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Books on the topic 'Cultural reflexivity'
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1
Language in the academy: Cultural reflexivity and intercultural dynamics. Bristol: Multilingual Matters, 2010.
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2
Ian, Russell, ed. Unquiet pasts: Risk society, lived cultural heritage, re-designing reflexivity. Burlington, VT: Ashgate, 2010.
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3
Russell, Ian, and Stephanie Koerner. Unquiet pasts: Risk society, lived cultural heritage, re-designing reflexivity. Burlington, VT: Ashgate, 2010.
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4
Culture and reflexivity in systemic psychotherapy: Mutual perspectives. London: Karnac Books, 2012.
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5
Köhler, Thomas. Reflexivität und Reproduktion: Zur Sozialtheorie der Kultur der Moderne nach Habermas und Bourdieu. Hannover: Offizin, 2001.
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6
Reflexivity Critical Themes in the Italian Cultural Tradition. Ravenna Longo, 2000.
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7
Russell, Ian, and Stephanie Koerner. Unquiet Pasts: Risk Society, Lived Cultural Heritage, Re-Designing Reflexivity. Taylor & Francis Group, 2016.
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8
Sociological Cultural Studies: Reflexivity and Positivity in the Human Sciences. Palgrave Macmillan, 2006.
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9
Wall, Cynthia. Bunyan and the Early Novel. Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.35.
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The Pilgrim’s Progress (1678; 1684) is not a novel, but it comes from the same cultural swirl that produced the early novel. This chapter highlights both Bunyan’s influence on the early novel, and a seventeenth-century English culture that influenced Bunyan alongside the early novelists. The proliferation of things, the realized spaces, the vivid characters, their emblematic names, their pungent dialogues, and the metatextualities of marginalia, interpolated narratives, and self-reflexivity, all find descendants—direct, collateral, or cultural—in the deliberate repetitions of Daniel Defoe, the detailed descriptions of Eliza Haywood, the interrupting narrators of Henry Fielding, and the rhetorical patterns of every other literary genre (newspapers, histories, poems, drama) digested by the early novel.
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Tourism Ethnographies: Ethics, Methods, Application and Reflexivity. Taylor & Francis Group, 2018.
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12
Bhatia, Sunil. Studying Globalization at Home. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199964727.003.0009.
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This chapter documents the ethnographic context in which the interviews and participant observation were conducted for the study presented in this book. It also situates the study within the context of narrative inquiry and develops arguments about the role of self-reflexivity in doing ethnography at “home” and producing qualitative forms of knowledge that are based on personal, experiential, and cultural narratives. It is argued that there is significant interest in the adoption of interpretive methods or qualitative research in psychology. The qualitative approaches in psychology present a provocative and complex vision of how the key concepts related to describing and interpreting cultural codes, social practices, and lived experience of others are suffused with both poetical and political elements of culture. The epistemological and ontological assumptions undergirding qualitative research reflect multiple “practices of inquiry” and methodologies that have different orientations, assumptions, values, ideologies, and criterion of excellence.
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Rhodes, R. A. W. On Ethnography. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198786115.003.0003.
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Part II of the book turns to the genres of thought in the humanities and explores their relevance to political science. It asks the simple question ‘what can we learn?’ This chapter provides a basic introduction to ethnography for political scientists. It begins by distinguishing between naturalist and interpretive ethnography and between studying-down and studying-up, providing an example of each. Second, the chapter reviews the shared toolkit, focusing on fieldwork, participant observation, and ethnographic interviewing. Third, and at the heart of the chapter, it surveys the defining debates surrounding ethnographic methods arising from the ‘culture wars’ of the 1980s in cultural anthropology: the problems of representation, generalization, objectivity, explanation, and reflexivity. Finally, the chapter offers some comments on future trends in political ethnography, focusing on, for example, hit-and-run ethnography, and ‘new’ methods for recovering data.
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Lucas, Gavin. Fieldwork and Collecting. Edited by Dan Hicks and Mary C. Beaudry. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199218714.013.0009.
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Studies of collecting and fieldwork in the disciplines of archaeology and socio-cultural anthropology are relatively undeveloped, but in the last decade there has been a noticeable rise in interest as part of a broader reflexivity in the practices of these and related disciplines. Collecting, studied from a psychological perspective has a longer history, especially through Freudian interpretations that linked it with the anal retentive stage, thus associating it with certain personality traits. However, as part of a wider discourse, it is a fairly recent topic of investigation and has been generally approached either in the context of consumer research or more commonly, museum studies. This article traces the consequences of fieldwork and ways of interpreting the same. This distinction shares a similar focus on retrieving and collecting material culture. This article further discusses the status of fieldwork as it is today with special reference to anthropology and archaeology.
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LaRocca, David, ed. Metacinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.001.0001.
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When a work of art shows an interest in its own status as a work of art—either by reference to itself or to other works—we have become accustomed to calling this move “meta.” While scholars and critics have, for decades, referred to reflexivity in films, it is only here, for the first time, that a group of leading and emerging film theorists joins to directly and systematically address with clarity and rigor the meanings and implications of the meta for cinema. In ten new essays and a selection of vital canonical works, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What we have here, then, is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. Since metacinema has become an increasingly prominent cultural phenomenon—a kind of art and logic familiar to everyday experience around the world—its abundance and pervasiveness draws our attention. With more and more films expressing reflexivity, recursion, reference to other films, mise en abîme, seriality, and exhibiting related intertextual traits, the time is overdue for the kind of capacious yet nuanced critical study now in hand.
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van Zomeren, Martijn, and John F. Dovidio. Introduction. Edited by Martijn van Zomeren and John F. Dovidio. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190247577.013.22.
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This introductory chapter discusses the meaning of the human essence in psychology and the potential impact of answers to the question of what is the human essence can have on the field. It highlights key perspectives on “the human essence” presented in the volume, with particular emphasis on the reciprocal relationships among individuality, sociality, and cultural embeddedness. The chapter explains how the evolution of humans’ cognitive abilities produced both unique individual capacities, such as powers of reflexivity, and social adaptations, such as the development of culture. It also discusses individuality as a human essence, which is a view expressed in in several chapters of the volume that draw insights from work on existential psychology, meaning, free will, self-evaluation, goals, and basic physiological processes. Another common theme it identifies across several chapters is that the capacity for change and growth through the pursuit of truth, beyond individual self-interest, represents the human essence. The chapter concludes with an overview of organization and the content of the other chapters in the volume.
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Bourdieu, Language-Based Ethnographies and Reflexivity: Putting Theory into Practice. Taylor & Francis Group, 2018.
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18
Bourdieu, Pierre. The Scientific Method and the Social Hierarchy of Objects. Edited by Thomas Medvetz and Jeffrey J. Sallaz. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199357192.013.10.
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In this short piece, which exemplifies his long-standing commitment to epistemic reflexivity, Bourdieu pinpoints one of the primary means of censorship in scientific disciplines: namely, the “social hierarchy of objects” dictating that certain objects be considered worthy of investigation (such that even redundant and scientifically insignificant accounts of these may yield “material and symbolic profits” for the researcher), while others are taken as trivial, vulgar, or otherwise unworthy. Reflecting on the “silence that enshrouds” the latter, Bourdieu sketches the broad outlines for a study of the division of scientific objects into categories like “noble or vulgar, serious or futile, interesting or trivial.” Underpinning this discussion is his unwavering commitment to the goal of scientific autonomy, which demands that scientists choose their objects based on scientific considerations alone, without regard for commercial, political, or cultural pressures, disciplinary fads and fashions, professional considerations, or other solicitations originating outside the scientific field.
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Nagar, Richa. Reflexivity, Positionality, and Languages of Collaboration in Feminist Fieldwork. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038792.003.0004.
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This chapter is organized as follows. Part 1 is an abridged and revised version of a longer piece originally written with Susan Geiger between 1997 and 2001. Part 2 is a revised version of an article that first emerged in 2001–2; it deployed the arguments made with Geiger to interpret the responses of three different feminist audiences to a manuscript that the author submitted to the journal, Gender, Place and Culture. Part 3 is a revised version of a chapter that was first written in 2005–6, around the same time that Part 1 was being revised for publication. It can be seen as a postscript to the discussion on reflexivity and positionality, with attention to language and translation, themes that have continued to acquire increasing prominence in the author's concerns since then.
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Wenzel, Jennifer. The Disposition of Nature. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823286782.001.0001.
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What role have literature and other cultural imagining played in shaping understandings of the world and the planet, for better and for worse? How might the formal innovations, rhetorical appeals, and sociological imbrication of world literature help confront unevenly distributed environmental challenges, including global warming? This book examines the rivalry between world literature and postcolonial theory from the perspective of environmental humanities, Anthropocene anxiety, and the material turn. Drawing its examples primarily from Africa and South Asia, it takes a contrapuntal approach to sites and subjects dispersed in time and space. Reading for the planet means reading from near to there: across experiential divides, between specific sites, at more than one scale. Recurrent concerns across the chapters are the multinational corporation (and the colonial charter company) as a vector of globalization and source of cultural imaginings and environmental harm; who (or what) can be regarded as a person; scenes of world-imagining from below in which characters or documentary subjects situate their experience within a transnational context; and formal strategies that invite reflexivity from the audience, in order to register, at the level of literary form, the uneven universality of vulnerability to environmental harm. The book argues for the relevance of the literary to environmental thought and practice. An understanding of cultural imagining and narrative logics can foster more robust accounts of global inequality, to energize movements for justice and livable futures.
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Threadgold, Steven. Bourdieu and Affect. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529206616.001.0001.
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A Bourdieusian contribution to studies of affect provides a more comprehensive understanding of the everyday moments that make, transform and remake the social contours of inequality, and how those relations are contested and resisted. By teasing out the affective elements already implicit in concepts like habitus, illusio, cultural capital, field and symbolic violence, this book develops a theory of affective affinities to consider how emotions and feelings are central to how class is affectively delineated along with material and symbolic relations. This includes theorising habitus as one’s history rolled up into an affective ball of immanent dispositions, an assemblage of embodied affective charges. Sketching fields as having their own affective atmospheres and structures of feeling, while considering everyday settings that the concept of field cannot capture. Drawing upon illusio, social gravity and social magic to unpack how the embodied nature of the forms of capital mean they operate in affective economies mediating transmissions of affective violence. The book concludes by critically engaging with aspects of social change due to the rise of reflexivity, irony and cynicism and proposing the figure of the accumulated being to challenge the dominance of homo economicus.
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The Public on the Public: The British Public as Trust, Reflexivity and Political Foreclosure. Palgrave Pivot, 2015.
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23
Hilmes, Michele, Matt Hills, and Roberta Pearson. Transatlantic Television Drama. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.001.0001.
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A tide of high-quality television drama is sweeping the world. The new transnational television series has developed not only global appeal but innovative new modes of production, distribution, and reception. Nowhere is the transnational exchange of television drama more vital than between Britain and the United States, where it builds on more than sixty years of import, adaptation, coproduction, and fandom. This edited volume explores the transatlantic flow of television drama, focusing on key programs, industry strategies, critical debates, and audience reception, from an international roster of scholars and researchers. The chapters explore some of the most widely discussed programs on the transatlantic circuit. The book's first part focuses on media industries, tracing the history of transatlantic exchange and investigating contemporary practices such as coproduction, digital distribution, global partnerships, promotion, and branding. The second part concentrates on specific television texts and their negotiation of meaning across cultural contexts, exploring critical issues in the creation of transnational drama, such as heritage, proximity, performance, and self-reflexivity. Part III turns to the lively sphere of transatlantic fandom and commentary, including fan conventions, fan fiction, the role of both traditional and social media, and fan strategies for negotiating cultural differences. Transatlantic Television Drama provides a wide-ranging analysis of a phenomenon at the forefront of today’s television universe. It is focused on the serial dramatic programs that have gained the bulk of critical and popular attention and is particularly concerned with the impact of digital technologies on the production, distribution, and reception of television drama.
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Cohan, Steven. Hollywood by Hollywood. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190865788.001.0001.
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The backstudio picture, or movie about filmmaking, is a genre as old and as recent as commercial filmmaking itself. This genre’s longevity is due to its function in branding filmmaking with the mystique of Hollywood. As the backstudio picture depicts it, Hollywood is simultaneously (1) an actual locale in the Los Angeles metropolitan area, (2) a business dedicated to the standardized production of motion pictures, and (3) an enduring cultural fantasy about fame, leisure, consuming, sexuality, artistry, and modernity. This overlapping of the literal (the locale) onto the material (the business) and the symbolic (the fantasy) has registered the impact of the film industry’s transformations as an institution even when the genre mystifies these changes in story terms. It is also the means by which the genre authenticates while glamorizing the industry’s representation of labor. Although Hollywood by Hollywood roughly follows the four major cycles of the genre’s development from the 1920s through the present day, it also loops back and forth in this chronology. Individual chapters discuss the genre’s self-reflexivity, its representations of Hollywood as a geographically specific yet imaginary place, narratives about movie-struck girls, narratives about has-been female stars, the masculinization of Hollywood through the focus on white male filmmakers, the genre’s recounting of the industry’s history in stories set in 1929, 1951, and 1962, and, finally, how Hollywood’s filmmaking practices have been moved offscreen, whether to break the fourth wall of the virtual world of film or to supply a cover for covert governmental actions.
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Roche, David. Quentin Tarantino. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819161.001.0001.
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An in-depth study of all Tarantino’s feature films to date (from Reservoir Dogs to The Hateful Eight), Quentin Tarantino: A Poetics and Politics of Cinematic Metafiction argues that, far from wallowing in narcissism and solipsism, a charge directed not only at Tarantino but at metafiction in general, these self-conscious fictions do more than just reflexively foreground their status as artefacts; they offer metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical and political potential of creation as re-recreation and resignification. By combining cultural studies and neo-formalist approaches, this book seeks to highlight how intimately the films’ poetics and politics are intertwined. Each chapter explores a specific salient feature, some of which have drawn much academic attention (history, race, gender, violence), others less so (narrative structure, style, music, theatricality). Ultimately, Quentin Tarantino: Poetics and Politics of Cinematic Metafiction places Tarantino’s films firmly in the legacy of Hawks, Godard, Leone and the New Hollywood, and revises the image of cool purveyor of pop culture the American director cultivated at the beginning of his career by foregrounding the breadth and layeredness of the films’ engagement with cultural history, high and low, screen and print, American, East Asian and European. The films produced by the Tarantino team are formal invitations for viewers to similarly engage with, and reflect on, the material, and delight in doing so.
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O'Neill, Kevin Lewis. Anthropology and Genocide. Edited by Donald Bloxham and A. Dirk Moses. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199232116.013.0010.
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This article explores the relationship between anthropology and genocide. Anthropology is the study of culture — the attitudes, behaviours, and practices that constitute a given community. The anthropology of genocide lends analytical clarity and empirical rigour to a range of issues, including truth, memory, and representation in post-genocidal spaces. Anthropology's growing interest in genocide has a number of roots, including a continued interest in both modernity and globalization as well as violence and terror; a shift from small village studies to research that examine the state-level dynamics in situations of upheaval, flux, and violence; and a greater commitment to reflexivity, historicity, and engaged anthropology. The formation of anthropological questions relating to genocide studies builds from several other intellectual developments such as critical assessments of ethnography, nationalism, violence, and refugees, but nonetheless continues to extend far beyond these issues in rather creative and thought-provoking ways.
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Herman, David. Multispecies Storyworlds in Graphic Narratives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190850401.003.0005.
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Chapter 4 returns to questions of media first posed in the introduction. Specifically, it considers how the creators of comics and graphic novels in which nonhuman animals are focal participants use the verbal-visual affordances of the medium to project nonhuman worlds. The chapter highlights two key issues in this connection. The first issue concerns the ways in which animal comics at once bear the impress of and also comment reflexively on animal geographies, or cultural understandings of where animals belong relative to the places associated with human institutions, practices, and activities. The second issue, on which chapters 6 and 7 provide additional perspectives, concerns the techniques used in graphic narratives to evoke animal experiences. At stake here is the extent to which, and the specific ways in which, narrative constitutes a transmedial resource for engaging with forms of nonhuman subjectivity.
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Gardner, Colin. Bridging Bateson, Deleuze and Guattari Through Metamodelisation: What Brian Massumi Can Teach Us About Animal Politics. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0009.
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This chapter turns to the seminal work of the English anthropologist/ cyberneticist, Gregory Bateson (1904-80) as a crucial ecological and ludic foundation not only for the work of Deleuze and Guattari – the pair coined the term ‘plateau’ as a continuous, self-vibrating region of intensities from Bateson’s study of Balinese culture – but also Brian Massumi’s more recent exploration of the supernormal tendency in animal play as a metacommunicative model for a new form of political metamodelisation based on Guattari’s advocacy of an ethico-aesthetic paradigm. Drawing heavily on Bateson’s 1955 essay, ‘A Theory of Play and Fantasy’, Massumi stresses how, for example, a play fight between wolf cubs entails the staging of a paradox, whereby a cub bites and at the same time says ‘This is not a bite, this is not a fight, this is a game,’ whereby the ludic stands in for the suspended analogue: real combat. Massumi calls this level of abstraction game’s ‘-esqueness,’ its metacommunicative level which self-reflexively mobilizes a vitality affect that generates a trans-situational process that moves across and between intersecting existential territories. The latter entails the construction of a third dimension, the ‘included middle’ of play and combat’s mutual influence, which Massumi calls ‘sympathy’.