legacy from a critical point of view, while using it as a political weapon for cultural activism, helping to make people aware of social inequalities and to inspire them to adopt a critical stance towards them, as free and equal citizens.
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Megela, Ivan. "Politics and Morality in the Novel “The Capital” by Robert Menasse." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 39 (2021): 43–60. http://dx.doi.org/10.17721/2663-6530.2021.39.05.
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The article illustrates the relationship between politics and morality in the novel «The Capital» written by the famous Austrian writer Robert Menasse, a recipient of the German Book Prize in 2017. The research focuses on the study of the preliminaries for the 50th anniversary of the European Commission, one of the principal bureaucratic institutions of the European Union. The article highlights the anniversary celebration settings in the Department of Culture and Education. It considers different views on the event format in terms of the fundamental provisions of the European Commission with reference to historical memory and internal conflicts within the bureaucracy. The message of the primary slogan of the project “Concentration camps – never again!” is explained, integrating the past (remembrance of Auschwitz, the Holocaust) and the present (the real state of affairs in the European Union) along with a vision of the prospective political establishment of the shared European community. In this respect, some bullet points of the report made by the professor Alois Erhart from Vienna, a think tank member and the author’s alter ego, represent a common view of substantialization of the united Europe based on overcoming contradictions between the European Union policy and the national interests of the member countries. The research examines the peculiarities of the literary space in the «The Capital». It is determined that the complexity and diversity of the work produce a hybrid novel form, incorporating the features of the intellectual prose, essay, political pamphlet, and the thriller. An important aspect, highlighted in the article, involves the issue of fiction, fabrication, factuality in terms of the author-reader game accompanying the process of sense generation and text perception. The connotation of a grotesque image of a pig running through the center of Brussels is examined from different perspectives, both as an artistic device implicated in distinct plot lines, and as a metaphor attributed to the overall state of affairs in the capital of the united Europe.
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Flint, Christopher. "Speaking Objects: The Circulation of Stories in Eighteenth-Century Prose Fiction." PMLA/Publications of the Modern Language Association of America 113, no. 2 (1998): 212–26. http://dx.doi.org/10.2307/463361.
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An enormously popular narrative device, speaking objects were used frequently in eighteenth-century British fiction to express authorial concerns about the circulation of books in the public sphere. Relating the speaking object to the author's status in a print culture, works featuring such narrators characteristically align authorship, commodification, and national acculturation. The objects celebrate their capacity to exploit both private and public systems of circulation, such as libraries, banks, booksellers' shops, highways, and taverns. Linking storytelling to commodities and capital, they convey an implicit theory of culture in which literary dissemination, economic exchange, and public use appear homologous. But as object narratives dramatize, such circulation estranges modern authors from their work. Far from mediating between private and public experience or synthesizing national and cosmopolitan values, these narratives record the indiscriminate consumption that characterizes the public sphere in a print culture.
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Sensibar, Judith L. "Writing for Faulkner, Writing for Herself: Estelle Oldham's Anticolonial Fiction." Prospects 22 (October 1997): 357–78. http://dx.doi.org/10.1017/s0361233300000168.
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Before estelle oldham married William Faulkner in June 1929, she had spent nearly eight years in the Pacific and Far East as a participant-observer in two American colonial cultures. In June 1918, her first marriage to the Mississippi lawyer and entrepreneur Cornell S. Franklin brought her as a new bride to what were then called the Hawaiian Territories. But despite his excellent Southern connections, the business community in the “Paradise of the East” had little room for a bright yet arrogant young man with no capital. Thus, in December 1921, Estelle Oldham Franklin, her husband, and their four-year-old daughter sailed for the more open markets in the International Settlement of Shanghai, then China's largest treaty port. Oldham hated Shanghai; she refused to continue playing the role of Southern Belle hostess she had assumed so willingly and graciously in Honolulu, and, like her husband and many other colonials, she had become an alcoholic. Summarizing her life in Shanghai, she once told her daughter, “I don't think I took a sober breath for three years.”
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Mendes, Ana Cristina, and Lisa Lau. "Urban redevelopment, the new logics of expulsion, and individual precarity in Kleber Mendonça Filho’s Aquarius and Aravind Adiga’s Last Man in Tower." cultural geographies 27, no. 1 (2019): 117–32. http://dx.doi.org/10.1177/1474474019871653.
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Drawing on Kleber Mendonça Filho’s film Aquarius (2016) and Aravind Adiga’s novel Last Man in Tower (2011), this article is concerned with the impact on individuals and communities of forms of impersonal, systemic violence resulting from neoliberal accumulation and the reproduction of mobile capital, extending existent precarities as well as opening up new precarities. We examine the experiences of the previously less precarious – that is, members of the middle classes in Recife, Brazil, and Mumbai, India – now rendered newly precarious. We frame the temporality of these precarities via themes of memory, presentism and futurity in order to depict how sites in the Global South are targeted by mobile capital, and how individuals and communities are impacted by the growing extent of precarities, eroding long-established systems of social and communal protection, and undermining social loyalties and securities. Through the narratives of a novel and a film, we analyse cultural representations of redevelopment projects as epitomes of frictionless, mobile capital. Such capital has the effect of increasing the precarity of individuals, which in turns frays the bonds of communities, heightening network and community precarities. This selection is grounded in Jacques Rancière’s argument that ‘[f]iction is at work whenever a sense of reality must be produced’ and interrelatedly in the critical space offered by the interpenetration between fiction, political life and the construction of social realities. Engaging with the fictional situations depicted in Aquarius and Last Man in Tower adds to the understanding of what happens in the lifeworld when residents are thrown into a condition of sudden and acute precarity when coerced to evacuate their long-time homes as a result of redevelopment projects, and in particular the pressures faced by the last individuals standing, especially when they speak truth to power.
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Palmer, Kelly. "The beach as (hu)man limit in Gold Coast narrative fiction." Queensland Review 25, no. 1 (2018): 149–62. http://dx.doi.org/10.1017/qre.2018.13.
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AbstractGold Coast beaches oscillate in the cultural imagination between everyday reality and a tourist's paradise of ‘sun, surf and sex’ (Winchester and Everett 2000: 59). While these narratives of selfhood and becoming, egalitarianism and sexual liberation punctuate the media, Gold Coast literary fictions instead reveal the beach as a site of danger, wholly personifying the unknown. Within Amy Barker's Omega Park, Melissa Lucashenko's Steam Pigs, Georgia Savage's The House Tibet and Matthew Condon's Usher and A Night at the Pink Poodle, the beach is a ‘masculine’ space for testing the limit of the coastline and one's own capacity for survival. This article undertakes a close textual analysis of these novels and surveys other Gold Coast fictions alongside spatial analysis of the Gold Coast coastline. These fictions suggest that the Gold Coast is not simply a holiday world or ‘Crime Capital’ in the cultural imagination, but a mythic space with violent memories, opening out onto an infinite horizon of conflict and estrangement.