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Journal articles on the topic 'Cultural cringe'

Author: Grafiati

Published: 19 February 2023

Last updated: 20 February 2023

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1

Kashima, Emiko S., Ruth Beatson, Leah Kaufmann, Sarah Branchflower, and Mathew D. Marques. "Mortality Salience and Cultural Cringe." Journal of Cross-Cultural Psychology 45, no. 10 (July 22, 2014): 1534–48. http://dx.doi.org/10.1177/0022022114543521.

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2

Hess, Linda M. "Cringe and Sympathy: The Comedy of Mental Illness in Flowers." Humanities 10, no. 4 (November 20, 2021): 121. http://dx.doi.org/10.3390/h10040121.

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This article on brings together findings from humor studies, especially work on cringe comedy, and disability studies. It analyzes how Flowers uses elements of cringe to question societal norms of the “proper person” in connection to mental illness, but also how Flowers broadens the genre of cringe so that, at times, it becomes a cringe tragedy rather than a cringe comedy, thus taking seriously the pain of mental illness. As a third point, this analysis focuses on the way in which Flowers self-reflexively employs elements of narrativity to draw attention to the cultural constructedness and storyfication of mental illness throughout history.

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3

Schwanebeck, Wieland. "Introduction to Painful Laughter: Media and Politics in the Age of Cringe." Humanities 10, no. 4 (November 30, 2021): 123. http://dx.doi.org/10.3390/h10040123.

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This introduction to the Special Issue on cringe humour briefly traces the starting point of the contemporary cringe boom, and it looks into the roots of awkwardness as a cultural phenomenon in the 1960s. Moreover, the introduction argues for the cathartic potential of cringe humour in the context of sociopolitical issues, and briefly presents the subsequent articles.

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4

Kanzler, Katja. "The Cringe and the Sneer: Structures of Feeling in Veep." Humanities 10, no. 4 (October 26, 2021): 114. http://dx.doi.org/10.3390/h10040114.

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This article approaches cringe comedy through the lens of its affectivity, of the somatic experiences through which it puts its audiences’ bodies, and it uses this as a point of departure to think about the genre’s cultural work. Based on the observation that no cringe comedy makes its viewers cringe for the whole duration of its storytelling, the article suggests that cringe comedies thrive on destabilizing and ambiguating the affective valence of their performances of embarrassment, constantly recalibrating or muddying the distance between viewer and characters. They are marked by tipping points at which schadenfreude and other types of humor tip into cringe, and reversely, at which cringe tips into something else. The article focuses on one of these other affective responses, which it proposes to describe as the sneer. It uses the HBO-series Veep as a case study to explore how cringe and sneer aesthetics are interlaced in an exemplary comedy, and how they fuel this particular comedy’s satiric work.

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5

Mersham, Gary. "The great South African cultural cringe!" Communicatio 13, no. 1 (January 1987): 26–30. http://dx.doi.org/10.1080/02500168708537658.

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6

Havas, Julia, and Maria Sulimma. "Through the Gaps of My Fingers: Genre, Femininity, and Cringe Aesthetics in Dramedy Television." Television & New Media 21, no. 1 (May 30, 2018): 75–94. http://dx.doi.org/10.1177/1527476418777838.

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Concentrating on the series “Girls” (2012–2017), “Fleabag” (2016), and “Insecure” (2016–), this article examines the female-centered dramedy as a current genre of U.S.-American television culture with specific investments in gendered value hierarchies. The article explores the format’s dominant narrative and aesthetic practices with specific focus on prestige dramedy’s “cringe” aesthetics. Cringe is increasingly mobilized as a mode of political expression following the format’s privileging of female subjectivities. As such, cringe is tasked with negotiating the tensions between drama and comedy on one hand and intersectional relations of identity politics on the other. Character “complexity,” embedded in ideological themes around identity, modifies the “comedy” in cringe and becomes associated with the more prestigious dramatic mode, this way governing the texts’ appeal to cultural value. The article demonstrates the ways the female-centered cringe dramedy expresses its politicization and “complexity” via disturbing gendered expectations of mediated femininity, and specifically body and sexuality politics.

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7

MacMahon, Deirdre. "Scotland at the Smithsonian: Beyond the Cultural Cringe?" Scottish Affairs 47 (First Serie, no. 1 (May 2004): 1–15. http://dx.doi.org/10.3366/scot.2004.0022.

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8

Feather, N. T. "Devaluing achievement within a culture: Measuring the cultural cringe." Australian Journal of Psychology 45, no. 3 (December 1993): 182–88. http://dx.doi.org/10.1080/00049539308259137.

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9

Jones-Berry, Stephanie. "Stereotypes and cultural cringe still keeping men out of nursing." Nursing Standard 30, no. 28 (March 9, 2016): 12–13. http://dx.doi.org/10.7748/ns.30.28.12.s14.

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10

Curtis, Bruce. "The Performance-based Research Fund, gender and a cultural cringe." Globalisation, Societies and Education 14, no. 1 (January 20, 2015): 87–109. http://dx.doi.org/10.1080/14767724.2014.996856.

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11

Wegner, Gesine. "“Kill the Puppies!”: Cringe Comedy and Disability Humor in the Live Performances of Laurence Clark." Humanities 10, no. 3 (September 15, 2021): 105. http://dx.doi.org/10.3390/h10030105.

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Firmly rooted in disability activism, the emergence of disability studies in the 1980s took place at a time that also witnessed several disabled comedians and activists climb the stage both in the US and the UK. Considering these coinciding developments, it seems perhaps little surprising that disability studies scholarship has been engaged in the complex relationship between disability and humor from its very beginnings. However, the interplay between cringe (as a cultural phenomenon closely related to comedy) and disability has not received much attention within the field. This paper takes a closer look at the functions that disability fulfils in cringe comedy. Reading Laurence Clark’s comedy live performances against a classic “disability scene” from The Office, I argue that while both shows humiliate the non-disabled for their reactions toward disabled people, the work they are doing differs on several accounts. While The Office does not give its disabled characters much of a voice and thus remains ambiguous in what it is doing, Clark’s performances use cringe humor as a tool to reclaim agency. It is through the act of talking back that Clark’s performances take on a didactic function, encouraging audiences to critically reflect their own reactions to disability.

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12

Ji, Yadong, and Benjamin R. Bates. "Measuring intercultural/international outgroup favoritism: comparing two measures of cultural cringe." Asian Journal of Communication 30, no. 2 (March 3, 2020): 141–54. http://dx.doi.org/10.1080/01292986.2020.1738511.

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13

Walden, Daniel. "Introduction Australian Literature-From the “Cultural Cringe” to the Confident Future." Journal of Popular Culture 23, no. 2 (September 1989): 1–4. http://dx.doi.org/10.1111/j.0022-3840.1989.101524.x.

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14

Salvato, Nick. "Cringe Criticism: On Embarrassment and Tori Amos." Critical Inquiry 39, no. 4 (June 2013): 676–702. http://dx.doi.org/10.1086/671352.

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15

Scott, Dorothy. "Intensive family preservation programs: What are they?" Children Australia 19, no. 2 (1994): 19–26. http://dx.doi.org/10.1017/s1035077200003928.

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This paper outlines the basic characteristics of intensive family preservation programs which have very recently been introduced into the child welfare systems of most Australian States. Typically these programs have been used to prevent placement or to assist families whose children are being returned to their care. Highly intensive and with 24 hour availability these short-term services draw on a range of theoretical approaches and are delivered in the family's home and natural environment. It is argued that Australia should avoid both the ‘cultural cringe’ and the ‘Tall Poppy Syndrome’ in assessing what intensive family preservation services may have to offer us.

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16

Pickles, Katie. "Transnational History and Cultural Cringe: Some Issues for Consideration in New Zealand, Australia and Canada." History Compass 9, no. 9 (September 2011): 657–73. http://dx.doi.org/10.1111/j.1478-0542.2011.00794.x.

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17

MATTAR, YASSER. "Popular cultural cringe: language as signifier of authenticity and quality in the Singaporean popular music market." Popular Music 28, no. 2 (May 2009): 179–95. http://dx.doi.org/10.1017/s0261143009001779.

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AbstractThis article looks at the popular music industry in Singapore and argues that there exists a ‘cultural cringe’ for domestic English-language music, which is considered as inferior to English-language music from Western countries. Singaporean consumers of popular music use the English language as a signifier of authenticity and consequently quality of musicians. Local musicians are deemed ‘inauthentic’ because consumers perceive the local variant of English spoken in Singapore is inferior to other variants of English spoken in Western countries. There is thus an underlying sub-text of an inferiority complex coming out of the post-colonial experience that effectively diminishes the possibility of success as English-language musicians. Yet, such a phenomenon is not observed in the vernacular Malay and Chinese-language music industries. In the final analysis, this article suggests that modernisation and modernity for Singapore is neither completely localised nor completely imposed: there exists a negotiation in the popular cultural sphere based on historical (colonial) baggage.

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18

Willoughby, Louisa, Donna Starks, and Kerry Taylor-Leech. "Is the Cultural Cringe Alive and Kicking? Adolescent Mythscapes of Australian English in Queensland and Victoria." Australian Journal of Linguistics 33, no. 1 (January 2013): 31–50. http://dx.doi.org/10.1080/07268602.2013.787904.

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19

Fitzpatrick, Peter. "After the Wave: Australian Drama since 1975." New Theatre Quarterly 2, no. 5 (February 1986): 54–67. http://dx.doi.org/10.1017/s0266464x00001913.

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THE PUBLICATION of Theatre Quarterly's feature on Australian theatre in its Summer 1977 number seemed at the time one of a number of tokens of the coming of age of ‘the new Australian drama’. It is probably a truer sign of maturity that the present revisiting of the subject offers a form of international recognition which, though still very welcome, seems now a less important and alluring prospect. Australia's cultural cringe – the over-dependence on the models and approval of the parent country which was one of our more notorious legacies of colonialism – is not as noticeable in the theatre these days as it was even in the mood of heady self-conscious nationalism of the early 'seventies.

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20

McDaniel, Michael. "Sharing Teaching Ideas: Not Just Another Theorem: A Cultural and Historical Event." Mathematics Teacher 96, no. 4 (April 2003): 282–84. http://dx.doi.org/10.5951/mt.96.4.0282.

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The typical student rarely gets a chance to hold an old, powerful piece of history. In mathematics, teachers have the opportunity to present just such museum pieces; and furthermore, the class can verify their truth. Too often, however, students cringe in the face of proof and thus miss their chance to appreciate the treasure. Mathematics teachers can impress these future doctors, lawyers, politicians, and journalists with some jewels of mathematics; and teachers do mathematics a disservice if they skimp on the presentation. Since students and teachers have the time, the intelligence, and the materials to demonstrate the validity of a theorem, they should take advantage of this opportunity and privilege. Significant results in the history of thought that students can understand should be occasions for great drama. The high school mathematics sequence includes proofs of the quadratic formula, the Pythagorean theorem, the fundamental theorem of integral calculus, and other results. In this article, I suggest rolling out the red carpet for the proof of an important theorem. I focus on the Pythagorean theorem; the interested reader can easily adapt the treatment to any theorem that is worthy of unusual notice.

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21

McDaniel, Michael. "Sharing Teaching Ideas: Not Just Another Theorem: A Cultural and Historical Event." Mathematics Teacher 96, no. 4 (April 2003): 282–84. http://dx.doi.org/10.5951/mt.96.4.0282.

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The typical student rarely gets a chance to hold an old, powerful piece of history. In mathematics, teachers have the opportunity to present just such museum pieces; and furthermore, the class can verify their truth. Too often, however, students cringe in the face of proof and thus miss their chance to appreciate the treasure. Mathematics teachers can impress these future doctors, lawyers, politicians, and journalists with some jewels of mathematics; and teachers do mathematics a disservice if they skimp on the presentation. Since students and teachers have the time, the intelligence, and the materials to demonstrate the validity of a theorem, they should take advantage of this opportunity and privilege. Significant results in the history of thought that students can understand should be occasions for great drama. The high school mathematics sequence includes proofs of the quadratic formula, the Pythagorean theorem, the fundamental theorem of integral calculus, and other results. In this article, I suggest rolling out the red carpet for the proof of an important theorem. I focus on the Pythagorean theorem; the interested reader can easily adapt the treatment to any theorem that is worthy of unusual notice.

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22

Cieślak, Magdalena. "Adaptation in the digital era: The case of Robert Zemeckis’ Beowulf." Journal of Adaptation in Film & Performance 14, no. 1 (March 1, 2021): 41–51. http://dx.doi.org/10.1386/jafp_00041_1.

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From fidelity discourse, through medium specificity discourse, to intertextuality and remediation approach, adaptation studies have dynamically evolved and recently have responded with particular flexibility to the advent of the digital era. Even adaptations of classical literary texts, confronting the authority of their hypotexts, have daringly broken away from their fidelity constraints and ventured onto paths facilitated by the development of new media. This article discusses Robert Zemeckis’ 2007 adaptation of Beowulf and examines this film’s potential for illustrating the manifestations of digitality in adaptation discourses. A film that did not make it (in)to the box office, and an adaptation that makes literary fans cringe, it is still a fascinating cultural intertext: a radical reinterpretation of the Old English heroic poem, a star-studded special-effect cinematic extravaganza of an adventurous director, an illustration of adaptation going remediation and an inclusive transmedia hybrid.

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23

Kortunov, Vadim V., and Natalya R. Saenko. "NEW MODES OF EMOTIONS IN MODERN CULTURE." Russian Studies in Culture and Society 6, no. 3 (September 30, 2022): 53–67. http://dx.doi.org/10.12731/2576-9782-2022-3-53-67.

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The relevance of the study of the emergence of new affective states is related to the political and cultural context: global catastrophes, disillusionment with the idea of universal justice and good, doubt about the universality of humanism and Enlightenment ideas. The purpose of the study is to identify new modes of modern emotional culture (awkwardness, post-irony, new sincerity, cringe). Post-irony allows a person, while remaining in a gray moral zone, to express skepticism about the clarity and comprehensibility of the world, and the new sincerity provides tools for reassembling the world and the soul wounded by totalitarian regimes, wars and terrorist attacks in art, which is studied on literary material, therefore the main method of research is hermeneutic. The ideological separation between post-ironic populist politicians and snowflakes adhering to the norms of the new ethics is analyzed. It is assumed that at the individual level, these new modes of emotions and feelings are not only not harmful, but, on the contrary, have a therapeutic effect.

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24

Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.

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25

Hoar, Peter. "Editorial." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (December 1, 2017): 2–3. http://dx.doi.org/10.24135/backstory.vi2.18.

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Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

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26

Иванова, Анна. "Криминальная культура как детерминанта преступности." Всероссийский криминологический журнал 10, no. 4 (2016): 671–81. http://dx.doi.org/10.17150/2500-4255.2016.10(4).671-681.

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27

Godfrey, Sima. "La Guerre de Crimée n’aura pas lieu." French Cultural Studies 27, no. 1 (February 2016): 3–19. http://dx.doi.org/10.1177/0957155815617117.

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28

Karsenti, Bruno. "La marque et le crible." Les Temps Modernes 689, no. 3 (2016): 55. http://dx.doi.org/10.3917/ltm.689.0055.

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29

Reis, Maria Amelia de Souza. "Sexual education and personal and cultural patrominy: crisis and criticism; the doxa and the paradox." Revista Estudos do Século XX, no. 10 (2010): 213–30. http://dx.doi.org/10.14195/1647-8622_10_13.

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30

Khasanovna, Aripova Aziza. "THE ROLE OF COMMUNICATION CULTURE IN THE FIELD OF CRIME PREVENTION AND PUBLIC SAFETY." American Journal of Political Science Law and Criminology 04, no. 02 (February 1, 2022): 31–37. http://dx.doi.org/10.37547/tajpslc/volume04issue02-06.

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Communication culture is an important factor in crime prevention and public safety. The use of the basic concepts of deontology and communicative culture by representatives of the above-mentioned sphere in the process of communication is a good solution in communicative activities with citizens. A specialist working in the field of crime prevention must master the theoretical elements of communication, work on the practice of speech competence and always be able to involve the public in his speech. The article describes the features of the social orientation of this area, as well as its linguistic aspect.

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31

Cohen, William B., and Jean-Luc Vellut. "Un Centenaire: 1885-1985. Les Relations Europe-Afrique au Crible d'Une Commemoration." International Journal of African Historical Studies 27, no. 2 (1994): 450. http://dx.doi.org/10.2307/221070.

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32

Cadot, Michel. "Exil et poésie : la Crimée de Puškin et de Mickiewicz." Revue des études slaves 59, no. 1 (1987): 141–55. http://dx.doi.org/10.3406/slave.1987.5619.

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33

Shamdasani, Sonu. "Psychotherapy’s identity crisis: opening reflections on the historiographies of psychotherapies." História, Ciências, Saúde-Manguinhos 29, suppl 1 (2022): 15–25. http://dx.doi.org/10.1590/s0104-59702022000500002.

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Abstract This article introduces the work of the transcultural histories of psychotherapies network. Reflecting on the comparative lack of work here, it traces psychotherapies’ identity crisis, focussing on nodal points such as the rise of the term, failed attempts to unify the field from Forel to Jung, and the rise of outcome studies. Finally, it situates histories of psychotherapies within the context of adjacent fields: the relation of the history of psychotherapy to the history of science, to Freud studies, to the history of religion and religious studies, to intellectual history, to the history of psychiatry, to the history of medicine, and its place within cultural history.

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34

Lyon-Caen, Boris. "« L'énonciation piétonnière ». Le boulevard au crible de l'Étude de moeurs (1821-1867)." Romantisme 36, no. 134 (2006): 19–31. http://dx.doi.org/10.3406/roman.2006.6426.

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35

Balivet, Michel, and Homa Lessan Pezechki. "Seldjukides de Rūm contre Horde d’Or : l’expédition de Crimée d’après Ibn Bībī (vers 1225)." Revue des mondes musulmans et de la Méditerranée, no. 143 (October 1, 2018): 143. http://dx.doi.org/10.4000/remmm.11306.

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36

Raffi, Maria Emanuela. "Jean-François Fournier, La mort au crible de l’humour dans “Les morts bizarres” de Jean Richepin." Studi Francesi, no. 169 (LVII | I) (April 1, 2013): 203. http://dx.doi.org/10.4000/studifrancesi.3506.

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37

SANTOS DE MORAIS, Kátia. "Del apogeo a la crisis de la política audiovisual brasileña contemporánea." Chasqui Revista Latinoamericana de Comunicación 1, no. 142 (December 1, 2019): 57–74. http://dx.doi.org/10.16921/chasqui.v1i142.4069.

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38

Saint-Gérand, Jacques-Philippe. "« Philosophie » : le mot et les choses au crible des dictionnaires du XIXe siècle français." Romantisme 25, no. 88 (1995): 7–22. http://dx.doi.org/10.3406/roman.1995.2991.

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39

Serrano Guzmán, Juan Pablo, and Norman Tejada Sánchez. "Desarrollo social, factor de mitigación de la criminalidad en el Pacífico colombiano." Pensamiento Americano 14, no. 27 (May 1, 2021): 95–114. http://dx.doi.org/10.21803/penamer.14.27.351.

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Objetivo: La región Pacífico colombiano es una zona de conflicto entre el contrabando ilegal del narcotráfico y la convivencia de grupos armados al margen de la ley. Hasta la fecha el Estado ha promovido en su política de seguridad un desenvolvimiento de acciones militares y policiales para enfrentar este fenómeno dentro de su agenda una política antidroga. No obstante, las condiciones de subdesarrollo en la región son multiplicadores de la amenaza y los medios para conseguir la superación de esta no han sido efectivos. Objetivo: En este estudio se plantea que las acciones tendientes a promover el desarrollo social, sin contar con las vías prohibicionistas o legalistas hacia las drogas que se asuman, permitirá a los habitantes decidir entre la legalidad o ilegalidad, por cuanto se generarán oportunidades de integración regional. De tal forma, se podrá pasar del control militar al control institucional del territorio. Método y metodología: Esta investigación de tipo descriptiva y cualitativa es poder llegar a comprender que los problemas que circulan en la región pacífica no solo se trata de una aplicación de la fuerza para devolver la seguridad al territorio, sino también de la necesidad de una integralidad de soluciones con factor social que devuelva ese tejido a la pertenencia nacional con miras al desarrollo. Conclusiones y resultados: En tal sentido, se logra percibir que la falta de oportunidades en un entorno social deprimido requiere de atención especial del gobierno para fundamentar un cambio de cultura de la ilegalidad como medida de esperanza y recuperación social.

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40

Dufaud, Grégory. "La constitution d'une déviation nationaliste... dans l'Union soviétique des années 1920 : les Tatars de Crimée et la veli-ibraïmovchtchina." Genèses 86, no. 1 (2012): 104. http://dx.doi.org/10.3917/gen.086.0104.

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41

Kramer, Mark. "Impressions de Russie, l’an un: Crimée, Oural, Haute-Volga. By Georges Nivat. Paris: Éditions de Fallois/L’Âge d'homme, 1993. 129 pp. 95 F, paper." Slavic Review 53, no. 2 (1994): 640–42. http://dx.doi.org/10.2307/2501382.

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42

PHOLHIAMHAN, Rapeeporn, Surapon SAENSOUK, and Piyaporn SAENSOUK. "Ethnobotany of Phu Thai Ethnic Group in Nakhon Phanom Province, Thailand." Walailak Journal of Science and Technology (WJST) 15, no. 10 (November 3, 2017): 679–99. http://dx.doi.org/10.48048/wjst.2018.3737.

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The present study aimed to study the diversity of plants used by Phu Thai ethnic groups in Nakhon Phanom province, and to find out the correlation between genders, age, and indigenous knowledge of the Phu Thai groups. The data were analyzed by using independent-samples t-test, one way ANOVA, cultural importance index (CI), informant consensus factor (ICF), and fidelity level (FL %). The results showed that there were 329 plant species from 89 families used in the daily life by the Phu Thai.The largest number of plant species were from Fabaceae (42 species, 12.77 %), followed by Zingiberaceae (20 species, 6.07 %), and Poaceae (15 species, 4.56 %). One hundred and ninety nine species were edible and used for consumption, 176 species for medicine, 56 species for cultural purposes, and 79 for other uses. The highest informant consensus factor (ICF) of medicinal plants were calculated for injuries (ICF = 0.961) indicating the highest degree of agreement among the informants knowledge of medicinal plants used to treat disorders in this category. The highest fidelity level (FL %) values were calculated for Crinum asiaticum L. var. asiaticum (93.62%), showing the conformity of knowledge regarding use of this plant to heal ankle sprains and postpartum women. The CI values were calculated for Oryza sativa L. (CI = 2.74), followed by Saccharum officinarum L. (CI = 2.64), and Cocos nucifera L. (CI = 2.57), respectively. The most frequently used parts of the plant were leaves (82 species; 21.20 %) followed by fruits (70 species; 17.99 %), and stems (46 species; 11.85 %). Tree was the most common plant habit (77 species; 26.50 %), followed by the herb (72 species; 22.90 %), and climber (34 species; 9.20 %). The plants were gathered from cultivated fields more than from the forest. The ethnobotanical knowledge listed by males and females did not differ significantly (p > 0.05). The older informants had significantly more knowledge of medicinal plant uses than younger informants (p < 0.05). The Phu Thai ethnic group used Oryza sativa L. to make glutinous fermented liquors called “U”. It contains a variety of plants such as Alpinia galangal (L.) Willd., Lepisanthes rubiginosa (Roxb.) Leenh., Albizia myriophylla Benth., Paederia linearis Hook. f. var. linearis, Saccharum officinarum L., Streptocaulon juventas (Lour.) Merr., Oroxylum indicum (L.) Benth. ex Kurz, Harrisonia perforata (Blanco) Merr., and Tacca leontopetaloides (L.) Kuntze.

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43

Marquis, Greg. "Law, Crime, Punishment and SocietyBlack Eyes All of the Time. Anne McGillivray and Brenda Comaskey. Toronto: University of Toronto Press, 1999. 200 pp.Discrimination and Denial: Systemic Racism in Ontario's Legal and Justice Systems, 1892-1961. Clayton James Mosher. Toronto: University of Toronto Press, 1998. 230 pp.Essays in the History of Canaclian Law VIII In Honour of R.C.B. Risk. Eds. G. Blaine Baker and Jim Phillips. Toronto: Osgoode Society, 1999. 585 pp.The Expanding Prison: The Crisis in Cri1ne and Punishment and the Search for Alternatives. David Cayley. Toronto: House of Anansi Press Ltd., 1998. 388 pp.Final Appeal: Decision Making in Canadian Courts of Appeal. Ian Greene et al. Toronto: James Lorimer and Company Ltd., 1998. 235 pp.Justice in Paradise. Bruce Clark. Montreal: McGill-Queen's University Press, 1999. 371 pp.Making Sense of Sentencing. Eds. Julian V. Roberts and David P. Cole. Toronto: University of Toronto Press, 1999. 363 pp.Manufacturing Guilt: Wrongfill Convictions in Canada. Barrie Anderson with Dawn Anderson. Halifax: Fernwood Press, 1998. 143 pp.Women on Guard: Discrimination and Harassment in Corrections. Maeve McMahon. Toronto: University of Toronto Press, 1999. 202 pp." Journal of Canadian Studies 36, no. 1 (February 2001): 166–79. http://dx.doi.org/10.3138/jcs.36.1.166.

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Goldring, John. "Cultural Cringe or Lessons for Australian Legal Education?" Legal Education Review, January 1, 1996. http://dx.doi.org/10.53300/001c.6105.

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Moore, Deirdre. "Cultural Cringe in Academe : Studying Literature in the 1940s." Australian Literary Studies, May 1, 2005. http://dx.doi.org/10.20314/als.19fd71a494.

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Verma, Tarishi. "Cultural cringe: how caste and class affect the idea of culture in social media." Feminist Media Studies, December 21, 2020, 1–3. http://dx.doi.org/10.1080/14680777.2021.1864879.

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Sloan, Nathaniel. "Beyond Based and Cringe: An Examination of Contemporary Modes of Irony and Sincerity in Cultural Production." InVisible Culture, May 27, 2022. http://dx.doi.org/10.47761/494a02f6.7090a2e8.

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Guha, Suryansu. "Making a “Hate-Watch”: Netflix’s Indian Matchmaking and the Stickiness of “Cringe Binge TV”." Television & New Media, July 7, 2022, 152747642210957. http://dx.doi.org/10.1177/15274764221095792.

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Netflix’s 2020 release Indian Matchmaking drew a massive backlash particularly from South Asian and diasporic audiences who felt it normalized the experiences associated with arranged marriages. Audiences took to the internet to express how much they loved hating the show but at the same time also continued to obsessively watch despite their reservations. My paper takes up this paradox of simultaneously loving and hating a media product. By drawing from interviews with the showrunner, members of the production team and a close reading of the show’s texts and paratexts, I argue that “hatewatching” or “cringe-binge” as a mode of spectatorship only seems an oppositional form of viewing or an act of resistance to the reification of dominant hegemonic values. Far from being a function of spectatorial agency, I demonstrate how the platforms utilize “hatewatching” as a lucrative form of viewership and consumer habit to cultivate stickiness for their content.

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de Bres, Julia, and Veronika Lovrits. "Monolingual cringe and ideologies of English: Anglophone migrants to Luxembourg draw their experiences in a multilingual society." Journal of Multilingual and Multicultural Development, May 8, 2021, 1–15. http://dx.doi.org/10.1080/01434632.2021.1920965.

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Meakins, Felicity. "Shooting Baywatch." M/C Journal 2, no. 2 (March 1, 1999). http://dx.doi.org/10.5204/mcj.1743.

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"[Peter] Phelps was reacting to the news that the battle to 'save' Avalon from a Baywatch film crew invasion had been won after the Queensland Government clinched an in-principle deal with the producers of the world's most watched television show."-- Austin 5; italics added for emphasis The violent reaction of the Sydney residents of Avalon came as somewhat of a surprise to Baywatch producers and even the Australian Government, with Prime Minister John Howard reportedly commenting that the area would have benefitted from the increase in tourism and the creation of two hundred jobs. Avalon residents thought otherwise, and in the media, particularly the Sydney media, negative invasion metaphors ran rife. This disenchantment with American television culture may be considered a turning point in Australia's cultural identity analogous to an earlier example of cultural policing in the 1960s, when a new wave of nationalism saw the rejection of British and American English as the 'prestigous' varieties of English in the Australian media. It appears that parts of Australian society are again policing and promoting Australian culture through the negative, violent portrayal of American culture. Earlier this century, there was a certain repugnance associated with the Australian accent, with cultural commentators looking towards England for a standardised form of Australian English. "If we must follow a dialect of English in Australia, why not follow one of the charming ones? Why follow the ugliest that exists?" (Smith 1926; reported in Mitchell 63) "The attempt to create a distinct Australian accent is mischievous. For I make bold to say at present one does not exist. There is not, and should not be, any difference in standard English as spoken here, in the Motherland, or elsewhere in the Empire." (ABC Weekly 1942; reported in Mitchell 64-5) The linguistic manifestation of the Australian cultural cringe was complicated after World War II with the addition of American English to the 'prestigious' varieties. This attitude was exemplified in Australian radio announcers who adopted either American or British accents depending on whether the listeners were a commercial or ABC audience. The shift to an American accent for popular radio perhaps reflected the overwhelming acceptance of the American allies who had, at that stage, begun threatening England's cultural dominance. There was a clear association between America's own cultural dominance and the concepts of modernity and popular culture that were distinctly not British. The adoption of this form of English helped to perpetuate the attractiveness of the American ideology of freedom, equality, affluence and happiness (Horne 103) and to begin filtering out the hierarchical cultural snobbery associated with the British accent. In the sixties, the allure of American English became less tantalising and arguably only remained in some lexical items or words. Australian English came back into vogue during this time with writers such as Donald Horne (The Lucky Country), initiating a new wave of nationalism by pointing out the strengths of this country. Through the work of such social commentators, the Australian accent came to positively reflect the Australian ideological construction of mateship and egalitarianism. The Australian accent replaced the American accent, becoming the 'prestigious' form of English through the promotion of this form of nationalism. Even today, the battle to maintain an unadulterated form of Australian English resistant to outside influences is evident in the opinion columns. "As an Australian and proud of it, you get sick and tired of these characters [from American television programmes] mouthing 'guys, zerotouched, heist, ketchup and fries'." (Jefferies 8) However whilst the struggle to maintain a distinctive Australian accent has been successful, the attractiveness of American culture in general continues as portrayed in other cultural forms, especially television. Except for some concerns over Australian content regulations and some highbrow cultural commentary, Australians seem to be happily lapping up their nightly television doses of American culture -- that is, until Baywatch proposed that they move their filming location to the very middle-class Sydney suburb of Avalon. The residents of Avalon took this move as an act of war, and so the metaphors began flying. " .. the battle to 'save' Avalon from a Baywatch film crew invasion." (Austin 5) "Baywatch versus Avalon." (Carroll 16) "'Here they come, we surrender' [Avalon to Baywatch]" (Nicholson 18) "'Get that leaky old tub off this beach' [Baywatch to Howard]" (Nicholson 18) "'They took over the showers and toilets'" (Who Weekly 16) "They [Avalon residents] torpedoed plans .." (Lateline) The language that the media adopted in reporting the Baywatch filming proposal metaphorically constructed this event as an invasion, with the Baywatch producers as a hostile force willing to impinge upon the freedom and identity of the suburb of Avalon, which was alternatively portrayed as either a passive victim -- "'we surrender'" (Nicholson 18) -- or a virulent group armed to counterattack the Baywatch scurge -- "they torpedoed" (Who Weekly 16). Baywatch and Avalon were posed as enemies, as in "Baywatch versus Avalon" (Carroll 16), with both sides' attributes exaggerated to produce maximum difference -- the Avalon residents were described as snobby and middle class, and Baywatch became the epitome of American television trash. Yet it may be argued that this media construction of an invasion has wider, more significant cultural implications. Metonymically, the residents of Avalon seem to be representative of Australian culture, with Baywatch becoming the manifestation of American culture in its entirety. Thus, according to the media, the 'coming' of Baywatch was nothing short of a cultural invasion, an American impingement on Australian culture. The smugness of cultural commentators could be felt as the violent protests from Avalon residents perhaps marked the start of another wave of disillusionment with American culture, this time transmitted through such popular media as television. The 'popular' culture cringe that Australia seems to be suffering from in television content may be meeting its challenge. Avalon residents have made a stand against the cultural imperialism of American culture, similar to the 60s resistance to the invasion of Americanisms in Australian English. It will be interesting to examine the result of the Baywatch/Avalon incident, if indeed any lasting effects will be observed. It may be that Avalon's protest against Baywatch, which represents the struggle against American cultural invasion, will prove ineffectual. This is a likely outcome considering the Gold Coast's willingness to embrace this television show and its entourage before the decision to move to Hawaii. Indeed, the Gold Coast Mayor enthusiastically described the Gold Coast as Australia's answer to Hollywood. Yet an alternative result may be a positive re-examination and reappraisal of Australian television and its linked cultural identity similar to that which occured in the 1960s with Australian English. References Austin, Keith. "Sun, Sea Sound ... So Long." Sydney Morning Herald: The Guide 1 Mar. 1999: 5. Carroll, Nick. "Baywatch Link" Sydney Morning Herald 1 Mar. 1999: 16. "Drowning Out Baywatch." Who Weekly 8 Feb. 1999: 16. Horne, Donald. The Lucky Country: Australia in the Sixties. Australia: Penguin, 1966. Jefferys, Bob. "US Infiltration." Sydney Morning Herald: The Guide 1 Mar. 1999: 8. Lateline. Nine Network. QTQ9, Brisbane. 8 Mar. 1999. Mitchell, A. G. The Pronunciation of English in Australia. Sydney: Angus and Robertson, 1947. Nicholson. "Ulysees: An Irregular Soapie." Cartoon. The Weekend Australian 27-8 Feb. 1999: 18. Citation reference for this article MLA style: Felicity Meakins. "Shooting Baywatch: Resisting Cultural Invasion." M/C: A Journal of Media and Culture 2.2 (1999). [your date of access] <http://www.uq.edu.au/mc/9903/bay.php>. Chicago style: Felicity Meakins, "Shooting Baywatch: Resisting Cultural Invasion," M/C: A Journal of Media and Culture 2, no. 2 (1999), <http://www.uq.edu.au/mc/9903/bay.php> ([your date of access]). APA style: Felicity Meakins. (1999) Shooting Baywatch: resisting cultural invasion. M/C: A Journal of Media and Culture 2(2). <http://www.uq.edu.au/mc/9903/bay.php> ([your date of access]).

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