Preface I. On the Shoulders of Bakhtin and Vygotsky 1. The Woman Who Climbed Up the House 2. A Practice Theory of Self and Identity II. Placing Identity and Agency 3. Figured Worlds 4. Personal Stories in Alcoholics Anonymous 5. How Figured Worlds of Romance Become Desire III. Power and Privilege 6. Positional Identities 7. The Sexual Auction Block IV. The Space of Authoring 8. Authoring Selves 9. Mental Disorder, Identity, and Professional Discourse 10. Authoring Oneself as a Woman in Nepal V. Making Worlds 11. Play Worlds, Liberatory Worlds, and Fantasy Resources 12. Making Alternate Worlds in Nepal 13. Identity in Practice Notes References Credits Index

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Identity and Agency in Cultural Worlds

This book demonstrates the relevance, rigor, and creativity of interpretive research methodologies for the social and human sciences. The book situates methods questions within the context of broader methodological questions--specifically, the character of social realities and their "know-ability." Exceptionally clear and well-written chapters provide engaging discussions of the methods of accessing, generating, and analyzing social science data, using methods ranging from reflexive historical analysis to critical ethnography. Reflecting on their own research experiences, the contributors offer an inside, applied perspective on how research topics, evidence, and methods intertwine to produce knowledge in the social sciences.

Interpretation and Method : Empirical Research Methods and the Interpretive Turn

The production of culture perspective focuses on how the symbolic elements of culture are shaped by the systems within which they are created, distributed, evaluated, taught, and preserved. After tracing the consolidation of the perspective in the late 1970s, we introduce six facets of production (technology, law and regulation, industry structure, organization structure, occupational careers, and market) and use them to theorize within the production perspective a wide range of research. Third, we show the utility of the facet model in coherently theorizing a research study based in a quite different perspective. Fourth, we explore the recent application of the production perspective in organizational research. Fifth, we outline the recent extension of the production perspective to autoproduction, the study of identity formation, and meaning in informal relations. Finally, we discuss criticisms of the perspective and suggest opportunities for research.

https://www.jstor.org/stable/pdfplus/29737696.pdf

The production of culture perspective

Cosmopolitanism is often heralded as a cultural orientation ideally suited to the sociocultural and economic complexities emanating from the accelerating pace of globalization. In this study, we analyze the consumption stories of expatriate professionals who are trying to enact a cosmopolitan identity. For these participants, trying to be cosmopolitan precipitates a nexus of salient experiential tensions and conflicts that are negotiated through their consumption and leisure practices. Although these expatriates identify with dominant cosmopolitan ideals of nomadic mobility and cultural adaptability, their consumer stories reveal a host of countervailing tensions deriving from emotional and interpersonal ties to home, desires for communal affiliations, and enduring preferences for familiar goods and places. We trace the history of colonial and patriarchal meanings that form the ideological underpinnings to these tensions. We propose that these ideological complexities and contradictions foster a paradoxical effacement of the conventional boundaries between work and leisure and between touristic practices and everyday consumer experiences. We discuss the implications of our analysis for theoretical conceptions of postmodern consumption and for consumer research on consumption goals.

Trying to Be Cosmopolitan

L'A. etudie le processus d'identification d'une majorite ethnique (ici les Han) par rapport a des minorites ethniques. Si les Han se percoivent comme des etres modernes, c'est que les minorites sont considerees comme des societes primitives en voie d'evolution. Ainsi, dans l'art chinois, une des thematiques favorites est celle des femmes thai, hani, et Li se baignant dans une riviere, symbole d'exotisme et d'erotisme interdits aux Han. Une ecole de peinture « Yunnan School » a ete cree pour que les peintres han peignent ces minorites sous forme de cliches (nu exotique et erotique). Il en va de meme pour les films. Des protestations se sont fait entendre notamment de la part des musulmans.

Representing Nationality in China: Refiguring Majority/Minority Identities

For its millions of readers, the National Geographic has long been a window to the world of exotic peoples and places. In this fascinating account of an American institution, Catherine A. Lutz and Jane L. Collins explore the possibility that the magazine, in purporting to teach us about distant cultures, actually tells us much more about our own. Lutz and Collins take us inside the National Geographic Society to investigate how its photographers, editors, and designers select images and text to produce representations of Third World cultures. Through interviews with the editors, they describe the process as one of negotiating standards of "balance" and "objectivity," informational content and visual beauty. Then, in a close reading of some six hundred photographs, they examine issues of race, gender, privilege, progress, and modernity through an analysis of the way such things as color, pose, framing, and vantage point are used in representations of non-Western peoples. Finally, through extensive interviews with readers, the authors assess how the cultural narratives of the magazine are received and interpreted, and identify a tension between the desire to know about other peoples and their ways and the wish to validate middle-class American values. The result is a complex portrait of an institution and its role in promoting a kind of conservative humanism that acknowledges universal values and celebrates diversity while it allows readers to relegate non-Western peoples to an earlier stage of progress. We see the magazine and the Society as a key middlebrow arbiter of taste, wealth, and power in America, and we get a telling glimpse into middle-class American culture and all the wishes, assumptions, and fears it brings to bear on our armchair explorations of the world.

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