Rechercher

El presente artículo rastrea y explora el sentido poético y las posibilidades epistémicas del término relación a partir de la obra Tratado del todo-mundo, de Édouard Glissant, asumida como aporte del pensamiento afroantillano al proyecto del giro decolonial de los estudios interculturales latinoamericanos. En un primer momento, se identifican los rasgos y contornos operatorios de la identidad relación a partir de las siguientes claves de lectura: imaginería, poética y retórica, espiritualidad y ética, política y epistémica. En el segundo momento, se identifican las conexiones e implicaciones más relevantes para el contexto andino. De la exploración, se desprende que el pensamiento afrocaribeño de Glissant, contribuye a generar posibilidades discursivas potentes para enriquecer identidades abiertas en su diferencia y prácticas epistémicas sin amurallamientos identitarios o ilusiones uniformizantes. Finalmente, el aporte de Glissant, ofrece espacios de búsquedas a los movimientos sociales andinos para enriquecer sus prácticas de identidad en tanto relación, más allá de los esencialismos y la pretensión de raíz única. Cet article retrace et explore le sens poétique et les possibilités épistémiques du terme relation dans le traité d’Édouard Glissant, Traité du Tout-Monde, en tant que contribution afro-antillaise au projet du virage décolonial dans les études interculturelles latino-américains. Premièrement, nous identifions les traits et les contours opératoires de l›identité relationnelle à partir de clés suivantes : imagerie, poétique et rhétorique, spiritualité et éthique, politique et épistémique. Les liens les plus pertinents et les implications pour le contexte andin sont alors identifiés. De cette exploration, il est clair que la pensée afro-antillaise de Glissant contribue à générer de puissantes possibilités discursives pour enrichir des identités ouvertes dans leurs différences et leurs pratiques épistémiques, sans de murs identitaires ni d’illusions normalisatrices. Enfin, la contribution de Glissant ouvre des espaces de recherche pour les mouvements sociaux andins afin d’enrichir leurs pratiques d’identité en tant que relation, au-delà des essentialismes et de la prétention d’une seule origine.

How might certain moving images move us into transgender becoming? Th e recent proliferation of transgender images in the media of the Global North has been widely regarded as supporting transgender political and social equality.

Muslim members of the video game industry discuss the current state of Muslim representation within video games. This includes current problems with the way Muslims are represented and potential solutions. Our panelists come from all sides of the industry. From AAA, to indie, the panelists all have a unique voice and angle they would like to bring to the discussion. All panelists have grown up Muslim in western countries and have had to deal with certain adversities and challenges. It's through that experience that the panelists want to bring a lively discussion, backed with personal accounts and sources, that is not only engaging, but educational.

Beyond Hate offers a critical ethnography of the virtual communities established and discursive networks activated through the online engagements of white separatists, white nationalists, and white supremacists with various popular cultural texts, including movies, music, television, sport, video games, and kitsch. Outlining the ways in which advocates of white power interpret popular cultural forms, and probing the emergent spaces of white power popular culture, it examines the paradoxical relationship that advocates of white supremacy have with popular culture, as they finding it to be an irresistible and repugnant reflection of social decay rooted in multiculturalism. Drawing on a range of new media sources, including websites, chat rooms, blogs and forums, this book explores the concerns expressed by advocates of white power, with regard to racial hierarchy and social order, the crisis of traditional American values, the perpetuation of liberal, feminist, elitist ideas, the degradation of the family and the fetishization of black men. What emerges is an understanding of the instruments of power in white supremacist discourses, in which a series of connections are drawn between popular culture, multiculturalism, sexual politics and state functions, all of which are seen to be working against white men. A richly illustrated study of the intersections of white power and popular culture in the contemporary U.S., and the use of use cyberspace by white supremacists as an imagined site of resistance, Beyond Hate will appeal to scholars of sociology and cultural studies with interests in race and ethnicity, popular culture and the discourses of the extreme right.

This article attempts to explore the popularization of Japanese console games in China in the past two decades, which reveals the tripartite relationship of the nation-state, transnational cultural power, and local agents.1 This study focuses on the formation and development of the console game industry in a non-Western context, where the society has undergone dramatic transformations and has been largely influenced by the globalization process. Encountering social anti-gaming discourse and cultural protectionism, the importation and distribution of Japanese console games did not get support from the state. However, it found its way to the audience and gained popularity through piracy, the black market, and the local agents’ appropriation, becoming an integrated part of many Chinese early gamers’ lives. This article draws upon the intersection of cultural globalization with game studies, calling for an investigation into the complexity of the game industry through its sociohistorical, political, and cultural environment.

Informed by a mix of theoretical sources and interviews with middle-class Chinese amateur gold farmers, this article argues that within China, the figure of the Chinese gold farmer might function as focus for reflection on Chineseness and China’s role in an increasingly interconnected world, rather than as a carrier of third-world stereotype as it tends to do in the West. The concept of shanzhai—often associated with sometimes comical, sometimes innovative Chinese copying of foreign consumer goods—is employed as a key analytical tool and helps highlight the themes of “Chinese ingenuity,” independence (from game operators and to some extent also parents), and critique (of games).

Galt and Schoonover conceived and developed this book through a queer critical lens that invites questions and does not pretend to know—or desire to know—every possible outcome. Queer is neither adjective nor noun for Galt and Schoonover. Queer is a verb, and a transitive one at that. Queering the world and queering cinema studies are active processes in which Schoonover and Galt delight as theorists, historians, and consumers of media. To extend the travel metaphor a step further: they are intrepid, genial travel guides, and so much more.

Este trabajo trata sobre artes visuales modernas y contemporáneas en América latina. Como ejes trasversales del texto se plantea: la decolonialidad y la antropofagia crítica. Parte desde la problematización de las estéticas decoloniales y la revisión histórica del arte latinoamericano del siglo XX, primero modernista luego posmoderno, desde una aproximación decolonial. Su intención es analizar si la opción decolonial es viable para artes visuales. Pretende analizar la propuesta de la decolonialidad, así como sus límites y sus principales riesgos. Además de establecer puentes con la ética posmoderna y la ética latinoamericana. En el capítulo dos trata como eje principal la antropofagia, tanto como movimiento artístico moderno, como propuesta de producción y aproximación crítica, cultural y artística. Mira a la antropofagia como proceso y como metodología posmoderna de resistencia. Bajo estos parámetros analiza la obra de tres artistas modernistas latinoamericanos: Joaquín Torres García, Tarsila do Amaral y Wilfredo Lam. Luego, y a partir de esta aproximación, en el capítulo tres se plantea el análisis crítico a una práctica artística: la muestra ARTNIVORA (2011) del colectivo femenino de arte La emancipada en Quito. Analiza en esta muestra, como el colectivo emplea la antropofagia crítica para buscar un argumento de emancipación de género. En esta muestra de arte actual, las estrategias de la apropiación y la cita contemporáneas son leídas como una práctica antropofágica. La intención es presentar un diferente punto de vista para la producción y la apreciación de las artes visuales y plásticas contemporáneas latinoamericanas, tanto obras de arte, como el trabajo creativo y los procesos de sus autores y autoras. El texto plantea la importancia del sentido de pertenencia con la localidad en la expresión de arte visual, si bien emplea un lenguaje cuyos códigos pueden ser leídos internacionalmente, su anclaje es su localidad y problemáticas insertas en un contexto local.

It's about the role that music, film, visual art, and Indigenous cultural practices play in and beyond Canada's Truth and Reconciliation Commission on Indian Residential Schools. The essays question the ways in which components of the reconciliation, such as apology and witnessing, have social and political effects for residential-schools survivors, intergenerational survivors, and settler publics."-- Provided by publisher

Violent television programs are highly preferred by children. They stimulate their emotions and increase curiosity about violence-related issues. This means that watching violent television programs has an impact upon their way of perceiving the world around them and acting in response to it. This study investigated the impacts of watching violent television programs on secondary school children in Tanzania. The specific objectives were: to examine children's accessibility to the TV, ascertain the types of violent TV programs and the time children spend watching them, determine the ways in which watching violent TV programs affects their academic performance, find out the impact of watching violent TV programs on their discipline, and examine the role of parents in addressing the impacts of watching violent TV programs upon their children. Results indicate that most secondary school children watch violent TV programs at home in the sitting rooms. They spend an average of three hours per day on weekdays, and seven-and-half hours on weekends, watching movies, music, drama, and informational programs that were identified as the most violent ones. Obviously, spending lots of time watching violent TV programs decreases children's academic performance and discipline. This book is important because it discusses the parents' role in discouraging and limiting children from watching violent TV programs, and choosing appropriate TV programs for them.

This book looks closely at some of the most significant films within the field of queer Sinophone cinema. Examining queerness in films produced in the PRC, Taiwan and Hong Kong, the book merges the Sinophone with the queer, theorising both concepts as local and global, homebound as well as diasporic.

How culture uses games and how games use culture: an examination of Latin America's gaming practices and the representation of the region's cultures in games. Video games are becoming an ever more ubiquitous element of daily life, played by millions on devices that range from smart phones to desktop computers. An examination of this phenomenon reveals that video games are increasingly being converted into cultural currency. For video game designers, culture is a resource that can be incorporated into games; for players, local gaming practices and specific social contexts can affect their playing experiences. In Cultural Code, Phillip Penix-Tadsen shows how culture uses games and how games use culture, looking at examples related to Latin America. Both static code and subjective play have been shown to contribute to the meaning of games; Penix-Tadsen introduces culture as a third level of creating meaning. Penix-Tadsen focuses first on how culture uses games, looking at the diverse practices of play in Latin America, the ideological and intellectual uses of games, and the creative and economic possibilities opened up by video games in Latin America—the evolution of regional game design and development. Examining how games use culture, Penix-Tadsen discusses in-game cultural representations of Latin America in a range of popular titles (pointing out, for example, appearances of Rio de Janeiro's Christ the Redeemer statue in games from Call of Duty to the tourism-promoting Brasil Quest). He analyzes this through semiotics, the signifying systems of video games and the specific signifiers of Latin American culture; space, how culture is incorporated into different types of game environments; and simulation, the ways that cultural meaning is conveyed procedurally and algorithmically through gameplay mechanics. Source: Publisher

Interview with the Indian Game Designer Shailesh Prabhu about his game Sky Sutra.

This book examines the local, regional and transnational contexts of video games through a focused analysis on gaming communities, the ways game design regulates gender and class relations, and the impacts of colonization on game design. The critical interest in games as a cultural artifact is covered by a wide range of interdisciplinary work. To highlight the social impacts of games the first section of the book covers the systems built around high score game competitions, the development of independent game design communities, and the formation of fan communities and cosplay. The second section of the book offers a deeper analysis of game structures, gender and masculinity, and the economic constraints of empire that are built into game design. The final section offers a macro perspective on transnational and colonial discourses built into the cultural structures of East Asian game play

This essay considers the intersectionality between the field of art history focused on the subject category of Native American or Indigenous art and Indigenous Studies. Methodological gaps in the field of art history are discussed through the canonical genre of landscape art with a comparative reference to key exhibitions; Land Spirit Power: First Nations at the National Gallery of Canada, (1992), The West As America: Reinterpreting Images of the Frontier, 1820-1920, (1991), Submuloc Show/Columbus Wohs (1992), Our Land/Ourselves: Contemporary Native American Landscape (1991) and Picturing the Americas: Landscape Painting from Tierra del Fuego to the Artic (2015). The aestheticization of the colonization of the Americas as represented in the genre of landscape art is interrogated as a form of historical violence that needs to be decolonized within the field of art history.

In this essay, I aim to engage the growing body of scholarship that employs Indigenous feminist theories to understand and mobilize against the sexual and gendered violence committed against Native peoples. To accomplish this, I construct a Native feminist analysis of the 2010 Tribal Law and Order Act. I posit that despite the overwhelmingly positive characterizations of the legislation as “historic” in its potential to address violence against Native women and reduce crime in Indian country, a Native feminist reading of the Tribal Law and Order Act illuminates the degree to which the Act emerges from, engages with, and advances settler colonial and heteropatriarchal logics that cause violence against Native women in the first place. I suggest that although the Act does contain measures that have the potential to alleviate the experience of violence in Native women’s lives, it also diminishes tribal sovereignty, perpetuates the ongoing encroachment of tribal jurisdiction, regulates the boundaries of Native identity, and limits our ability to envision and enact practices of decolonization.

El espesor de este libro es propio de este tiempo. Cuerpos que se desplazan en masivas inmigraciones huyendo de todo tipo de violencias alcanzan a más de sesenta millones de personas, la mayor cifra de refugiados desde la segunda guerra mundial. El mundo experimenta una crisis humanitaria sobrecogedora ante la cual las potencias apelan a los mismos discursos que ya Aimé Césaire o Fanon condenaran. Dramatismo del exilio de este nomadismo a escala planetaria, al cual Stuart Hall calificaría como “amensia imperial”. Genealogías críticas de la colonialidad en América Latina, África, Oriente es un libro que deja al descubierto la piel del mundo contemporáneo. Un hecho cultural disruptivo que, anudado a una genealogía latinoamericana abierta a sí misma y hacia Otros Sures se interroga sobre los intrincados modos de narrar y silenciar los pasados coloniales.

Over the last decade Spain and Mexico have both produced an extraordinary wealth of television drama. Drawing on both national practices of production and reception and international theories of textual analysis this book offers the first study of contemporary quality TV drama in two countries where television has displaced cinema as the creative medium that shapes the national narrative. As dramatized societies, Spain and Mexico are thus at once reflected and refracted by the new series on the small screen.

This article addresses the proliferation of images and appearances in the realm of e-sports culture in urban China. The author’s findings are based upon ethnographic research and participant observation of e-sports audience members, teams, and tournaments, including the 2010 E-sports Champion League tournament in Beijing, the 2012 and 2013 World Cyber Games Festivals in Kunshan, and a 2014 Starcraft II tournament in Shanghai. A comparison of these events leads the author to argue that live e-sports events in China are less about spectatorship than they are about creating a spectacle that presents a carefully crafted vision of Chinese politics, nationalism, and capitalist consumer culture. In these cases, the participants and audience members are not only commodities to be sold but also a means of masking contradictory and highly ambivalent discourses about China’s role in technological production, digital game culture, and the promotion of the discourse of Internet addiction.

En esta conversación se indaga por la cuestión decolonial de la estética, sus puntos de origen históricos y geográficos, además de sus posibilidades en el contexto de reconfiguración actual del orden mundial. Desde esta perspectiva, se pretende aclarar en qué consiste la opción decolonial, respecto de otras opciones, sin olvidar cuestiones importantes del arte, la historia, el museo, la curaduría y sus implicaciones éticas, políticas y epistémicas. Cette conversation touche à la question de l’esthétique décoloniale, de ses points d’origine historiques et géographiques et de ses possibilités dans le contexte de la reconfiguration actuelle de l’ordre mondial. Dans cette perspective, l’objectif est de clarifier l’option décoloniale par rapport à d’autres options — sans oublier les questions importantes de l’art, de l’histoire, des musées, de la mission du curateur — et ses implications éthiques, politiques et épistémiques.