'Law of their own': notes on legal alterity in early nineteenth-century Ireland

This article investigates intersections between legal and literary discourse in Ireland in the early 19th century, and explores how judicial tropes, in particular that of an “alternative judiciary”, shape perceptions of Irish identity as well as cultural expression. Whilst Ireland and the Irish were typically characterized as lawless, this article examines the ubiquitous presence of alternative legal systems, focusing on the writings of Thomas Moore (1779–1852) and William Carleton (1794–1869). These representations, and the questions of authority and legitimacy that they provoke, are considered within critical debates about the development of literary forms in Ireland, and the inherent relationship that legal alterity evokes between textual and judicial authority.

History, an Exit Strategy: The Retrofuture Fabulations of kara lynch

A cartographer constructs a map of an individual creative history, that of the American artist kara lynch, as it emerges in connection to a collective history of African American cultural expression. Positioning history as complex, dynamic systems of interwoven memory networks, the map follows lynch’s traversals through various “zones of cultural haunting”: places where collective memories made invisible through systematic processes of cultural erasure may be recovered and revived. Through these traversals, which are inspired by lynch’s “forever project” Invisible, the map covers such terrains as haunted narratives, mechanisms of abstraction and coding within African American media production, water as an informational technology, the distribution of memory in blood, the dialectics of materiality and immateriality that frame considerations of black subjectivity, and the possibility that place of music might not be the site of sound but instead the social production of memory.

Des relations entre les structures musicales et les contextes sociaux dans un répertoire de "sessions" instrumentales irlandaises

La version intégrale de ce mémoire [ou de cette thèse] est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU)

Estrategias de marketing y comercialización de las editoriales independientes, dedicadas a las disciplinas artísticas de diseño y moda en Bogotá

El presente documento describe cómo funcionan las editoriales independientes dedicadas a las disciplinas artísticas de diseño y moda en Bogotá, proyecto que pretende ser una herramienta de estudio para las nuevas y nacientes publicaciones que deseen expresar sus intereses, lograr reconocimiento, culturizar al público y obtener ingresos en el proceso. El siguiente trabajo indaga sobre el movimiento de la moda, el arte y el diseño, corriente que ha evolucionado reveladoramente en los últimos años, la cual se ha convertido en una gran economía a nivel mundial. El sector de las editoriales independientes dedicadas a las disciplinas artísticas es un tramo emergente, existen varios proyectos que exponen nuevas propuestas de jóvenes diseñadores, empresarios y emprendedores colombianos que se mueven en la escena artística de la capital del país. Estos tipos de ediciones muestran lo que está sucediendo en Bogotá en diferentes aspectos, ejemplo; eventos relacionados con la música, gastronomía, moda, entre otros. Presentan las nuevas tendencias referentes al diseño y se proponen descubrir y publicar a los artistas emergentes de la capital para que ellos gocen de un medio para exhibir su trabajo. Muchas de estas ediciones no tienen la posibilidad de imprimir sus ediciones, y si las imprimen no logran vender su trabajo, con este documento se pretender brindar estrategias de mercadeo y comercialización de las editoriales independientes dedicadas a las disciplinas artísticas de diseño y moda de la ciudad de Bogotá , con el objetivo de que estas continúen funcionado, para que haya una circulación de información artística a la población capitalina, de esta manera jóvenes colombianos tengan una plataforma para exponer su trabajo y la ciudad misma se convierta en un centro de expresión cultural reconocida mundialmente.

Cartografías simbólicas para la cultura y el desarrollo

El presente trabajo tiene como punto de partida la convicción que es necesario explorar nuevos marcos teóricos y metodológicos para la producción de conocimiento sobre las múltiples relaciones de la cultura con el desarrollo. Para tal efecto revisa la naturaleza polisémica del concepto cultura, su tratamiento por las ciencias sociales y la economía y su concepción actual como explicación última de toda actividad humana. Subraya la necesidad de generar un conocimiento propio del campo cultural que adopte renovadas concepciones y bases epistemológicas provenientes de las artes y las humanidades que privilegian lo intuitivo, lo individual frente a lo colectivo. La revisión de fuentes provenientes de la filosofía permite una lectura y un enfoque reformado de la naturaleza de la cultura que cuestiona la clásica concepción antropológica que reduce lo religioso a una expresión cultural. Los argumentos presentados exponen que en toda forma cultural está implícita una particular cosmovisión, una visión de la vida; una valoración del mundo que se conecta con el significado último de la existencia humana que es de naturaleza religiosa. Todas las comunidades culturales tienen en su haber una serie de prácticas, tradiciones, usos, costumbres, expresiones creativas que dan cuenta de una identidad particular y que son registradas a través de mapeos culturales y sistemas de información. El texto hace referencias a políticas y programas culturales sobre cultura y desarrollo en la región centroamericana

Shot by both sides: Punk, politics and the end of “Consensus”

This article examines the ways in which political organisations of the far left and far right responded to punk-informed youth culture in Britain during the late 1970s. It examines how both tried to understand punk within their own ideological framework, particularly in relation to the perceived socio-economic and political crises of the late 1970s, before then endeavouring to appropriate—or use—punk for their own ends. Ultimately, however, the article suggests that while punk may indeed be seen as a cultural response to the breakdown of what some have described as the post-war ‘consensus’ in the 1970s, the far left and far right's focus on cultural expression cut across the basic foundations on which they had been built. Consequently, neither left nor right proved able to provide an effective political conduit through which the disaffections expressed by punk could be channelled.

Caribbean Irish connections

There has been an Irish presence within the Caribbean since at least the 1620s and yet the historical and cultural dimensions of this encounter remain relatively under-researched and are often conceived of in reductive terms by crude markers such as redlegs or poor whites. While there are some striking reminders of this hitory throughout the region, this collection explores how the complications and contradictions of Irish Caribbean relations are much richer and deeper than previously recognized. Caribbean Irish Connections makes an important contribution to Irish studies by challenging the dominance of a US diasporic history and a disciplinary focus on cultural continuity and ancestry. Likewise, within Caribbean studies, the Irish presence troubles the orthodox historical models for understanding race and the plantation, race and class structures, as well as questions of ethnic and religious minorities. The contributors emphasize the importance of understanding the transatlantic nexus between Ireland and the Caribbean in terms of the shared historical experiences of dislocation, diaspora and colonization, as well as of direct encounter. This collection pays tribute to the extraordinarily rich tradition of cultural expression that informs both cultures and their imagination of each other.

Pipit Rochijat's subversive mythologies: the Suharto era and beyond

This article examines Indonesian émigré Pipit Rochijat's attempts to adapt and renew the tales of the traditional shadow theatre, the wayang. The significance of Pipit's subversive mythologies lies in the historical context in which these reinterpretations occurred: at the height of Suharto's New Order regime in the mid 1980s. At a time when censorship and self-censorship had virtually crippled the critical impulse of Indonesian cultural expression, the return to mythology was in a significant sense an attempt to evade, critique, and undermine the authorities. By appropriating the very same symbols and language in which the New Order authoritarian regime had manipulated so effectively, Indonesian dissidents such as Pipit discovered the perfect symbolic weapon with which to radicalize their opposition.

Sophistic 3.0 and the end of media relations

This paper looks at Web 2.0 as a new form of discursive art which may be changing human subjectivity - which may be producing new kinds of people. It casts the Web 2.0 era as the 'Third Sophistic' in comparison to the two other sophistics: (1) the period from the Ancient Greek Enlightenment when grammar, rhetoric and dialectic were invented by the original pre-Socratic sophists up until the times of Plato, Aristotle, and Isocrates; and (2) the Second Sophistic in the early centuries of the Common Era when 'epideictic,' that is subtle, artistic rhetoric was perfected. These sophistics marked alterations in the possibilities for human cultural expression and conception. Are we experiencing a 'Sophistic 3.0'? If so what are the likely consequences for contemporary discourse and its media?

Semiotic, rhetoric and democracy

This paper unites Deely’s call for a better understanding of semiotics with Jaeger’s insight into the sophists and the cultural history of the Ancient Greeks. The two bodies of knowledge are brought together to try to better understand the importance of rhetorical processes to political forms such as democracy. Jaeger explains how cultural expression, particularly poetry, changed through the archaic and classical eras to deliver, or at least to be commensurate with contemporary politics and ideologies. He explains how Plato (429-347 BCE) struggled against certain poetry and prose manifestations in his ambition to create a ‘perfect man’ – a humanity which would think in a way which would enable the ideal Republic to flourish. Deely’s approach based on Poinsot and Peirce presents a theoretical framework by means of which we can think of the struggle to influence individual and communal conceptualisation as a struggle within semiotics. This is a struggle over the ways reality is signified by signs. Signs are physical and mental indications which, in the semiotic tradition, are taken to produce human subjectivity – human ‘being’. Deely’s extensive body of work is about how these signs are the building blocks of realist constructions of understanding. This paper is concerned with the deliberate use of oral and written signs in rhetorical activity which has been deliberately crafted to change subjectivity. We discuss: (1) what thought and culture is in terms of semiotics and (2) Jaeger’s depiction of Ancient Greece as an illustration of the conjunction between culture and subjectivity. These two fields are brought together in order to make the argument that rhetoric can be theorised as the deliberate harnessing of semiotic affects. The implication is that the same semiotic, subjectivity-changing potency holds for 21st century rhetoric. However fourth century BCE Athens is the best setting for a preliminary discussion of rhetoric as deliberate semiotic practice because this was when rhetoric was most clearly understood for what it is. By contrast a discussion concentrating on modern rhetoric: public relations; advertising; lobbying; and public affairs would open wider controversies requiring considerably more complex explanation.

Contested Publics: Racist rants, bystander action and social media acts of citizenship

While social media tools enable new kinds of creativity, cultural expression and forms of public, civic and political participation, we often hear more about the harms that arise from instances of trolling and 'aberrant' online participation, including racist provocation. In media and communications research, these issues have been framed in a number of ways, usually focusing on new tools for civic engagement, political participation and digital inclusion. Government policy has been shifting steadily towards potential regulation of social media 'misuse' in relation to appropriate forms of 'digital citizenship'. It is in this evolving context that we consider several instances of cultural or nationalistic provocation and conflict in which social media platforms (YouTube and Facebook in particular) have been central to the social dynamic that has unfolded. We examine the recording and uploading of racist rants and associated bystander actions on public transport in Australia and elsewhere around the world. In this article, we contend that while racism remains an issue in uses of social media platforms such as YouTube, this focus often overshadows these platforms' productive potential, including their capacity to support agonistic publics from which productive expressions of cultural citizenship and solidarity might emerge.

Okupar, resistir, insistir : uma etnografia das práticas de ocupação urbana Fortaleza / Ceará

The objective of this dissertation is understand the relationships built between subjects who occupy buildings in a state of abandonment to revitalize them - called okupas, noting which individuals construct such meanings on the practice of occupation and how to organize the construction and maintenance of a collective life project. Having the Okupa Squat Torém, located in the neighborhood of Fatima in the southern city of Fortaleza-CE, as locus and observed through the ethnographic method, followed the social practices of urban segment. I invested in a data collection revealed that the custom of okupas and their domestic habits, inside and outside of okupa, emphasizing the interaction situations, like most appropriate occasions to observe the constant negotiation and refinement of his cunning to intervene in the city . Among the objectives of this research, the main thing is to observe which senses are assigned to the practice of the occupation by okupas. For this, reflecting from the specifics of this urban phenomenon and talking mostly with the tradition of research in the field of anthropology, I tried to address some issues regarding the practice of okupação and organization of the group, which the principles and movements that make these contacts with city etc. The appropriation made by the subjects on the urban space here means understanding them as a cultural expression of a number of collective values, resulting from experience and perception of okupas like themselves. The intention is to show how this practice intervention and collective action has appeared in contemporary times and how my ethnography can contribute to a dialogue on the practices of mobilization and update of the city, considering the Theory of Recognition Axel Honneth (2003) as an analytical category useful to describe the forms of reciprocity experienced by okupas

Medo de dentista em cena: uma análise de produções cinematográficas

The fear related to dental procedures can be acquired through disturbing experiences and/or negative cultural influences related in experiences of previous generations. Such influences may be present in diverse forms of cultural expression: in the cinema, plastic arts, music, literature, and diverse vehicles of printed and visual media. This research aimed investigates the images of fear related to the dental service and dentist in motion pictures. The study has qualitative approach, which used the documentary analysis of movies. The data collection was accomplished through research in the Internet by means of the Google tool (http://www.google.com.br), using the describing words filme and dentista . A total of 44 films were found. Of these, after selective criterion for films with scenes showing interaction between dentist and patient in the execution of clinical procedure, only 24 films were enclosed. Then, these were registered in data base created for this research. After second selective criterion of inclusion (scenes with suggestion of dental anxiety), 15 films remained. As regards cinematographic gender, the films with scenes showing "dental anxiety" varied between comedy (8), horror (3), drama (2), thriller (1) and childish (1). Of these films, scenes with images of situations that suggest fear of the dentist and his job were selected and described. The images were categorized by the identification of negative characteristics that incite "dental anxiety". Then, the classification of the categories was proceeded detaching the most recurrent characteristics in the scenes: situation of fear in the waiting-room; pain; instrument coarse/rudimentary; coarseness of the dentist; torture; and low qualification technique. The waiting-room was observed as a place of great tension, due to the noises coming from the dental attendance. The pain related to the Dentistry was the predominant subject in the majority of films (14), associated to others negative characteristics. The rudimentary aspects of procedures and instruments, and the coarse attitudes of the professional could be observed too. The dentist was characterized as confused, sadist, violent, insensitive, incompetent person and disturbed. Such results suggest that, despite the technological advances of the profession, the image of the dentist and his job is still transmitted in a negative way aspect and reinforces the dental anxiety

Cursinhos alternativos e populares: movimentos territoriais de luta pelo acesso ao ensino público superior no Brasil. -

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)