Saudade as a Cultural Concept

This textbook puts sport in the spotlight of cultural inquiry for the first time. The authors provide the essential resources for the study of sport within culture and popular culture. Sport is an important part of cultural life, yet until recently it has tended to remain on the margins of academic cultural studies. Beginning by considering sport in relation to the pre-cultural studies tradition of cultural commentary, The Uses of Sport then moves on to a critical engagement with a number of themes relevant to contemporary cultural studies including: community and social capital, cultural populism, cultural materialism, visual culture and film, and postmodernism and citizenship. As sport continues to gain cultural and academic significance, this textbook will become the definitive resource for students and scholars of cultural studies, sociology, and sport and leisure studies.

Reviewed by: Empires of Vision: A Reader ed. by Martin Jay and Sumathi Ramaswamy Carla Manfredi Empires of Vision: A Reader. Edited by martin jay and sumathi ramaswamy. Durham, N.C.: Duke University Press, 2014. 688 pp. $119.95 (cloth); $32.95 (paper). Empires of Vision contributes to our understanding of the visual cultures of European imperialism and to their afterlives in postcolonial milieus. Thoughtfully edited by cultural historians Martin Jay and Sumathi Ramaswamy, the volume includes twenty-one reprinted essays and is divided into two sections: “The Imperial Optic” and “Postcolonial Looking.” The first section introduces five visual media within a trans-historical and global context that spans roughly five hundred years of imperialism. The second section focuses on the decades following decolonization and explores the different ways in which subaltern artists have responded to or “look[ed] back” (p. 3) at Europe. The selections offer a multitude of historical, regional, cultural, and theoretical perspectives, which will be of interest to an interdisciplinary readership. Although many of the volume’s selections will undoubtedly be familiar to seasoned scholars, they will provide graduate students with a solid grounding for future historical and theoretical research across the fields of imperialism, postcolonialism, visual and cultural studies, and art history. It is impossible to do justice to any book in a brief review let alone to extracts from twenty-one impressive pieces of scholarship. Thus, this review focuses on the editors’ contributions to Empires of Vision, which are bold reminders of what cross-disciplinary study can achieve: a recasting of conventional, written histories and a questioning of entrenched theoretical paradigms. In “The Work of Vision in the Age of European Empires,” Ramaswamy offers a sophisticated and lucid introduction to current critical approaches to colonialism and visual culture. The stakes of Empires of Vision are clearly defined: “The image is a site where new accounts of empire, the (post)colony, and Europe itself emerge and depart from—even challenge—the more familiar narrative line(s) of nonvisual histories” (p. 3). The volume, explains Ramaswamy, responds to and encourages a gradual academic reorientation. Despite the appearance of several recent visual culture anthologies, the study of art remains largely limited to art history; indeed, histories of colonialism and postcolonialism marginalize the integral role of visual culture in the production of colonial violence. Ramaswamy supports her claim with an anecdote about Edward Said, who confessed that “‘just to think about the visual arts generally sends me into a panic’” (p. 5). Panic becomes a productive metaphor for theorizing how images are often “disorderly” and “unpredictable” and sometimes “incoherent”; thus, Empires of [End Page 927] Vision offers alternative histories to those presented in official textual archives (pp. 5–6). If colonial and postcolonial studies have given short shrift to the visual arts, then visual culture studies also need to catch up. In conventional visual culture accounts, the presence of empire is still obscured, resulting in a European framework of visuality (p. 10). To illustrate this argument, Ramaswamy refers to a compelling 1996 “Visual Culture Questionnaire” published in the journal October: No one who responded to this questionnaire was a specialist in visual arts from regions other than Europe or the United States (pp. 10–11). Needless to say, the questionnaire highlights the importance of this collection, which will militate against parochialism (whether disciplinary or otherwise) and encourage interdisciplinary and interregional approaches to visuality and empire. In their introduction to part 1, “The Imperial Optic,” Ramaswamy and Jay trouble Eurocentric approaches to visual culture by underscoring the dynamic interactions between metropolitan technologies and indigenous traditions and practices. Thus, the “mutually constitutive relationship between empire and image-work” engendered new practices of seeing in and outside Europe (p. 25). Part 1 is divided into four sections, which deal with easel painting, mass-printed illustrations, cartography, and photography/film respectively. Anthropologist Deborah Poole’s influential notion of “visual economy” (1997) serves as an underlying concept for this part. The term “visual economy,” rather than “visual culture” is better suited to consider how images circulate within wide social, cultural, geographical, and imperial networks. In other words, individuals do not have to share a common (visual) culture in order to belong to the...

In this paper, I want to begin to contemplate the possibility that the concept of culture could one day be thought outside modern Western thought, via a reading of Martin Heidegger's 'Dialogue on Language between a Japanese and an Inquirer'. As we shall see, for Heidegger, the dominant position here is representationalism. And so a large part of what I want to do here is to begin to shake the concept of culture from these dominant representationalist moorings.

The article examines the interaction of jazz, folklore, and contemporary musical practices within the framework of cultural discourse. The aim of this publication is to study scholarly perspectives on folklore and jazz practices, illustrated through musical examples by various authors. The origins of jazz in African American musical folklore are analyzed, as well as its adaptation in both global and Ukrainian cultural contexts. Particular attention is paid to the role of folkloric elements as a source of innovation in jazz improvisational forms, and their transformation under the conditions of globalization and postmodern artistic thinking. The article addresses the cultural challenges of preserving the authenticity of folk traditions in the process of their integration into modern musical practices. The experience of Ukrainian musicians who combine national folklore with jazz styles is traced, highlighting the formation of new models of cultural communication. The study outlines the significance of folklore–jazz synthesis for shaping cultural identity and expanding the boundaries of musical culture. The conclusion emphasizes that the dialogue between jazz and folklore contributes to the preservation of cultural memory while simultaneously opening prospects for further artistic innovations in the ХХth and ХХІst centuries. The methodological basis of the study integrates comparative cultural analysis, musicological interpretation, and interdisciplinary approaches from ethnomusicology, jazz studies, and cultural theory. A combination of historical-contextual and analytical methods was applied to explore the interaction between folklore and jazz practices. Primary sources (musical compositions, recordings, and scores) and secondary sources (scholarly works by Bruno Nettl, Ted Gioia, Ingrid Monson, Richard Crawford, and Ukrainian researchers) were examined. Particular emphasis was placed on case studies of Ukrainian musicians and ensembles incorporating folkloric material into jazz idioms. The scientific novelty of the study is based on: Revealing the dual role of folklore as both a medium of cultural memory and a generator of stylistic innovation in jazz practices. Demonstrating how Ukrainian musicians creatively reinterpret national folklore through jazz, forming unique models of cultural dialogue within global artistic processes. Expanding the theoretical framework for analyzing folklore–jazz synthesis in the context of postmodern cultural discourse. Highlighting the significance of folklore–jazz interaction not only as a musical phenomenon but also as a means of preserving and reconfiguring cultural identity under conditions of globalization. Practical Significance. The conclusions from this study can be used in further studies of folklore–jazz synthesis within global and local cultural contexts. They may also serve as a methodological basis for developing educational programs, concert practices, and interdisciplinary research in musicology and cultural studies. Keywords: jazz, folklore, African American folklore, musical culture and art, style, genre, interpretative potential of music, guitar music, composer.

This book addresses the important question of what appears as luxury in contemporary visual culture. The author introduces the reader to the concept of visual culture to clarify the transformation of the private and public spheres of luxury in contemporary advanced cultures. • Luxury in contemporary visual culture is contextualized by linking its precise sphere – abundance – to those of fashion and art, photography, cinema, television, and social media that configure the structures of contemporary visual culture. • The visual representations of contemporary culture are considered as luxury-branded visual representations and the idea of visual culture as the portrayal of luxurious photographic, cinematic, and televisual selves. • Examinations of the roles of contemporary fashion and art in visual culture are employed as conduits to later analyses of visual consumers, luxury-branded and other visual representations produced by twentieth-century and contemporary fashion photographers and filmmakers, television, and social media producers in everyday life. • The ways in which luxury is utilized and operates in twentieth-century and contemporary cinema and television are investigated through the luxury lifestyles, lavish choices, luxurious values, and occasionally wayward inclinations sustaining the new voluptuousness and behaviors. • The new role of the luster of the digital luxury fashion house is addressed before the conclusion. Luxury and Visual Culture presents a thoughtful, yet user-friendly explanation of how luxury is undergoing numerous shifts in visual culture. It is vital reading for all scholars and students in critical luxury studies and visual culture, fashion theory, contemporary art, photography, cinema, television, and social media studies.

This chapter deconstructs the concept of rights in an effort to adjust it to the particular status of children. The argument advanced is that traditional bodily practices are integral to ones culture and, hence, also fall within the scope of his or her cultural rights. In the context of children, the argument has to be understood in light of their rights to cultural identity. The chapter looks at the concepts of culture, cultural rights, and cultural identity, and highlights some of the problems associated with their analysis. Examining leading scholastic theories on the issue, the chapter shows the role identity plays in the childrens exercise of their rights and ties it to childrens bioethics. It also discusses some of the scholarship concerning the childs cultural identity, as well as the address of the Monitoring Committee under the Childrens Convention (Childrens Committee or Committee).Keywords: childrens bioethics; Childrens Convention; cultural identity; cultural rights

The article hypothesizes the necessity to assess the potential of "cultural labor" - the social role of cultural workers, their needs, and the economic potential of creative employment to update approaches to cultural policy. The economic potential of culture directly depends on the subjectivity of artists, on the regulation of organizational and economic features of cultural space as an economic entity, the effectiveness of which should be reflected and maintained in the priorities of cultural policy. The definition of strategy and appropriate tactical actions are expected to maintain an effective balance between cultural value and economic potential, not contrasting, but combining these characteristics for the common good of society. The article considers the subjectivity of artists, as well as the methodology of cultural labor research, probable causes and definite inconsistencies in the analysis of cultural space (and cultural labor) in theoretical research in cultural studies, sociology of culture and economic theory. Based on the fact that "cultural labor" is an interdisciplinary category by definition, the article presents both theoretical developments in the methodology of its research and practical context. Crucial for understanding of cultural labor is the changing subjectivity of cultural worker, which focuses on the protection of labor rights, participation in political and social movements, etc. However, the changes in social perception for artistic subjectivity remain equally important to disclose.

Comprehensive Toolkit to Qualitative Research in Cultural Studies

Statement of the problem. The article presents a comprehensive analysis of the diptych "Prelude and Fugue" No. 4 in E minor from the cycle "24 Preludes and Fugues" by Vsevolod Petrovich Zaderatsky, which is a unique phenomenon of Ukrainian musical culture of the 20th century and at the same time a mystical and psychological diary of the composer’s concentration camp experience. The choice of the theme is posed by the value of the diptych as a means of conveying the mental and psychological experience of those imprisoned in existential and borderline situations of camp reality, and the need of revealing the symbolic formulas of the musical text, which are cultural codes of national identity and traumatic memory of the Ukrainian people. The reconstruction of such works from the positions of art history, cultural studies, psychology and theology allows us not only to understand the logic of musical presentation, but also the encrypted deep psychological reality that could not be expressed in words. Objectives, methods, and novelty of the research. For the first time, a comprehensive analysis of the diptych “Prelude and Fugue” in E minor No 4 as the page of the psychological “diary” “24 Preludes and Fugues”by Zaderatskyi from the point of view of musicology, philosophy, cultural studies, theology and psychology, identifying ways to reproduce the traumatic transformation of the “I” of the repressed generation has been carried out. This approach allowed us to discover symbols in the musical text that tell about the personal experience of the composer, as well as the experience of the split “I” of the prisoners. Research results. The following tasks resolved in the study: to analyze the structural and thematic features of the diptych; to explore the symbolism of the bell in the context of individual and collective cultural memory; to reveal the traumatic experience of the hero’s “I” through the psychological dimension of the diptych; to combine musicological, philosophical, cultural, theological and psychological approaches for a holistic understanding of the “Prelude and Fugue” in E minor No. 4. It is emphasized that the cycle “24 Preludes and Fugues” became “a place of memory”, where the encrypted images of the native home and the traditional values create a psychologically safe space for meeting one’s own pain and fearthanks to which the composer managed to maintain psychological health in the terrible conditions of the camp reality. The bell is considered as a symbolic figure of time and memory that preserves and transmits the cultural and spiritual traditions of the Ukrainian people. As the tragic composer, Vsevolod Zaderatskyi skillfully recreates the suffering of broken "I" through musical language, allowing the modern listeners, thanks to sound formulas, to feel the composer’s existential experiences, comparing them with their own ideas about life, death and moral choice in crisis situations. Conclusion. The diptych No. 4 in E minor is one of the darkest and most mystical works in V. Zaderatskyi’s cycle “24 Preludes and Fugues”, which combines classical polyphonic mastery with deep psychological and spiritual expression. A comprehensive approach to its study allows not only to comprehend the artistic logic, but also to reconstruct the spiritual world of the composer, which serves as evidence of the life and cultural experience of the generation that survived repression. Musical images of the diptych, in particular, the symbolism of the bell, are carriers of cultural memory and national identity, making this work extremely valuable both for musicology and for interdisciplinary research in the fields of psychology, cultural studies and theology. The diptych “Prelude and Fugue” in E minor No. 4 is extremely relevant for the modern study of Ukrainian music, cultural identity and the history of psychical traumatism in the 20th century.

Many music-related subcultures have their own printed media known as fanzines. These journals often include comics, drawn by amateur artists who belong to the same subculture. In my article I will focus on the comics in German reggae and punk fanzines. I am going to demonstrate that besides entertain- ment and fun, these comics also entail a wide range of political, social and cultural messages as well as attempts to define the subculture's identity. Punk/ skinhead-comics often discuss political issues, criticize certain features of punk culture (like local patriotism), but also raise issues such as commercialization. Reggae-fanzines focus very often on stressing certain cultural traits like the use of colloquial language, behaviour patterns and dress code which are considered essential to being part of that subculture. Considering the joking, the paper reveals that similarly to South African tribes, the humour of punk and reggae fanzines hides very serious social, political and cultural issues. In this paper I want to discuss comics of the German reggae and skinhead subculture and look how they link with the confirmation and building of sub- cultural identities. I want to display that in the analysis of sub-cultural comics we can use concepts of the joking relationship, and also lean on the concept of trickster from classical anthropological theory. In researching literature for this paper I searched academic databases to find out what has been published about subcultures' comics. Using key words like subculture, sub-cultural, cartoon and comic(s) I found literally nothing that could have been useful for my own paper. Most results I received were about the subculture of comics, i.e. comic fans' subcultures. For example, there are studies about how comic fans copy the dress and behaviour of their comic heroes (e.g. Tsutsui 2008). I do not want to argue that no research has been done about comics of subcultures but I was not able to locate examples. It shows that scholars of cultural studies, subculture studies or sociology work-

Eric Hobsbawm's book The Jazz Scene (1959) is rarely mentioned by scholars in cultural studies and related disciplines. This article argues that the book has been neglected for too long, not least because it played an important transitional role in the development of British Marxist writing on popular culture. It can essentially be seen as a critical response to the cultural politics of the British Communist Party in the late 1940s and 1950s. In seeking to prove that jazz was a form to which serious people ought to pay attention, Hobsbawm drew freely but largely implicitly on the ideas of the numerous British communists who had (1) provided the so-called Second Folk Revival with its founding principles, and (2) resisted the post-war influence of American popular culture. Hobsbawm's attitude to the work of his communist contemporaries was a strikingly ambiguous one. Aware that the Communist Party's cultural line was at once illiberal and unrealistic, he nevertheless tried to build on some of its main principles while calling others into question. The result was a book that refused to break entirely with communist orthodoxy but which also foreshadowed some of the main theoretical insights developed by later Marxist writers in cultural studies. Section One of the article examines the main ideas about popular culture to which British communists subscribed in the 1940s and 1950s. Section two identifies the theoretical principles on which The Jazz Scene was based. Section Three speculates briefly about Hobsbawm's influence on cultural studies in the 1960s and after.

The overwhelming focus on textual or dharma studies in Buddhism, to the relative neglect of artistic production, has led to a bias in understanding the close and intricate relationships between Buddhist art (usually comprising sculptures, mural paintings, architectural facades and ornamental elements, illuminated paintings, cloth banners, and drawings in manuscripts), rituals, and the written word. The constant dialogue between material, visual, and ritual cultures should be approached in tandem. Visual culture is a significant part of Buddhism and must be treated as part of the same social, historical, and geographical contexts as texts and practices. Buddhist visual culture, including art media, graphic aids, and physical objects or monuments associated with Buddhist practices, does not merely serve to illustrate sacred texts, legends, and doctrines. In addition, the textual tradition does not always have to explain or justify the presence—or absence—of a material object such as a Buddha icon or a Buddhist painting. While visual culture studies have become increasingly important in various academic fields over the years, a critical and complete overview of the precise relationship between art, ritual, and text in the study of south and southeast Asian Buddhism has yet to be written.

This article addresses the turbulent relationship that British cultural studies scholars have with the concepts of ‘class' and ‘tradition’ and the problematic status of these key terms within the cultural studies literature. The authors maintain, in part, that these concepts have been deployed within a center–periphery thesis and a field-bound ethnographic framework by cultural studies scholars pursuing a sub-cultural studies approach. Within this framework, ‘Britishness' has been the silent organizing principle defining metropolitan working-class traditions and forms of cultural resistance. British cultural studies proponents have therefore pursued the study of class and culture as a localized, nation-bound set of interests. This has placed cultural studies in tension with post-colonial subjectivities. The authors write against the grain of the textual production of the working class within cultural studies scholarship, insisting that recent films and literary works offer a more complex story of class identities in the age of globalization and transnationalism.

In recent years, considerable attention has been paid to the social and economic significance of the arts and cultural production, or 'creative industries'. Research into the relationship between the latter and community changes has been brought to the fore by the introduction of interactive media technologies, and by the need to understand and conceptualise them culturally. However, this is not to say that the issue is a completely new one and thus, in this article, I aim to investigate film-first in general, and then specifically the New German Cinema (NGC), and its complex interconnectedness with the postwar West German society. I would like to highlight, though, the fact that one finds different voices within this cinematic movement, and that it is less homogeneous than the term 'New German Cinema' might suggest. Initially, it has to be noted that the feature films of the Nac can be broadly categorised as political interventions, since they use the medium's capacity to make 'narratives for change' discursively available to a mass audience. However, these productions are not straightforward political propaganda but rather fictional texts, which are composed in a range of different ways (formally, as well as in terms of their story content). Hence the NGC has to be seen as a project within which diversity (in the form of complex articulations) is held together by the aim to create 'new films' for a 'new society'. In this vein, film can be theorised as a practice that is part of a social process (Turner, 1993). A distinctly cultural studies approach to film is useful in this analysis. Since 'culture' became redefined by cultural studies as 'a whole way of life', subject to construction processes within society and carried out on the basis of shared beliefs, specifically symbolic systems such as literature and film have become prime research targets. As a consequence of wanting to understand how film might be part of the particular culture under analysis, cultural studies scholars such as David Morley (1993) and Roger Bromley (2001) have looked more closely into film itself as a specific means of cultural (re-)production. Subsequently, film has been examined as a cultural product and as a social practice, valuable both for itself and for what it can tell us about the systems and processes of culture. Today, the analysis of film is not restricted to film studies but is a common practice in many disciplines, including cultural studies. However, although film is the object of study within various cultural studies investigations, it is hardly ever the final target of inquiry, but rather part of a broader argument about representation. This makes film one case study within the vast area of cultural production, and the methods applied to its analysis are not confined to it as such, but are transferable to the examination of other media. This introduction of the concept of film as a social practice leads me to the discussion of the NGC as an example of changes within the media landscape in post-war West Germany. For this purpose, the 'old' German cinema and its respective productions have to be understood as a point of departure for the NGC. Here I am thinking especially of the so-called 'Heimat' films: a genre which, with regards to production and reception figures, dominated the 1950s cinematic scene in West Germany. In narrative terms, these films perpetuate an unproblematic sense of community, which is rooted both in the past and in tradition, linked to a bounded space that mainly takes the shape of a rural idyll, and generally seems to be a timeless allusion to essentialist notions of communality. The films' realist mode and linear plotlines call on the audience to identify with the protagonists, who are usually caught up in romantic and happy-ending love stories. A prime example of the 'Heimat' films' hero is the forester in Grun ist die Heide (Green Is The Heath, Deppe 1951). …

What does it mean to insist on the visual as a form of psychic and political violence? And how are women specifically targeted by symbolic violence during periods of war and colonization? Between Image and Identity highlights postcolonial feminist efforts to transform violence into aesthetic and political strategies of resistance. This book explores the 'autobiographical' literature, visual, and performance art of postcolonial women from Maghreb and Southeast Asia including Leila Sebbar, Assia Djebar, and Theresa Hak Kyung Cha. Karina Eileraas critically examines how contemporary these artists actively participate in the violence of representation in order to re-imagine the relationship between image and identity. By exploring the creative potentials of fantasy, alienation, and misrecognition in their work, these artists rewrite postcolonial history and re-vision the relationships between sexual politics, symbolic violence, and national memory. Between Image and Identity is a compelling and innovative book that will appeal to those interested in postcolonial and feminist studies, autobiography, visual culture, war and trauma studies.