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As early as the late eighteenth century, there were English-language periodicals published from Paris. But it was only at the end of the nineteenth century, when well-capitalised American periodicals began to be launched from the city, that a transnational English-language press in the city began to develop into a distinctive media category. This essay examines the activities surrounding these periodicals at the time, following Bruno Latour's sociology of action, which holds that we can learn about social actors and cultural productions by following their activities and their controversies. The intense journalistic activities of these periodicals during this period left many traces, revealing a little-known media history of start-ups and experiments, innovation and failure, and association and rivalry, as well as group making and community building. These activities also capture a particular moment in the history of the transnational press in Paris when a rather undefined type of journalism and public became something more both within the city and throughout Europe. To examine how these periodicals were referring to each other, establishing journalistic practices, developing infrastructure, and chronicling their own histories is to witness how they were in the process of constituting themselves as a distinctive transnational media formation. By following journalism in action, we can uncover this transnational media history in the making. [ABSTRACT FROM AUTHOR]

In this article, based on ethnographic research conducted in Perth, Western Australia and Madrid, Spain, we consider how community is understood and enacted for Russian-speaking migrants and its role in cultural (re)production. Studies often overlook the important role of struggle, contestation and power relations in everyday practices of community making. Drawing on Bourdieu's field theory, we describe the Russian-speaking migrant community as a structured social space in which community leaders and migrant institutions compete for the right to represent the community. As a result of power differentials, contested ideas about what Russian-speaking culture is and how it should be transmitted, maintained and produced are established, (re)produced and revised. The community is perceived by its own members as disunited and/or consisting of members with whom migrants do not want to identify, forming a 'community of unbelonging'. [ABSTRACT FROM AUTHOR]

This paper delineates a distinctly post-1960s expression of hunger and desire for food in Cuban and Egyptian cultural production. Hunger has always been present in aesthetic renditions of everyday life in both locales. Following the early-1960s socialist expansion of the role of the state, a new expression of hunger for animal protein emerged that relied on vegetarian tropes and parodied official discourse. Expressions of this "new hunger" captured the contradictory state of being conditioned, through state food programs, to see the consumption of animal products as the epitome of a healthy diet that endows one with the status of being "developed" and "modern" while simultaneously not being afforded satisfactory access to those food items due to conditions beyond one's individual control. In such contexts, the average citizen is primarily vegetarian and not by choice, while those with access to power live the promised dream of carnivorous plenty. This article analyzes several political speeches, cartoons, jokes, and songs to map the rhetorical and aesthetic characteristics of such satiric expressions and demonstrate how they were informed by the growing gap between early revolutionary official promises of food for all and actual food shortages. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Youth Research is the property of Genclik & Spor Bakanligi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Contestation among traditional art performances, in the technology and information era, creates complex and diverse challenge to the dance of Reog Bulkiyo. In 1999, the dance had to be stopped following the regeneration and economical problem. Although Reog Bulkiyo has been performed again since 2009, the conditions which makes this dance can be produced is still inexplicable. This article attempts to explain why dance experiencing production and activity stagnation. Pierre Bourdieu’s cultural production theory is used to analyze this problem, while ethnographic qualitative is used as the method. This study found that Reog Bulkiyo dance is in the arena of traditional dance art which has a double-tiered structure. The first structure leads to popular culture, while the second structure leads to art culture. In the first structure, Reog Bulkiyo dance group uses relational capital with relatives, social and Islamic groups to survive in the midst of competition with other popular arts. The dance then gains a relationship with the academy and the state which provides relational, cultural, and symbolic capital in the form of granting intangible cultural heritage status. These two relations give Reog Bulkiyo dance group the opportunity to maintain its cultural production. [ABSTRACT FROM AUTHOR]

We will discuss the impact of AI on storytelling, particularly in the context of Indigenous media-making. We will do this broadly in reference to our own practices and artistic processes and our current collaboration, Tomorrow’s Pasts, specifically in relation to our experience of developing and creating artistic and creative projects with AI-generative media.We will speak to the notion that Indigenous knowledge systems tend to be relational whereas Western knowledge systems can be cumulative and extractive, and that these points of difference expose a colonial imprint on conceptualizing and producing projects that deal with artistic and cultural production in general and emerging technologies in the narrative space in particular. In this we will refer to the growing field of research into indigenous data sovereignty.We will draw directly on 3 ‘events’ in which we participated in 2023: (1) Frame Doco Lab, Victoria, Australia (2) The International Sami Film Institute’s Indigenous Film Conference in Guovdageaidnu, Norway and (3) Art + Australia’s Study-In on AI + Race + Art, Melbourne, Australia. our in-conversation at the Indigenous Film Conference (August 17–20) presented by the International Sami Film Institute in Norway. [ABSTRACT FROM AUTHOR]

Works of fiction play a crucial role in the production of cultural stereotypes. Concerning gender, a widely held presumption is that many such works ascribe agency to men and passivity to women. However, large-scale diachronic analyses of this notion have been lacking. This paper provides an assessment of agency attributions in 87,531 fiction works written between 1850 and 2010. It introduces a syntax-based approach for extracting networks of character interactions. Agency is then formalized as a dyadic property: Does a character primarily serve as an agent acting upon the other character or as recipient acted upon by the other character? Findings indicate that female characters are more likely to be passive in cross-gender relationships than their male counterparts. This difference, the gender agency gap, has declined since the 19th century but persists into the 21st. Male authors are especially likely to attribute less agency to female characters. Moreover, certain kinds of actions, especially physical and villainous ones, have more pronounced gender disparities. [ABSTRACT FROM AUTHOR]

The impact of culture-forming aspects of Islam on the formation of educational culture of the individual, on the one hand, becomes relevant in the light of the existing need for epistemological research of the general essence of the role of Islam in this sphere of cultural production. On the other hand, an important direction becomes the disclosure of the peculiarities of the socio-cultural context of Kazakhstan within the framework of this issue, which to a large extent remains insufficiently researched. The main goal of the study is to systematically assess the main paradigmatic structures of Islam in Kazakhstani society, which form the educational culture of the individual and determine its potential in the educational process. Within the framework of the sociological approach, semi-formalised interviews were conducted in order to identify common institutional factors affecting the educational and upbringing environment of Kazakhstan residents related to Islam. In order to analyse the value structure of the residents of Kazakhstan and its relationship with Islamic teachings, psychological testing was conducted using a portrait value questionnaire based on the Schwartz methodology. In the course of theoretical and empirical analysis, six main culture-forming paradigms were identified that directly influence the educational potential of Kazakhstan residents: the paradigm of moral values, the paradigm of research and search for new knowledge, the paradigm of tolerance and respect for differences, the paradigm of social responsibility, the paradigm of moderation, the paradigm of respect for elders (including teachers). The culture-forming paradigms identified in the course of the study demonstrate not only consistency with the religious aspects of Islam, but also have a significant impact on the formation of values, morality and cultural identity in modern Kazakhstan. [ABSTRACT FROM AUTHOR]

The purpose of the article is to review important aspects of the critical studies in foreign scientific discourse aimed at textual analysis of reality show as a genre and television format, which helps to reconsider its status as a phenomenon of ―post-documentary‖ culture. The research methodology. The work uses, firstly, critical discourse analysis, which allows us to understand the limitations and counterproductiveness of textual analysis of reality show and helps to reveal the constitutive potential of television and cultural production practices, and, secondly, a cultural approach, which allowed us to identify the media-cultural features of reality show and show them as an element of ―post-documentary‖ audio-visual culture in the XXI century. Scientific novelty of the research lies in the fact that for the first time, through the prism of criticism of the textual approach, the peculiarities of reality show as a phenomenon of ―post-documentary‖ audio-visual culture are revealed. Conclusions. It is proved that the counterproductiveness of the textual approach to the conceptualisation of reality show as a genre, since its production contradicts the general logic and the established perception of what a text should be. This genreform has more common with no certain genre traditions or textual features, but with the ―processing of reality‖ at the intersection of fact and fiction, shifting attention from the text to its production. The proliferation of reality TV programmes illustrates the industry's dependence on ―reality‖ as a tool for advertising marketing and the logic of cultural production. It is affirmed that during conceptualising TV reality texts, it is necessary to pay attention to a number of industrial and market conditions and needs, which prioritises textual production practices and contexts that shape practical decisions, and allows for empirical access to the evolving and mutating genreform of reality show. [ABSTRACT FROM AUTHOR]

The article presents excerpts from a panel discussion about Afrobeats music conducted by the author with disc jockeys (DJs) and sound artists Alexandria Eregbu and Mike Abrantie. Topics discussed include the history and current state of Afrobeats music, the implications of gender and sexuality within the genre, the politics and poetics of Black people being able to gather around this style of music, and the threat of capitalism's influence on Black cultural production.

Representations of urban spaces and most importantly, of city culture, is often manifested in and visibilized through popular cultural productions. City culture is embodied in popular artforms such as film, photography, dance, music, and fashion among others, which present the city as an imagined space for performance and display. Whereas the city is integral in understanding manifestations of social change, film plays a role in foregrounding and reflecting its social transformations overtime. Anchored on the multi-disciplinary triad of the cultural production of place, space and meaning, this article explores representations of everyday life in Nairobi city as mediated through three films: Ndoto za Elibidi (2010), Nairobi Half-life (2012) and Rafiki (2018). The article argues that the production and consumption of urban cinematic geographies is, in different ways, tied to everyday experiences in the city. The article further shows how space in film is used as a narrative devise to depict emerging queer social imaginaries in the city spaces in Nairobi. Thus, the article contributes to emerging trends on how urban practices influence popular consciousness and adds to the growing lore of urban scholarship in Kenya. [ABSTRACT FROM AUTHOR]

Diverging from studies that categorize influencers solely as advertising figures subject to interpretation within marketing frameworks, this research employs an extensive netnography to examine influencers through the lens of cultural production theory. It views them as creators and creative individuals who adeptly cultivate communities around themselves using communicative techniques akin to literary narration. On digital platforms, social connections are reshaped into a seductive game, unfolding on both aesthetic and communicative planes. This process yields influence indirectly, gradually reshaping the community imaginary, over time. Users become immersed in a realm of objects, each bearing the distinctive mark of the influencer who has imbued them with their unique style, "like that of the potter cradling a clay cup". Influencers' ability to invent and inhabit digital platforms effectively positions them as key figures in shaping the dynamics of these new environments. [ABSTRACT FROM AUTHOR]

This article explores the role of conservators and focusses on their creative agency in the preservation of cultural heritage. It argues that conservators constitute a 'recursive public' who collectively make the field both highly collaborative and highly modifiable. The author then sets out how conservators engage in a form of 'ontological constructivism' where they use their creative agencies in adversarial, anexact, and generative processes and act as 'art-developers' to commit to the next version of a work. Drawing parallels with software development, the author proposes that conservation should be seen as a form of version control that creates time-stamped 'versions of record' that persist until the next cycle of care. To emphasise the lack of finality in any artwork the author produces a series of 'endgames' to illustrate the ontologically open-ended nature of cultural heritage. The article suggests that in exploring the distributed nature of creative agency through the lens of version control, conservation can provide greater understanding into the real conditions of art and cultural production and how they continue to evolve over time. This then helps disrupt conventional notions of authorship and allows conservation to contribute to a more inclusive understanding of art and culture in our institutions. [ABSTRACT FROM AUTHOR]

Cultural distortion risk (CDR) threatens and challenges the cultural sustainability of heritage sites. This study adopted a sequential exploratory mixed-method design comprising grounded theory and fuzzy-set qualitative comparative analysis (fsQCA) to analyze the influencing factors, formation process, and avoidance paths of cultural distortion risk. The results indicate that CDR is caused by the "institution-market-production" framework, which involves eight influencing factors and 21 indicators. There are no necessary conditions for CDR formation, but weak cultural production plays a universal core role in forming high CDR. Moreover, our study highlights that the generation logic of CDR consists of four configurations and that the avoidance paths cover three configurations. These findings clarify the generation mechanism of CDR and expand the theoretical system of cultural sustainability research from a risk perspective. Heritage sites can use 21 indicators to reduce the cultural distortion risks by establishing institutional guarantee mechanisms and strengthening multiparty collaborative governance. [ABSTRACT FROM AUTHOR]

The Tokyo 2020 Paralympic Games was broadcast for the first time on free to air (FTA) television across 49 territories in Sub-Saharan Africa. This article charts the story of this historic development and marks the first study to explore Paralympic broadcast production beyond the cultural specificities of Global North/Western-centric media practices, infrastructure availability and disability discourses. Drawing on an integrated qualitative dataset, including interviews with key individuals from the International Paralympic Committee, TV Media Sport (the broadcast partner) and one national Sub-Saharan broadcaster (Malawi Broadcasting Corporation), this article documents the challenges, logic and politics behind the Sub-Saharan African Paralympic broadcast. In so doing, we consider the extent to which these articulated with epistemic differences, underlying neocolonial sentiments and (mis-)understandings of the geopolitical contours and disability politics of the Sub-Saharan African region. We consider the important role national Paralympic broadcasters may play in the sustainable development of the broadcasts across this region, particularly in relation to its pedagogical value for harnessing progressive localised disability politics, disability activism, and social justice. [ABSTRACT FROM AUTHOR]

This review examines cultural production and consumption through the lens of race and ethnicity. Although the sociological study of race, ethnicity, and cultural production and consumption (RECPC) is growing, it is scattered across various subfields. This review aims to provide a more comprehensive understanding of how race and ethnicity intersect with cultural production and consumption by bringing this scholarship together. I discuss five dominant themes in the scholarship: classification, valuation and evaluation, representations, market outcomes, and cultural capital. The article concludes with implications for future sociological research on RECPC. [ABSTRACT FROM AUTHOR]

This article locates itself in the aftermath of the 2016 coup attempt in Turkey to study the cultural production of reactionary sentiment. Placing Wendy Brown's concept of "wounded attachment" in conversation with materialist and anticolonial theorizations of indignation in Turkey and beyond, the article explores the production of a reactionary mood that traverses affective, economic, technological, and cultural dynamics. In order to do so, it focuses on an intriguing example of wounded attachment in the post-2016 period: the sense of concern and anxiety that has formed around public performances of the ezan (the Islamic call to prayer). The article argues that feelings of indignation, victimhood, and revenge are crucial to Turkish politics, as their production lies at the intersection of specific memories of injury and the material foundations of contemporary capitalism in Turkey. [ABSTRACT FROM AUTHOR]

Copyright of Soziologische Revue is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magazine of Historical Studies & Archaeology is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A theory of value pertinent to the contemporary iPhone era focuses on formal and informal labour circuits. This study extends this framework by examining a labour dispute in an iPhone factory near Bangalore, delving into its dissemination through media and the broader critical political economy surrounding the recent iPhone production in India. Furthermore, it incorporates a geographical perspective into the circuit framework to illustrate the movement of capital and labour in Bangalore, rekindling discussions on core–periphery dynamics in the context of capital and labour migration. Further, this research builds upon the typography of worker-generated content by illustrating a specific category of such content within the iPhone labour dispute. Utilising a critical political economy of media approach, this article aims to assess the broader implications of the updated framework and to open new avenues for research within the emerging field of information communication technologies, cultural production and labour. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Soochow University Educational Science Edition is the property of Soochow University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines how the self-organized social formations of Kurdistan’s Jews in Jerusalem and the non-Jewish Kurdish diaspora in Berlin engage in self-governing cultural production practices that they establish to regulate their communities’ cultural, emotional, and social affairs, address their challenges, and meet their objectives. The paper further analyzes the impact of cultural production on communities’ everyday lives. Specifically, self-organized social establishments embrace cultural production objects, including ethnic food, circle dances, music, and religious melodies, to stimulate cultural spaces in which community members interpret and consume cultural production’s symbolic meanings for a variety of objectives. These include, but are not limited to, the restoration of lived or ancestors’ narrated memories, the promotion of collective identities, and a sense of belonging. They also foster community formation and social cohesion, seek to surmount social and structural obstacles in their integration process, and advocate for their homeland-related politics and interests. However, these meanings and their consumption within both communities vary depending on their homeland ties and needs, barriers, and political conditions in new environments. Kurdistan’s Jewish initiatives capitalize on cultural production as a dynamic vehicle to reconstruct ancestral identities, evoke a sense of belonging, preserve ancestors' cultural heritage, reconnect with their ancestral roots, and promote social cohesion. However, non-Jewish Kurdish diaspora establishments in Berlin harness cultural production as a sociopolitical strategy to maintain the Kurdish identity, address refugees’ integration difficulties, form their cohesive and political community, and engage in homeland politics. My findings, based on ethnographic fieldwork, 87 in-depth interviews with cultural actors and community members in Jerusalem and Berlin, and participant observations over a seventeenmonth period, illustrate how self-organized formations play a vital role in the self-governing cultural production process and how they impact their communities’ affairs, challenges, and objectives. [ABSTRACT FROM AUTHOR]

Copyright of Journal of China Tourism Research is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To address structural omissions of the experiences of makers of colour from the cultural space of craft, Crafts Council initiated the project, Disrupting the craft canon: the cultural value of craft. Partnering with an interdisciplinary team of researchers from Glasgow Caledonian University London, the project was awarded a research grant in June 2022 as part of the first round of funding of the Centre for Cultural Value's Collaborate programme. Collaborate supports innovative new partnerships between cultural sector practitioners and academics exploring under-explored questions around cultural value so as to deepen existing evidence or surface new evidence. Adopting a Living Lab approach, the team investigated the meanings and cultural value of craft and specifically the impacts of race, racism, immigration and migration on cultural production, making and value grounded in the reality of individuals' and local communities' lives. This Participatory Activist Research project helped develop and test research tools including vignettes and object-based stimuli in place-based craft making events with selected Black and Asian UK communities in London and Birmingham. Sinclair highlights the need for 'research that identifies and recognises the value of the knowledge, experience and cultural heritage of makers of colour in professional, community or other crafts spaces'. This article reflects on the collaborative process, sharing the findings of our community-based research and thereby adding to our understanding of craft's potential cultural value and the contributions craft can make to sustainable development. [ABSTRACT FROM AUTHOR]

Derelict industrial spaces have been crucial spatial resources for artists and cultural production for decades, often forming vibrant cultural clusters. However, these spaces are increasingly threatened by speculative real-estate development and displacement through more “productive” creative industries. The case of Alte Münze in Berlin provides empirical insight into the politics, practices, and strategies essential for preserving these heritage sites in the long term for cultural use. This research underscores the need for supportive planning regulations that combine cultural policy with urban planning, advocate for public-civic partnerships, and promote public or community-based ownership models. The findings extend to small-scale manufacturers and businesses facing similar challenges in maintaining workspaces amid competitive urban land use pressures.

In a landscape where videogame development has long been dominated by a patriarchal tech culture, gendered engines create spaces for girls’ participation. In this paper I explore two gamemaking toolkits that are attached to existing—and highly gendered—interactive fiction applications, Episode and Dorian. The engines belong to a broader history of initiatives hailing girls to pursue STEM fields, yet they more-so draw on girls’ hobbyist coding practices, namely those rooted in fandom activities. The engines’ monetisation infrastructures, however, engage in an ethos of post-feminist entrepreneurism that entangles leisure and work. I analyse Episode and Dorian’s gendered branding and emphasis on romance storytelling as a limiting design convention, though I also consider the subversive potential at play when the hyperfeminine comes into contact with the masculinised realms of videogames and gamemaking. [ABSTRACT FROM AUTHOR]

The article presents the book "Indiccionario de lo contemporáneo. Prácticas estéticas latinoamericanas en tiempo presente" (Indictionary of the Contemporary: Latin American Aesthetic Practices in the Present Time), edited by Celia Pedrosa, Diana Klinger, Jorge Wolff, and Mario Cámara. The book focuses on contemporary Latin American literature and art, highlighting cultural fluidity and fluctuation. It presents itself as a dictionary that questions and criticizes itself, exploring six conceptual nodes instead of a conceptual totality. Additionally, it emphasizes the collective and collaborative authorship of the book, which seeks to invigorate the question of how to live and write together. The text presents a relational critique that seeks to promote coexistence and community through friendship, conversation, and conflict in different American landscapes. The book focuses on the construction of collective meanings and the importance of human relationships. It highlights the figure of the traveling essayist and the journey as part of the book's creation process. Additionally, it mentions the importance of archipelago thinking and diversity in cultural production. The book is considered a reference for understanding the aesthetic and political imagination of our time. [Extracted from the article]

This paper explores how social capital and property regulations shape cultural producers' ability to own copyrights for the products they create. Because individual producers lack the resources required to develop and distribute their creations, they partner with large firms who demand the copyrights for products they invest in. I argue two types of social capital—status and partner substitutability—enable producers to own their creations by increasing their bargaining power over the firms they partner with. Moreover, I propose that different types of property regulations condition whether status or partner substitutability have a stronger role in producers' ownership outcomes. Analyzing all shows made for American television from 1956 to 1996, I show that increases in showrunners' status and number of broadcasters they collaborated with increased the probability they owned shows they produced. However, the effects of these social capitals were contingent on the property regulations showrunners operated under. These findings advance our understanding of the allocation of copyrights, the power dynamics between creators and firms, and the effects of social capital in cultural industries. They didn't have to pay me because I signed the contract. But is that right? I found out that these people were streaming my work, and they never had to ask me...They stole that from me. They just took it! (Dave Chappelle, The Unforgiven, 2021). [ABSTRACT FROM AUTHOR]

This collection of essays explores the ways in which Iberian cultural production has constructed kings and queens since 1975. Our focus is the royal figure who inherits their status and power through 'blood' and justifies their power invoking the transcendental mystique of monarchic sovereignty. In one way or another, the figures of Juan Carlos I and his son Felipe VI permeate all cultural representations of monarchical rule produced during the democratic period; and these representations shape our political understanding of the two kings and become a site to contest hegemonic understandings of Spanishness, post-Francoist Spain and Iberian political communities. [ABSTRACT FROM AUTHOR]

This article undertakes an examination of the origins and evolution of a discourse of alterity against the Vascones -the alleged forefathers of the Basques - and other Western Pyrenean peoples from Antiquity to the Middle Ages. The methodology employed involves the study of literary references made to these peoples, which are then compared to recent scholarly and archeological evidence. Through this analysis, it becomes possible to evaluate the accuracy of these mentions and interpret them within their specific historical context. The results of this research indicate that mentions of the Vascones during this timeframe were mainly polemic in nature and lacked substantial grounding in empirical reality. Instead, it seems that the underlying objective of these narratives of alterity was twofold: to enhance the social and political standing of their authors and to support their claims to political control over the Western Pyrenees. The abandonment of these interpretative repertoires during the tenth century, coinciding with the emergence of the kingdom of Pamplona and the county-duchy of Wasconia, further emphasizes the connection between the display of these tropes and imbalances in political power between the region and its neighbors. The conclusions of this article directly challenge the underpinnings of discourses that depict the ancient Vascones as entirely alien to the political and religious paradigms derived from the Roman and Christian traditions. In so doing, it thus confront narratives about these "ancient Basques" that are prevalent in contemporary Basque cultural production. [ABSTRACT FROM AUTHOR]

This article explores representations and lived experience of the Université Cheikh Anta Diop (UCAD), the largest public university in Senegal. While UCAD houses "disciplined" knowledges grounded in ideas of national development, this landmark institution also yields multidirectional forms of knowledge and solidarity located in student-led work and cultural production. Our analysis discusses the symbolic significance on campus of Cheikh Anta Diop, after whom the university was renamed in 1986. His body of work incarnates a fundamentally decolonial and pan-African vision, in the sense of an Africa liberated from colonial tutelage and carried forth by a young generation. In Dakar, this perspective is materialised through visual, musical and intellectual homages on campus. Yet his published writing remains marginal within the academic curriculum. The second part of the article discusses narrative representations of the university that further complicate the campus space and its Diopian promise of Afrofuturity. Infrastructural abjection, conservative societal values and gendered inequalities find expression through Mohamed Mbougar Sarr's novel De purs hommes and through films produced by the student-led Ciné-UCAD collective. Our emphasis is on expressive creativity and entangled temporalities that rub up against institutional strategies, surging into their pressure points, and questioning anew higher education's social role. [ABSTRACT FROM AUTHOR]

RED (Xiaohongshu) is one of the most popular social media platforms in China. Through the act of sharing different lifestyles on this platform, young women users create and follow fashion trends that not only speak for their beauty aesthetics, but, more importantly, reveals their complex femininities. This article examines Chinese young femininities represented on RED, aiming to explore the complex interplay of social and cultural powers in the production of female subjectivities in the post-socialist context. With this point of departure, positioning RED as a culture genre to be analysed, the discussion focuses on two major female representations on this platform: "BM girls" and "Uniqlo-Sanrio girls." Drawing on Foucault's theory of "body as a site of power," this article investigates how Chinese young women, positioned among multiple competing discourses, have been framed as the "docile body" through the collective pursuit of "pale, young, and slim" in post-socialist China. [ABSTRACT FROM AUTHOR]

How does state censorship shape global creative production? To explore the merger of art and the state in a global context, I adopt a micro-sociological approach to examine the culture of censorship and reconceptualize censorship as an ongoing, social process. Based on participant observation within a global film studio and interviews with industry insiders in Beijing and Los Angeles, I investigate how global cultural producers navigate China's rigid film censorship system. My analysis reveals how China's state censors use multistage gatekeeping and intermediated censorship to infiltrate the creative process and exert global influence. I then show how informality transforms these organizational procedures into a relational process that is hard to trace. In this, studio executives and filmmakers are induced to engage in complicit creativity, seeking creative negotiations through working with, rather than against, the state; specifically, they practice concession, reconfiguration, and collusion. These processes anchor a culture of censorship characterized by the symbiotic relationship between censors and creators, epitomizing a dynamic dance between everyday state power and everyday resistance. This relational model of censorship provides useful analytic scaffolding, extending our knowledge of the inner workings and consequences of state intervention in the new global cultural economy. [ABSTRACT FROM AUTHOR]

This article argues that, by looking to the generalization of a certain kind of artistic or creative character in paradigms of work, there is a view onto a different kind of relationship between culture and militant action and fugitivity. Here, the term destituent art is proposed to sketch out a form of cultural production that does or might lay waste not only to institutional targets of critique but also to the structurally immanent belief in institutional reform that underlies the aesthetics of that critique. It is an invitation to reconsider some key myths that structure art discourse (even if they appear as objects of critique) and an appeal to read that discursivity as not just productive but potentially destituent. To do so, the author reads operaismo's rereading of Marx against Marxism alongside theorizations of destituent insurrection through the subject of the artist. Some recent social movements in New York City targeting art institutions are analyzed to consider this connection. Like Colectivo Situaciones' discussion of destituent insurrection as a grammar that unifies surplus populations through their expressions of refusal (the riot, the strike, the commune) that are simultaneously modes of reorganizing forms of life, a destituent art would not signal a turn to a productive pessimism—that all creative work is already subsumed—but that the cultivation of destituent power actualizes and is actualized by the aesthetic production of places of action. [ABSTRACT FROM AUTHOR]

Worldmaking for and through tourism often produces a reality that is advantageous to some populations and suppressive to others. Indeed, the production of precarious and feminized tourism labor is evidence of the tourism industry's simultaneous reliance upon and re-creation of the system of global capitalism. However, tourism is fundamentally relational, meaning it is constituted by, and relies upon, the very peoples and places it (re)produces. Herein lies the multiplicity and simultaneity of situated tourism life-worlds, as well as the potential for progressive detachment from dominant representations. Ethical worldmaking is presented as a threefold system involving the conception of tourism beyond or outside of global capitalism; the appropriation of our inescapable role in the production of tourism worlds; and the recognition that a multiplicity of tourism community stakeholders simultaneously interprets and shapes tourism worlds according to such intersecting differences as gender, race, class, age, nationality, sexuality, and so forth. Applying this framework to an empirical study, the lived experiences of regionally mobile woman working in tourism provide insight into the tension and contradiction underpinning cultural tourism production in Lunenburg, Canada. Thus, a series of coping strategies are enacted in order to navigate and negotiate their complex positionality, blurring the boundaries between leisure and labor, travel and migration, subjugation and empowerment. [ABSTRACT FROM AUTHOR]

I argue that Maghrebography, which is a multilingual and transnational Tamazghan literary corpus as well as a proactively multilingual mode of reading, can account for the indigenous and indigenized languages of Tamazghan literary and cultural studies. Essentially, Maghrebography requires a proactive endeavour to learn and engage with all the languages of cultural production in Tamazgha. This article explains how the marginalization of Tamazgha's indigenous languages has led to an entrenched Arabic-French dichotomy that continues to dominate scholarly approaches to the study of and specialization in Tamazghan literature and culture regardless of the fact that Imazighen – the Indigenous people of Tamazgha – have transformed the landscape of cultural production in their ancestral homeland. In its broader implications, Maghrebography calls for a new kind of scholarship that will redefine the field currently known as Maghrebi Studies by spurring curricular and programmatic changes that account for the land's indigenous language and culture. [ABSTRACT FROM AUTHOR]

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Tsai Ming-liang's I Don't Want to Sleep Alone (2006) follows the life of a mattress as it traverses across the busy streets of Kuala Lumpur, Malaysia. This transient mattress brings together three strangers – Rawang (Norman bu Atun), the 'Homeless Guy' (Lee Kang-sheng), and the 'Coffee-shop Waitress' (Chen Shiang-chyi) – into entangled encounters that necessitate intimacy and care as each lives in precarious conditions. The phrase 'I don't want to die alone' hauntingly follows like a shadow to Tsai's English-language selection for the film's title, 'I Don't Want to Sleep Alone'. Looking toward this shadowy hauntedness, desire becomes situated as moving from aloneness in sleep toward togetherness in death. As the film follows a triangulation of desires among its three central characters, this article follows a triangulation among flowers, concrete, and water to analyze the film's work of illustrating care in ways that enmesh humanity into the circulatory and transitory lives of things – and images of things. This article engages literature on Tsai's Buddhist aesthetics and crip/queer theories of time and the body to read how flowers, concrete, and water perform the film's meditations on interdependency. As cultural production increasingly addresses the climate crisis and the precarities flowing from it, Tsai offers a position for artists to take up: we must make time to think, to mourn, and to mentally prepare for death. These are painful acts of the mind to endure. But Tsai's cinema provides the time and space to perform such acts in relation and with care. [ABSTRACT FROM AUTHOR]

Under the influence of tourism and globalization, heritage production presents a new landscape. As a crucial framework for interpreting heritage, Authorized Heritage Discourse (AHD) has profound significance in discussing its practice characteristics in this context. Taking cities along the Jiangsu–Zhejiang section of the Grand Canal as a case study and drawing upon policy text, this study explores the practice characteristics of AHD in the tourism context. Results indicate that the thematic practices of AHD encompass protection and management, ecological construction, cultural production and inheritance, touristification, infrastructure and services, and marketing and cooperation, forming a clustering pattern with touristification as the central theme. The spatial characteristics manifest as multi-scale practices ranging from global to regional to local, each corresponding to diverse thematic characteristics. This study deepens the understanding of AHD in tourism and advances the research progress of heritage tourism. It also provides practical references for the utilization of urban heritage and the management of heritage tourism. [ABSTRACT FROM AUTHOR]

This article focuses on Italian social media influencers whose celebrification is inextricably linked to their performances as mothers. Mom influencers are situated within an economy of visibility that functions to centralise the maternal body in processing marketing models and adopting specific trends and norms of the so-called platformisation of cultural production. I situate these content creators in the context of the ideology of intensive motherhood and the new momism, both of which are discursive ideologies framed in a neoliberal economic system. Through a multimodal analysis of three case studies' Instagram posts, this paper aims to provide a new framework for understanding the self-branding of Italian mom influencers, interrogating how they operate in what I label as a digital maternal ambivalence. This framework acknowledges that – in order to stay relevant for the platform algorithms – mom influencers operate a constant negotiation between the pressure of adhering to idealised representations of motherhood and the need for re-presenting an authentic self, including affects, actions, and emotions that may contrast with popular understandings of what constitutes a good mother image. [ABSTRACT FROM AUTHOR]

Folklorists are increasingly becoming interested to the intersection between oral artistic products and multimedia technology. The production and performance of cultural products in a re-presented multimedia format call for an investigation of the functions and theoretical frame of digital media in its parody, collage, transposition, pastiche, and refocusing of cultural products, especially as some are on the verge of dying out, as they are no longer performed due to the theme of modernity. The revival of some cultural products through multimedia may serve to rejuvenate them, and indeed the society that creates and uses them, but the originality variations in the production and performance pattern engender the need to rethink culture to offer frames of theoretical and thematic referents arising from the changes thereto. Since digitalisation of the cultural products enables the collection, preservation, and collage of texts, objects, audio, and visual performances, there is the need to rethink culture to map up and identify the oral products in their virtual historicity - an exercise not fully explored with the Tiv kwagh-Hir. This research used Russell Kaschula and Andre Mostert's paradigm of technauriture to cross-examine the Tiv kwagh-Hir used in multimedia technologies, as a measure of rethinking the production, style, format, and uses of contemporary cultural productions. The findings show that the emergence of multimedia technology has created, in its wake, versions, styles, new characters, and a vision for society that probes for fresh analytical dimensions, thematic preoccupations, and theoretical conceptions. [ABSTRACT FROM AUTHOR]

From Twitterature to Instapoetry, several literary forms owe their genesis and propagation to social networking sites, or SNSs. Amongst these, Instapoetry has enjoyed the most notoriety, though at the cost of its demerits overshadowing its merits. One of Instapoetry's merits is its ability to induce a sense of nostalgia with the help of evocative aesthetic modalities deployed by a poet during an Instapoem's formulation. Some of these aesthetic modalities include the typewriter font, black and white images, sepia or Polaroid images, vintage stationary, calligraphy, and textured paper. Leaning on the concept of "nosthetics" or nostalgic aesthetics proposed by Tanja Grubnic, this paper decodes the temporal hypermediacy prominent in the works of American Instapoet and photographer Tyler Knott Gregson, particularly in his first poetry collection, chasers of the light: poems from the typewriter series. Published in 2014, the collection possesses a temporal aura which not only romanticizes the past but also conveys the present as a part of the past by impersonating pre-digital analog techniques and materials. Through Gregson's collection, this paper aims at understanding the various designs or ploys behind the habituation of nostalgic sensibilities and relics in modern digital creative expressions that have come to dominate the current field of cultural production. This paper reveals how Gregson's works resurrect, temporalize, nostalgize, restore, rehabilitate, remember, reflect, conserve, eternalize, memorialize, physicalize, sensualize, play, beguile, daydream, journey, mask, elevate, legitimize, and tout. The paper ends with a conclusion highlighting the importance of Instapoetry with regards to the preservation and continuation of historical literary practices, and with a suggestion encouraging further scholarly exploration on the topic. [ABSTRACT FROM AUTHOR]

This article examines the overlooked import and production of tragedy as a literary genre during the long nineteenth-century Romanian literature. It is not that Romanian tragedies had not been written until 1918, but they were not reprinted, and the critics’ interest in these early tragedies diminished considerably over time. Starting from the observation that this poor acknowledgment is a result of a narrow and de-contextualized perspective, one that leaves aside the earlier as well as non-canonical literature, I investigate what and how tragedies were imported as well as written at the time. Whereas the imports were oriented predominantly towards the Romance-speaking countries and cultures—more than towards the Greek Antiquity—, local production explored, as expected, the historical (inter-imperial) past of the Romanian Principalities. More important, however, is the configuration of imports, which can be divided, as I aim to argue, into three categories: the latecomers, the cognates, and the diversifiers. Hence, this taxonomy, along with the local production, cast light on the fact that not only do we have tragedy—translated and local—but also that it was, as most of the cultural production, instrumentalized to promote the national ideals. [ABSTRACT FROM AUTHOR]

This special issue focuses on the vast field of propagandas in Iran resulting from the dynamic between state-sponsored cultural production and its audiences. Propagandas emerge when motifs of classical regime propaganda diffuse into the arts, film, and literature to develop an independent existence detached from the strategies of regime messaging, thereby shaping ideological negotiations and contestations across society. Since its founding in 1979, the Islamic Republic has relied on propaganda to (semi-) systematically advance and establish a political and ideological agenda in order to build a coherent grand narrative of what the 'essence' of life in Iran should be. However, the constant urge to maintain ideological uniformity in the face of domestic and international crises, as well as evolving technology, such as smartphones and social media, has required regime actors to rethink, redeploy, and rearrange the content and methods of their propaganda. This rebirthing and upgrading of state propaganda into new forms and meanings has been met with resistance, subversion, and assimilation. The articles in this special issue highlight how state propaganda–and its afterlives–is a key venue for the struggle over identity and ideology between state and society in Iran. [ABSTRACT FROM AUTHOR]

This article explores the strategic use of the popular television series Aghazadeh as a tool for disseminating regime propaganda and shaping public opinion in Iran. The regime's proactive approach in controlling and creating cultural productions is examined, highlighting its investment in countering foreign and diaspora narratives by creating commercially appealing entertainment that reinforces regime values. Aghazadeh employs populist discourse to mobilize public support, framing threats to the nation and its women as national rather than ideological challenges. The series portrays corrupt political elites as major contributors to social inequality and emphasizes the complexity of combatting corruption. It also subverts negative stereotypes associated with the Revolutionary Guards, presenting them as protectors of the nation. Ultimately, Aghazadeh (alongside its making-of documentary) serves to reinforce the existing power structure and manipulate public sentiment through cultural production. [ABSTRACT FROM AUTHOR]