The Experts below are selected from a list of 11001 Experts worldwide ranked by ideXlab platform
Amanda Gilvin - One of the best experts on this subject based on the ideXlab platform.
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Postcolonial Artists and Global Aesthetics Akin Adesokan (review)
Nka Journal of Contemporary African Art, 2013Co-Authors: Amanda GilvinAbstract:Scholars of African visual culture will be well served by Akin Adesokan’s recent book Postcolonial Artists and Global Aesthetics , which offers a model for interpreting artworks within the many Cultural and economic contexts in which they function. The book is structured as a collection of case studies of writers and filmmakers, and while each chapter focuses on a specific Cultural Producer, Adesokan builds connections between his figures of analysis across time and space. Adesokan offers a successful, rigorous example of a project that demonstrates the political urgency and conceptual depth of African artists, as well as artists’ investment in mercurial global political networks that stretch across generations and continents.
Donald F. Theall - One of the best experts on this subject based on the ideXlab platform.
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Joyce's Practice of Intertextuality: The Anticipation of Hypermedia and its Implications for Textual Analysis of "Finnegans Wake"
2000Co-Authors: Donald F. TheallAbstract:Living within the same historical frame that produced Vannevar Bush's Memex \u2013 a period marked by the rise of contemporary technoculture \u2013 Joyce, from the perspective of a Cultural Producer, intuitively recognized the emergence of digital culture. Joyce's treatment anticipates such cybernetic concepts as code, surprise or deviation, memory storage, non-linearity, transversality, link, frame and even, with a very slight stretch of hermeneutic imagination, bit and bite. He is most likely the earliest writer to practice so comprehensively, complexly and exhaustively the poetic strategies of intertextuality \u2013 or perhaps more properly, of interdiscursivity.
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Joyce's Practice of Intertextuality: The Anticipation of Hypermedia and its Implications for Textual Analysis of Finnegans Wake [2000, rptd. 2008]
2000Co-Authors: Donald F. TheallAbstract:Living within the same historical frame that produced Vannevar Bush's Memex a period marked by the rise of contemporary technoculture Joyce, from the perspective of a Cultural Producer, intuitively recognized the emergence of digital culture. Joyce's treatment anticipates such cybernetic concepts as code, surprise or deviation, memory storage, non-linearity, transversality, link, frame and even, with a very slight stretch of hermeneutic imagination, bit and bite. He is most likely the earliest writer to practice so comprehensively, complexly and exhaustively the poetic strategies of intertextuality or perhaps more properly, of interdiscursivity.
D Student - One of the best experts on this subject based on the ideXlab platform.
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the forming of symbolic power in the field of Cultural production to take the artistic field for example
Journal of Yulin Teachers College, 2006Co-Authors: Y U Yanshen, D StudentAbstract:The genesm of artistic field provides Cultural Producers with game space,also distinguishes between the rich and the poor in Cultural capital,the disparity in Cultural capital results in symbolic power relationships. Cultural capital has enough value after its function and significance had been approved by people,and the symbolic power of Cultural Producer is legitimized being based on this approved value. The symbolic characteristics of Cultural capital leads to the symbolizing of Cultural Producers,all kinds of myths of authors are created,So the symbolic power of authors is strengthened.
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The Forming of Symbolic Power in the Field of Cultural Production——to Take the Artistic Field for Example
Journal of Yulin Teachers College, 2006Co-Authors: Yu Yan-shen, D StudentAbstract:The genesm of artistic field provides Cultural Producers with game space,also distinguishes between the rich and the poor in Cultural capital,the disparity in Cultural capital results in symbolic power relationships. Cultural capital has enough value after its function and significance had been approved by people,and the symbolic power of Cultural Producer is legitimized being based on this approved value. The symbolic characteristics of Cultural capital leads to the symbolizing of Cultural Producers,all kinds of myths of authors are created,So the symbolic power of authors is strengthened.
Lerna K. Yanık - One of the best experts on this subject based on the ideXlab platform.
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Entrenching geopolitical imaginations: brand(ing) Turkey through Orhan Pamuk
Journal of International Relations and Development, 2018Co-Authors: Cagri Yalkin, Lerna K. YanıkAbstract:This study focuses on how through consumers, the market reproduces a discourse that aligns with the political and the Cultural spheres. By drawing on fields of production and consumption, we turn to how both Turkey as a nation-brand and Orhan Pamuk as a Cultural Producer are produced and consumed at the nexus of political and Cultural fields. Based on the analysis of data comprising of interviews with Orhan Pamuk and Amazon consumer reviews of his work, we argue that the consumers of Pamuk’s works duplicate and reiterate dualities that have come to represent Turkey. This highlights the role of Cultural products as nation-brand makers and the markets as where arts and politics intersect. We suggest that Cultural products serve as vehicles through which existing perceptions and real and perceived global political hierarchies are reproduced.
Cagri Yalkin - One of the best experts on this subject based on the ideXlab platform.
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Entrenching geopolitical imaginations: brand(ing) Turkey through Orhan Pamuk
Journal of International Relations and Development, 2018Co-Authors: Cagri Yalkin, Lerna K. YanıkAbstract:This study focuses on how through consumers, the market reproduces a discourse that aligns with the political and the Cultural spheres. By drawing on fields of production and consumption, we turn to how both Turkey as a nation-brand and Orhan Pamuk as a Cultural Producer are produced and consumed at the nexus of political and Cultural fields. Based on the analysis of data comprising of interviews with Orhan Pamuk and Amazon consumer reviews of his work, we argue that the consumers of Pamuk’s works duplicate and reiterate dualities that have come to represent Turkey. This highlights the role of Cultural products as nation-brand makers and the markets as where arts and politics intersect. We suggest that Cultural products serve as vehicles through which existing perceptions and real and perceived global political hierarchies are reproduced.
