Search results

You are looking at 71 - 80 of 81 items for :

  • "cultural engagement" x
  • Refine by access: All content x
Clear All
Abstract only
John Corner

. These factors importantly include the patterns of work and of everyday domestic life within whose terms cultural products are encountered with different degrees of purposiveness and in whose settings they are consumed. Bourdieu himself gave emphasis to the ‘conditions of necessity’, a function of economic and social class and also, crucially, of gender, which variously constrain the times and spaces within which modes of cultural engagement can be pursued. As well as constructing these daily parameters, such conditions also provide orientations and tendencies of mood

in Theorising Media
Abstract only
Picturing Charlotte Brontë
Amber K. Regis and Deborah Wynne

Afterlives evaluate more than 150 years of cultural engagement with Charlotte Brontë, considering fluctuations 2 3 Introduction: picturing Charlotte Brontë in her literary reputation; innumerable adaptations of her novels for film, television, radio, theatre and the Internet; biographies and fictional biographies; the development of an author cult and the growth of literary tourism; neo-​Victorian reworkings of Charlotte Brontë’s works; the legacy of her poetry; her influence on subsequent writers; the afterlives of her characters; and the evolution of critical

in Charlotte Brontë
Mark Hampton

sexual pleasure that would have surely been available only to a small percentage of these men back home. Yet the idea of Hong Kong as a site of pleasure was not only deeply embedded in the British cultural engagement with the colony, but was also thoroughly intertwined with the themes that were more likely to appear in GIS’s or British MPs’ boasts about the British accomplishments. As already hinted, club

in Hong Kong and British culture, 1945–97
Treachery, the archive, and the database
Caroline Bassett

states. Conclusion 2: computer history Matusow's story contributes to histories of the counter-cultural engagement with computer technologies. Antipathy to the Machine, the latter nomenclature designating both a political system (nascent global capitalism and the post-war world) and the hard, technocratic rationality that characterized it, which was part of the broader counter-cultural formation, might be taken to include antagonism to the specifically computational. A series of histories of the personal computing industry in

in Anti-computing
Abstract only
Decolonising public space
Paul Carter

. 18 Tammy Clewell, ‘Mourning beyond Melancholia: Freud's Psychoanalysis of Loss’, American Psychoanalytic Association , vol. 52, 2004, issue 1, 43–67, 63. 19 Material Thinking, Hospitality, Cultural Engagement Strategy , 28 April 2014, 1–66, 54. 20

in Translations, an autoethnography
Trish Winter and Simon Keegan-Phipps

acts. Such breakdowns in the categorisation of consumed culture are inevitable when the mainstream arts centre is predominantly a space for cultural engagement by ‘omnivorous’, educated, middle-class audiences.5 The mainstream venue is, therefore, a space in which economic success and an ostensible disinterest in economic success are celebrated in combination. As we consider here the movement of English folk music and dance into mainstream contexts, this will involve examining its alignments with both of these aspects of the mainstream. As noted in our earlier

in Performing Englishness
Abdellatif Kechiche and the politics of reappropriation and renewal
James S. Williams

El Hadj passes Williams, Space and being in contemporary French cinema.indd 196 11/01/2013 15:18:41 Re-siting the Republic – Abdellatif Kechiche 197 the Assemblée Nationale in the police van after being arrested as a sans-papiers (he will be stripped naked and his right to work legally and continue his studies withdrawn). We catch a fleeting glimpse of the building’s imperious statues depicting hallowed Officers of the State, yet there is no sense of this being a performative urban space and no textual/cultural engagement is initiated. For Kechiche, such an

in Space and being in contemporary French cinema
Adrian Curtin

Miles and Corr, 2015). However, the existence of organisations such as Dying Matters and initiatives such as death café suggests that consciousness-raising is still necessary, or is thought to be necessary, and that there are people – and not just the recently bereaved – who want, and perhaps need, to talk about death (more) openly. Evidently, even with widespread social commentary and pervasive – albeit sometimes tokenistic or sensational – popular-cultural engagement, including vicarious death, dying, and killing in video games, death still casts a pall

in Death in modern theatre
Dominant approaches
M. Anne Brown

emphasis seems to remain on declaratory standards, which while important can give a false promise of clarity, rather than on the shared activities normally associated with learning. Despite the work of a range of UN organisations, as well as various bilateral and multilateral bodies and programmes, opportunities for learning at the sites of abuse – and so for changes in both behaviour and understanding among those engaged in abusive relations – remain relatively unexplored. These are areas of dialogue and practical cross-cultural engagement, supported by a range of non

in Human rights and the borders of suffering
Abstract only
Histories, documents, archives
Declan Long

engagement with uncanny, spectral and occult images and themes; as Lars Bang Larsen has written, ‘many artists have recently been turning to the unseen as a means of short-​circuiting the spectacle, searching out occult gaps in modernity to evoke an acute sense of historical space’.2 Larsen seeks to distinguish between the use of spectral tropes and more thoroughly counter-​cultural engagements with occultist practices:  the former, he suggests, indicates an interest in the non-​substantial quality of images, while​ the latter guides us ‘towards the embodied notion of

in Ghost-haunted land