Imagined communities: Reflections on the origin and spread of nationalism

萨义德以其独特的双重身份,对西方中心权力话语做了分析,通过对文学作品、演讲演说等文本的解读,将O rie n ta lis m——"东方学",做了三重释义:一门学科、一种思维方式和一种权力话语系统,对东方学权力话语做了系统的批判,同时将东方学放入空间维度对东方学文本做了细致的解读。

萨义德的“Orientalism”释义

Old and New Hierarchies: Rewritten Social Norms in Silent Valley The article discusses the socialist and post-socialist hierarchical structure in Romania by focusing on the sociological reading of the series Silent Valley ( Valea Muta , 2016). As argued in the text, the production shows a remarkable, novel approach to breaking the discursive taboos of the Ceaușescu system by featuring homosexuality, corruption and revised gender roles on screen. The main focus of the article is on revealing how the old socialist socio-political hierarchies have been inherited and/or transferred to the capitalist-democratic epoch. By analysing such structures, the text provides a gender-centred description of the Romanian socialist and contemporary framework, while giving special attention to the situation of the Roma minority in the country. In a formalist-structuralist reading, it aims to dissect the phenomena of gender hierarchy, political and social dominance, and people’s subjugated position within this context. Regi es uj hierarchiak: Atirt tarsadalmi normak a Silent Valley A tanulmany egy formalistra-strukturalista olvasaton belul a szocialista es kapitalista hierarchikus strukturakat vizsgalja a Silent Valley (Valea Muta, 2016) cimű roman sorozatban, mikozben amellett ervel, hogy – a Ceaușescu-rendszer tabuit megdontő, avagy a homoszexualitas, valtozo nemi szerepek, a roma helyzet es korrupcio temakoreit nyiltan felvallalo – produkcio uj fejezetet nyitott az orszag televizios sorozatgyartasaban. A tanulmany kozponti fokusza a szocialista politikai hierarchiak felfedese jelen kontextusban, es a valtozo dominans nemi szerepek reflexiojanak lekepezese a kortars televizios szferaban. Stare i nowe hierarchie. Napisane na nowo normy spoleczne w Silent Valley Artykul bada socjalistyczne i kapitalistyczne struktury hierarchiczne w rumunskim serialu Silent Valley (Valea Muta, 2016) w ujeciu formalno-strukturalnym. [Autorka] argumentuje jednocześnie, ze przelamując tabu systemu Ceaușescu poprzez otwarte podjecie tematow homoseksualizmu, zmieniania rol plciowych, sytuacji Romow i korupcji, produkcja otworzyla nowy rozdzial w dziejach seriali telewizyjnych w Rumunii. Glownym przedmiotem artykulu jest ukazanie w tym kontekście socjalistycznych hierarchii politycznych oraz refleksja nad zmianą dominujących rol plciowych we wspolczesnej sferze telewizyjnej.

/pdf/old-and-new-hierarchies-rewritten-social-norms-in-silent-boc41a4p25.pdf

Old and New Hierarchies: Rewritten Social Norms in "Silent Valley"

William WaSHaBaugH, Flamenco Music and National Identity in Spain. farnham, uK: ashgate. 2012. 177 pp. iSBn 978-1- 4094-3484-9.Flamenco Music and National Identity in Spain is composed of ten chapters that treat the subject from a central point of view, as the author emphasizes in his first line: the 'extra- musical resonance of flamenco artistry' (xi), more precisely 'the cultural and political reverberations that accompany flamenco performances' (xi). it is important to under- line this objective, because the author does not present a book on flamenco itself but rather on its handling and exploitation by the social and ideological forces in Spain during the last 130 years or so. He demonstrates how these forces have influenced the evolution of flamenco, what the ideological background was, and how all this shaped contemporary flamenco artistry exposed to patrimonial administration and globalizing artistic inspi- ration at the same time.obviously appealing to g. mead's theory of symbolic interactionism, P. Bourdieu's field theory and H. Becker's 'Art Worlds', the author explains the entanglement of flamenco artistry and its historical and social context. For that reason he first outlines briefly what he understands by flamenco as an increasingly autonomous musical style (Chapter 2) and describes its musico- logical variety (Chapter 3). in the following two chapters (4 and 5) he discusses two core concepts of contemporary flamenco theory: hybridity and transgression, the first ascribed to anthropologist Cristina Cruces Roldan, the latter to sociologist gerhard Steingress, both scholars from the university of Seville. Washabaugh does what has hardly been done until the present: he discusses recent contri- butions and theoretical positions of flamenco scholars. This is worthy of recognition and very useful for everyone who works in this field. Unfortunately, these chapters are based on a misleading opposition of concepts and persons. Both 'hybridity' and 'transgression' were related key concepts introduced first by Steingress into the debate towards the end of the last century and culminated in what was defined as 'transcultural hybridization'. Consequently, flamenco's hybridism devel- oped its distinctly andalusian roots within a complex trajectory of transgressions and transcultural experiences.Chapters 6 and 7 are crucial because it is there where Washabaugh demonstrates the logics or steps of the 'dominant institu- tional arrangements' that shaped flamenco into a music style 'with markedly backward- leaning attention to the andalusian past' (104) and made it widely eager to serve polit- ical influence, patrimonialism and ideolog- ical exploitation in the present. He describes this contradictory attraction as follows: 'doing what they want, but also doing what is expected of them'. Washabaugh mentions three facts he considers the 'legs' of this previous institutional arrangement: Krausism, modernism and documentarism, widely documented and perfectly resumed in his 'conclusion' to Chapter 5 (80). in other words: flamenco has become an institution- alized support for the political construction of a national symbol of andalusian identity. But, as he emphasizes: these political influ- ences only alter the quantity of flamenco, not its quality, because it is still based on the artist's compromise with the andalusian past. This means, summing up Washabaugh's arguments: a modern concept of flamenco as a 'politically-charged art' is only compatible with a 'markedly backward-leaning atten- tion to the andalusian past' (104). …

Flamenco Music and National Identity in Spain

There was laughter all around me, and I couldn’t help but join in. I was at the orphanage, playing ball with a bunch of kids in Addis Ababa, Ethiopia. Despite being a little homesick and barely knowing the language, I was having few problems living here. I loved this place, with its ancient roots and friendly people. I loved hearing the morning’s call to prayer when I woke up. [excerpt]

The White Screen

This paper analyses the most prominent tropes in the earliest and most recent filmic representations of Roma. Stereotypical images of Roma abound in many fictional features as well as documentaries...

Moving images of exclusion: Persisting tropes in the filmic representation of European Roma

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Moving images of exclusion: Persisting tropes in the filmic representation of European Roma