This book investigates the iconic architectural cultural spaces of the contemporary cityscape as engines of regeneration. Promising much to their fading locales, these spaces locate culture in the space where production once ruled in order to revitalise post-industrial urban provinces. With close attention to four sites across the UK, Urban Constellations engages with the work of Walter Benjamin and Jean Baudrillard, to read these spaces and in so doing, offer a critical intervention into the theory and experience of contemporary cityscapes. Developing the notion of surface ethnography as a methodological approach to examining the form of cultural experience produced by urban cultural spaces, the author sheds light on the manner in which they transform cultural spectatorship, express wider political and ecological concerns and offer differing views to the 'native' and the 'tourist' in the construction of local history. The book also examines the decline of the idea that iconic projects can drive regeneration, in the failures and delays that can beset such undertakings. Offering a rich examination of the legacy of urban change in its most recent formulation - that of cultural regeneration - this book reveals the fragile potential of the spaces produced by contemporary 'dream houses' and as such, will be of interest to scholars of cultural studies, sociology and social theory, urban studies, cultural geography and architecture.

Re-Locating the Sounds of the Western examines the use and function of musical tropes and gestures traditionally associated with the American Western in new and different contexts ranging from Elizabethan theater, contemporary drama, space opera and science fiction, Cold War era European filmmaking, and advertising. Each chapter focuses on a notable use of Western musical tropes, textures, instrumentation, form, and harmonic language, delving into the resonance of the music of the Western to cite bravura, machismo, colonisation, violence, gender roles and essentialism, exploration, and other concepts.

In 2016, the Super Bowl, the climactic spectacle of American professional football, celebrated its 50th anniversary. The Super Bowl stands as the broadest 'shared experience' in American culture. As television ratings, cultural practices, and scholarly tomes reveal, more people participate in watching the Super Bowl than in any other common endeavour in the United States. The Super Bowl has become a new national holiday dedicated to the celebration of consumption-the driving force underneath modern culture. Beyond the borders of the United States, the Super Bowl does not rank as highly as a global phenomenon, though it increasingly draws larger audiences in a few nations around the globe. Some watch as curious students of American habits, others seem to be developing affinity for American-style football. The global dynamics of the consumption of football reveal much about the dynamics of American 'soft power' and cultural influence in the new globalized social networks that are emerging as consumption increasingly powers not only the United States but also the world economy. A Half Century of Super Bowls: National and Global Perspectives on America's Grandest Spectacle analyzes the Super Bowl in shaping American and global communities and identities. It was originally published as a special issue of the International Journal of the History of Sport.

In 1936 the Mongolian socialist government decreed the establishment of a film industry with the principal aim of disseminating propaganda to the largely nomadic population. The government sent promising young rural Mongolian musicians to Soviet conservatoires to be trained formally as composers. On their return they utilised their traditional Mongolian musical backgrounds and the musical skills learned during their studies to compose scores to the 167 propaganda films produced by the state film studio between 1938 and 1990. Lucy M. Rees provides an overview of the rich mosaic of music genres that appeared in these film soundtracks, including symphonic music influenced by Western art music, modified forms of Mongolian traditional music, and a new genre known as 'professional music' that combined both symphonic and Mongolian traditional characteristics. Case studies of key composers and film scores are presented, demonstrating the influence of cultural policy on film music and showing how film scores complemented the ideological message of the films. There are discussions of films that celebrate the 1921 Revolution that led to Mongolia becoming a socialist nation, those that foreshadowed the 1990 Democratic Revolution that drew the socialist era to a close, and the diverse range of films and scores produced after 1990 in the aftermath of the socialist regime.

"Writing With, Through, and Beyond the Text: An Ecology of Language" elaborates an understanding of writing, its influences on our interpretations of experience and identity, and its potential for enabling individuals to learn about and connect to the world beyond themselves. Rather than considering writing a process, the author describes it as a system, an ecology that engages the individual in a variety of socially constituted and interacting systems. The book examines the pedagogical and curricular implications of this approach to writing, considering what it means to write and teach writing in ways that understand and acknowledge the ecological character of writing. This is an illuminating text for a wide audience of faculty, professionals, and graduate students in English, writing, education, and women's studies/feminist theory.

Published in 1999, the book invites readers to rethink about the contemporary form of politics in terms of the cultural and narrative logics of public discourse. The author proposes that the notions of 'public' and 'narrative' are central to understanding the discursive formation of public opinion. Incorporating a reformulated conception of the public into a theory of narrative progression, Dr. Ku explains (1) the interaction between narrative construction and political conflicts in politics of public credibility and (2) the progressive or narrative formation of the force of the 'public' out of the struggle as well as its power over the positioning and re-positioning of the actors. Using the method of textual interpretation of newspaper discourses, she analyzes the interplay between politics and the 'public' by delving into the continuously changing narrative contexts wherein the controversy over governor Patten's reform proposals unfolded in Hong Kong between 1992 and 1994.

"I can be a mother, a wife, a daughter, a sister and a woman without having periods." This book explores two of the oldest and most important symbols of all time: menstruation and secondary amenorrhea. Women of menstruating age commonly experience secondary amenorrhea - a cessation of periods - but most people have never heard of the term, nor do they realise what it represents. Danielle Redland's curiosity as to why this is posits that menstrual conditions need to be decoded, not just simply treated. Surveying menstruation and Secondary Amenorrhea (SA) principally from a psychoanalytic perspective, with sociocultural, historical, political and religious angles also examined, Psychoanalytic Perspectives on Women, Menstruation and Secondary Amenorrhea draws secondary amenorrhea out of the shadows of its menstruating counterpart, and explores how narratives of womanhood and statehood dominate. Chapters on blood ideology and war amenorrhea, on Freud's treatment of Emma Eckstein and on the psycho-mythology of Pygmalion, present the reader with visions beyond patriarchy towards more thoughtful ideas on the feminine, challenging assumptions about gender, identity and what is deemed "good" for women. Rich in clinical examples, the book locates menses and their cessation at the heart of personal experience and examines psychosomatic phenomena, the link between psyche and body and the value of interpretation. From the author's own analysis to a variety of cases linked to hysteria, anorexia, stress, trauma, abuse, helplessness and hopelessness, individual stories and narratives are sensitively recovered and carefully revealed. This refreshing example of multi-layered research and psychoanalytic enquiry by a new, female writer will be of great interest to psychologists, psychotherapists, healthcare and social work professionals and readers of gender studies, history, politics and literature.

Once only a topic among women in the private sphere, motherhood and mothering have become important intellectual topics across academic disciplines. Even so, no book has yet devoted a sustained look at how exploring mothering rhetorics - the rhetorics of reproduction (rhetorics about the reproductive function of women/mothers) and reproducing rhetorics (the rhetorical reproduction of ideological systems and logics of contemporary culture) expand our understanding of mothering, motherhood, communication, and gender. Mothering Rhetorics begins to fill this gap for scholars and teachers interested in the study of mothering rhetorics in their historical and contemporary permutations. The contributions explore the racialized rhetorical contexts of maternity; how fixing food is thought to fix families, while also regulating maternal activities and identity; how Black female breastfeeding activists resisted the exploitation of African-American mothers in Detroit; how women in pink-collar occupations both adhere to and challenge maternity leave discourses by rhetorically positioning their leaves as time off and (dis)ability; identifying verbal and nonverbal shaming practices related to unwed motherhood during the mid-twentieth century; and redefining alternative postpartum placenta practices. This book was originally published as a special issue of Women's Studies in Communication.

This book analyses the way that HIV/AIDS is often narrativised and represented in contemporary world cultures, as well as the different strategies of remembrance deployed by different (sub)cultural groups affected by the illness. Through a close study of a variety of cultural texts; including cinema, literature, theatre, art and photography amongst others, it demonstrates the trajectory that such narratives and representations have undergone since the advent of the 'discovery' of the disease in the 1980s. Acknowledging the central - yet often overlooked - role that cultural products have played in the construction of public opinion towards the condition itself and those who suffer it, this ground-breaking volume focuses on a variety of narratives, as well as strategies of coping with HIV/AIDS that have emerged across the globe. Bringing together research on the UK, North and South America, Africa and China, it provides rich textual analyses of the ways in which the HIV positive body has been portrayed in contemporary culture, with attention to the differences between specific national contexts, whilst keeping in view a space of commonality amongst the different experiences reflected in such texts. As such, it will be of interest to social scientists and scholars of cultural and media studies, concerned with cultural production and representations of the body and sickness.

First published in 1998. In a 1996 review article in College English, Elizabeth Rankin contrasted the method and epistemology of two recent books on writing pedagogy, describing one as "grounded in the experience of student writers and teachers" and the other as "academic." Rankin's labels highlight one of the leading sources of tension in composition research-the tension between practice and theory-a tension that echoes in writing center research and publications. This collection of chapters seeks to build on the inherent collaborativeness of writing centers, capturing the voices of the student writers and tutors who are at the core of writing center work.

How are men, masculinities and gender power implicated within global institutions? How are global institutions to be understood in terms of men, masculinities and gender power? What are men up to in such arenas as: global finance, corporate law, military intelligence, world sporting bodies and nationalist politics? Unsustainable Institutions of Men examines men's dealings in transnational processes across the economy, politics, technologies and bodies. In exploring the men's domination of institutions in national and transnational realms this volume underpins a novel approach built around multiple "dispersed centres" of men's power. Indeed, in critical discussions of men and masculinities there has been a gradual shift in focus from the local, so-called 'ethnographic moment', to a broader view encompassing several dynamics (e.g. global, transnational, international, postcolonial and the global north-south). Building on this conceptual move, Unsustainable Institutions of Men focuses on pinpointing masculine actions and influences that support and enact transnational processes, disclosing those connections and examining institutional alternatives which could contribute to more inclusive and democratic transnational dialogues. Comprised of a range of international contributions, Unsustainable Institutions of Men will appeal to students, researchers, experts and activists seeking to understand the deep structural conditions of contemporary globalized threats, created by old and new patterns of gender power and transnational patriarchies.

This book offers a clearly written and engaging introduction to the basics of interactive digital media. As our reliance on and daily usage of websites, mobile apps, kiosks, games, VR/AR and devices that respond to our commands has increased, the need for practitioners who understand these technologies is growing. Author Julia Griffey provides a valuable guide to the fundamentals of this field, offering best practices and common pitfalls throughout. The book also notes opportunities within the field of interactive digital media for professionals with different types of skills, and interviews with experienced practitioners offer practical wisdom for readers. Additional features of this book include: An overview of the history, evolution and impact of interactive media; A spotlight on the development process and contributing team members; Analysis of the components of interactive digital media and their design function (graphics, animation, audio, video, typography, color); An introduction to coding languages for interactive media; and A guide to usability in interactive media. Introduction to Interactive Digital Media will help both students and professionals understand the varied creative, technical, and collaborative skills needed in this exciting and emerging field.

Especially in the last several decades, Museum Studies has expanded enormously to become an internationally recognized and highly interdisciplinary academic field. It draws on subjects from across the humanities and social sciences, including Art History, Cultural Studies, Ethnography, Cultural Geography, History, Sociology, Economics, Business, Marketing, and Tourism Studies. (And, beyond the academy, it has also benefited from significant contributions made by cultural policy-makers.) While intellectual diversity is a great strength of Museum Studies, its complex heritage makes it extremely challenging for the uninitiated to navigate and comprehend the subject's major works. Indeed, even those who are very familiar with particular disciplinary domains may be unaware of other important parallel debates taking place elsewhere. This new five-volume collection from Routledge, edited by Rhiannon Mason of the International Centre for Cultural and Heritage Studies, Newcastle University, responds to that challenge by making readily available in one panoptical 'mini library' the foundational and the very best cutting-edge research from the entire range of disciplines and subjects that contribute towards Museum Studies. In five volumes, the collection addresses the philosophical, theoretical, and ethical concerns of museums-alongside the equally important practical, organizational, and operational issues-to understand how they operate today. The collection also reflects the fact that many of the issues faced by contemporary institutions can only be understood in the context of the philosophy and history of museums as they have developed since the earliest collections of the European Renaissance. The major works brought together in Volume I ('Museums: Histories and Theories') provide a historical and philosophical context for the development of museums. They furnish a comprehensive introduction to the ideas of 'the new museology', which are so crucial to current trends in anglophone Museum Studies, and provide a conceptual framework for a fuller understanding of the following volumes. The scholarship gathered in Volume II ('Museums: Economics and Management') situates museums in the everyday context within which they operate, and investigates the different purposes that museums are said to possess by their various stakeholders, for example, as engines of economic regeneration, tourism, or 'place branding'. Volume II also focuses on the financial costs and practicalities of making museums work, enabling readers to grasp the day-to-day realities of museum work alongside the more philosophical and ethical issues raised in Volume I. Volume III ('Museums: Materiality and Practice'), meanwhile, explores the specifics of museum practice to address questions such as: how are exhibitions and displays produced? How is interpretation understood? How are collections managed? And how are objects deployed and architectural spaces navigated? The pieces collected here also tackle other areas of museum practice, including institutional context and staffing. Issues around how institutions behave and develop an ethos, and how museum staff nurture their professional skills and careers, are vital to understanding the broader museum world. As are new trends in curation, such as community co-production, and the increasing range of ways in which museums are being reconceptualized beyond their physical walls, for example, as performance spaces or platforms for user-generated digital content. Volume IV ('Museums: Visitors, Audiences, Communities, and Publics') assembles vital research on our interactions with museums. The materials collected here introduce users to the many different ways in which a museum's public can be understood, imagined, and addressed across the whole gamut of a museum's activities, from its programming and interpretation to marketing. The volume also takes full cognizance of recent attempts to expand and diversify museum audiences. The final volume in the collection ('Museums: Identities, Controversies, and Difficult Histories') brings together landmark and contemporary studies to interrogate many of the concerns which have repeatedly drawn museums into controversy over recent years. Ways in which museums find themselves caught up in public outrage and censorship include dealing with thorny issues around identity politics and sensitive historical events, such as the Holocaust, colonialism, and slavery. With a detailed and comprehensive introduction and commentary to each volume, Museum Studies is destined to be welcomed as an essential work of reference and a crucial research tool.

This collection interrogates and stimulates deep, cross-disciplinary engagement with the various understandings and interplays of 'radio modernisms' from the early decades of the twentieth century through to the 1950s. Academics from a range of different disciplines explore their common interests in the richness and heterogeneity of BBC Radio's imaginative programming - in terms of sound; as cultural events from specific moments in time; as team creations; as something experienced live in the domestic context; and as cultural works that, in many cases, attracted a certain canonical pedigree. Radio modernisms are, as these chapters demonstrate, a combination of the particular, the contingent, and the contextual. More than a decade after the publication of the first scholarly works to yoke together 'modernism' and 'radio', this collection emphasises the plurality of 'modernisms' as a defining aspect of contemporary BBC historiography. The authors bring multiple lenses to bear - including race, gender, and transnationalism - in order to (re)locate twentieth-century radio programming in broad, expansive contexts. They also underline the dynamic entanglements of radio - and radiogenic feature programmes, in particular - with other kinds of media and cultural forms and formats, reframing radio as a site of and vehicle for remediation and intermediality. In examining the myriad ways in which radio gave shape to new modernities, and both evolved and constituted new forms of modernism, this collection offers fresh perspectives on the interconnected significance of 'radio modernisms' within the socio-cultural, literary, and political landscapes of twentieth-century Britain. This book was originally published as a special issue of Media History.

The Maternal in Creative Work examines the interrelation between art, creativity and maternal experience, inviting international artists, theorists and cultural workers to discuss their approaches to the central feminist question of the relation between maternity, generation and creativity. This edited collection explores various modes and forms of art practice which look at mothers as subjects and as artists of the maternal experience, and how the creative practice is used to accept, negotiate, resist or challenge traditional conceptions of mothering. The book brings together some of the major projects of maternal art from the last two decades and opens up new ways of conceptualizing motherhood as a creative and communicative practice. Chapters include intergenerational discussion of art practices in the 20th and 21st centuries, representations of breastfeeding and infertility in creative projects, the notion of the 'unfit mother' and childlessness, together with the experiences of women and men that take on maternal identities through many forms of kinship and social mothering. The Maternal in Creative Work will be essential reading for interdisciplinary students and scholars in cultural studies, gender studies and art theory and will have wider appeal to audiences interested in maternity, childcare, creativity and psychoanalysis.

From the emergence of digital protest as part of the Zapatista rebellion, to the use of disturbance tactics against governments and commercial institutions, there is no doubt that digital technology and networks have become the standard features of 21st century social mobilisation. Yet, little is known about the historical and socio-cultural developments that have transformed the virtual sphere into a key site of political confrontation. This book provides a critical analysis of the developments of digital direct action since the 1990s. It examines the praxis of electronic protest by focussing on the discourses and narratives provided by the activists and artists involved. The study covers the work of activist groups, including Critical Art Ensemble, Electronic Disturbance Theater and the electrohippies, as well as Anonymous, and proposes a new analytical framework centred on the performative and aesthetic features of contemporary digital activism.

The intersection of virtual and physical spaces at the heart of contemporary political protests is a pivotal element in new practices of activism. In this new and global ecology of dissent and activism, different forces, stakeholders, and spaces, once defiantly discordant, come together to define the increasingly malleable nature and terms of participatory politics and the performance of democracy. This book explores the emerging sites, aesthetics and politics of contemporary dissent as a critical attempt to foreground their mediation and negotiation in an era of neoliberal globalization. Contemporary forms of media activism occupy deeply ambivalent spaces, which Ardizzoni analyzes using the lens of what she calls "matrix activism." Rather than confining the analysis to a single platform, a single technology, or a single social actor, matrix activism allows us to explain the hybrid nature of new forms of dissent and resistance, as they are located at the intersection of alternative and mainstream, non-profit and corporate, individual and social, production and consumption, online and offline.

This book offers a critical reflection on interpersonal positioning across both large- and small-scale contexts and highlights the multi-faceted nature of intercultural communication in today's global world. The volume establishes positioning primarily as the negotiation of interpersonal relationships, and draws on concepts from across disciplines by way of reappraisal before applying them to two specific domains: MMORPGs (Massively Multiplayer Online Role-Playing Games) and private ELF couple interaction. While acknowledging and showcasing the unique features of positioning in these two contexts, Kloetzl and Swoboda point to their commonalities by looking at how language and specifically English is used as a communicative resource in lingua franca situations. The book also identifies new directions for future methodological innovations in that it demonstrates how the same interaction can be looked at in methodologically-different ways and how the authors' own positions projected on to such interaction create an integrated tri-partite perspective on the two domains. Shedding light on interpersonal positioning in different contexts and in turn on global communication more generally, this book will be of particular interest to students and researchers in discourse analysis, pragmatics, computer-mediated communication, sociolinguistics, and applied linguistics.

Made in Poland: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary Polish popular music. Each essay, written by a leading scholar of Polish music, covers the major figures, styles, and social contexts of pop music in Poland and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Poland, followed by essays organized into thematic sections: Popular Music in the People's Republic of Poland; Documenting Change and Continuity in Music Scenes and Institutions; and Music, Identity, and Critique.

This book focuses on the uses of scientific evidence within three types of environmental discourses: popular nonfiction books about the environment; traditional and social media texts created by a grassroots environmental group; and a set of data displays that make arguments about global warming in a variety of media and contexts. It traces the operations of eight commonplaces about science and shows how they recur throughout these contexts, starting with Rachel Carson's Silent Spring and ending with contemporary blogs and social media. The commonplaces are shown to embed ideological assumptions and simultaneously challenge those assumptions. In addition, the book addresses the potential dangers involved in relying too heavily on aspects of these commonplaces, and how they can undermine the goals of some of the writers who use them.

During the last two decades Spain has undergone an unprecedented transformation from being a country of emigrants to receiving a significant number of migrants from all around the world. This book focuses on the analysis of documentaries and fiction films representing migrants in Spain in the first decade of the twenty-first century. Guillen Marin explores the ways in which migrant and non-migrant filmmakers reframe the urban and rural space to create opportunities for a free, although contested, exchange between marginal voices and mainstream Spanish society. She analyzes the extent to which the films challenge forms of exclusion and represent ethnicity in a space that includes some and excludes others.

Mediating Nature considers how technology acts as a mediating device in the construction and circulation of images that inform how we see and know nature. Scholarship in environmental communication has focused almost exclusively on verbal rather than visual rhetoric, and this book engages ecocritical and ecocompositional inquiry to shift focus onto the making of images. Contributors to this dynamic collection focus their efforts on the intersections of digital media and environmental/ecological thinking. Part of the book's larger argument is that analysis of mediations of nature must develop more critical tools of analysis toward the very mediating technologies that produce such media. That is, to truly understand mediations of nature, one needs to understand the creation and production of those mediations, right down to the algorithms, circuit boards, and power sources that drive mediating technologies. Ultimately, Mediating Nature contends that ecological literacy and environmental politics are inseparable from digital literacies and visual rhetorics. The book will be of interest to scholars and students working in the fields of Ecocriticism, Ecocomposition, Media Ecology, Visual Rehtoric, and Digital Literacy Studies.

Emilia Barna is Assistant Professor at the Budapest University of Technology and Economics. She is a founding member and Chair of IASPM Hungary, editor of Zenei Halozatok Folyoirat (Music Networks Journal), and Advisory Board Member of IASPM@Journal. Tamas Tofalvy is Assistant Professor at the Budapest University of Technology and Economics. He was the founding Chair and is the current Vice-Chair of IASPM Hungary.

In the context of increasing division and segregation in cities across the world, along with pressing concerns around austerity, environmental degradation, homelessness, violence, and refugees, this book pursues a multidisciplinary approach to spatial justice in the city. Spatial justice has been central to urban theorists in various ways. Intimately connected to social justice, it is a term implicated in relations of power which concern the spatial distribution of resources, rights and materials. Arguably there can be no notion of social justice that is not spatial. Philippopoulos-Mihalopoulos has argued that spatial justice is the struggle of various bodies - human, natural, non-organic, technological - to occupy a certain space at a certain time. As such, urban planning and policy interventions are always, to some extent at least, about spatial justice. And, as cities become ever more unequal, it is crucial that urbanists address questions of spatial justice in the city. To this end, this book considers these questions from a range of disciplinary perspectives. Crossing law, sociology, history, cultural studies, and geography, the book's overarching concern with how to think spatial justice in the city brings a fresh perspective to issues that have concerned urbanists for several decades. The inclusion of empirical work in London brings the political, social, and cultural aspects of spatial justice to life. The book will be of interest to academics and students in the field of urban studies, sociology, geography, planning, space law, and cultural studies.