By James Lull
This hugely unique, thought-provoking publication – written by means of a pioneer of conversation stories – is the 1st to research the put up 9-11 international by way of international media and pop culture.
- Written in an interesting and candid demeanour by means of a number one professional during this box
- Argues that cross-cultural knowing can in basic terms be completed by means of harnessing the ability of worldwide media, pop culture, details know-how, and private communications applied sciences
- Examines the worldwide pattern of utilizing movie, video, song, and television “on-demand” because the framework during which we adventure all cultural task
- Draws thought from the paintings of quite a number theorists, from Charles Darwin to Anthony Giddens
- Candidly interrogates the very most modern advancements in global affairs, particularly the jobs of fundamentalist non secular ideology, media globalization, and individualism, whose complicated relationships haven't begun to be defined by way of social scientists
Chapter 1 All Eyes at the international level (pages 1–23):
Chapter 2 Human Expression (pages 24–51):
Chapter three Programming Our own Supercultures (pages 52–79):
Chapter four the rush and Pull of tradition (pages 80–103):
Chapter five Globalized Islam (pages 104–132):
Chapter 6 Cultural Transparency (pages 133–150):
Chapter 7 The Open areas of world conversation (pages 151–170):
Chapter eight Fundamentalism and Cosmopolitanism (pages 171–194):
Chapter nine speaking the longer term (pages 195–206):
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Extra info for Culture-on-Demand: Communication in a Crisis World
Willis describes how the working-class subjects of his research – the “lads” – creatively negotiate their everyday realities without considering themselves to be “dupes or zombies . . ” Instead, the 32 James Lull young men carry on with energy and style through “the sheer life, intelligence, and wit of their cultural practices” (Willis 2000: xx). The creative, everyday cultural practices of the lads and of British youth in general comprise the focus of Willis’ later work – Common Culture (1990) and The Ethnographic Imagination (2000).
Instead, the 32 James Lull young men carry on with energy and style through “the sheer life, intelligence, and wit of their cultural practices” (Willis 2000: xx). The creative, everyday cultural practices of the lads and of British youth in general comprise the focus of Willis’ later work – Common Culture (1990) and The Ethnographic Imagination (2000). Willis formulates theoretical concepts to describe how people, especially youth, imaginatively engage and take ownership over cultural resources available to them.
That’s because what’s taken away by the culture police cuts to the core of a healthy, integrated human existence. Expression is a primordial necessity. It creates psychological, social, and cultural well-being. As the technological and symbolic resources of the Digital Age become more and more available, opportunities for expanding this positive potential grows immensely. But the potential will always be shaped by cultural circumstances. The Cultural Politics of Expression Formalized respect for freedom of expression and the individual autonomy associated with it originated in the Enlightenment in Europe and contributed importantly to the continent’s civilizing process over a span of centuries (Chaney 2002: 97).
Culture-on-Demand: Communication in a Crisis World by James Lull