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Article

Kristina Riegert, Anna Roosvall, and Andreas Widholm

Cultural journalism is a subfield of journalism that encompasses what is known as arts journalism. While arts journalism is characterized by reviews, critique, news, and essays about the arts and popular culture, cultural journalism has a broader take on culture, including lifestyle issues, societal debate, and reflective ethical discussion by cultural personas or expressed in a literary style. Both arts and cultural journalists see their work as “journalism with a difference,” evoking different perspectives and worldviews from those dominating mainstream news reporting. At the same time, cultural journalism shares with journalism issues like boundary work, genre blurring, digitalization, globalization, professionalization, and “the crisis of journalism.” There are three main ways cultural journalism has been studied: one research strand defines cultural journalism as material produced by the cultural desks or material that is explicitly labelled cultural journalism; another defines it as journalism about culture, regardless of how it is labelled or produced; and a third strand includes only arts journalism, examining journalistic content on the fine arts and popular culture. Studies from all of these approaches are included in this article due to the effort to include a wide variety of countries at different time periods and an effort to track joint defining features and developments in cultural journalism. The emphasis is on the Nordic context, where the term “cultural journalism” is well established and where research is relatively comprehensive. The research is divided into three themes: the cultural public sphere and the contribution to democracy; cultural journalism’s professionalism and the challenges of digitalization; and transnational and global aspects of cultural journalism, including tendencies such as cultural homogenization and hybridization. International research on cultural journalism as a subfield has been complicated by its varying designations (arts journalism, feuilleton, journalism about culture, entertainment), and its numerous aesthetic forms, disciplines, or types of culture, all of which are changing over time. Despite these issues, research points in the same direction: the amount of cultural journalism is increasing, and the boundaries against other types of journalism are becoming more porous. There is also a decline in editorial autonomy. In common with journalism, there is an increase in generalists working with culture and greater central managerial control in new multiplatform media organizations. The research points to an increase in a more transnationally oriented cultural journalism, mainly through a larger share of cultural news and popular culture—while its core, review and critique, has changed in character, or arguably lost ground. The increasing “newsification” of cultural journalism should prompt future research on whether the “watchdog” role vis-à-vis the cultural industries is growing. New forms of art and culture are beginning to get coverage, but also, in some cases, the intermixing of “lifestyle” with cultural journalism. The commercialization and celebrity aspects of this are clear, but new digital platforms have also enabled new voices and different formats of cultural journalism and a wider dissemination and intensity in cultural debates, all of which emphasize its democratic potential. New research on this subject appears to focus on the longitudinal changes in cultural journalism, the implications of digitalization and globalization, and cultural journalism in broadcasting.

Article

Romantic relationships are an essential part of human experience. As the world becomes more integrated, people from different cultural backgrounds and traditions unavoidably meet and fall in love. An understanding of the role that culture plays in how we fall in love and stay in love is not only relevant, but also necessary in promoting healthy development of romantic relationships. Cross-cultural romantic relationships refer to romantic relationships across national boundaries, such as romantic relationships in China and the United States.

Article

Bella figura—beautiful figure—is an idiomatic expression used to reflect every part of Italian life. The phrase appears in travel books and in transnational business guides to describe Italian customs, in sociological research to describe the national characteristics of Italians, and in popular culture to depict thematic constructs and stereotypes, such as the Mafia, romance, and la dolce vita. Scholarly research on bella figura indicates its significance in Italian civilization, yet it remains one of the most elusive concepts to translate. Among the various interpretations and references from foreigners and Italians there is not a single definition that captures the complexity of bella figura as a cultural phenomenon. There is also little explanation of the term, its usage, or its effects on Italians who have migrated to other countries. Gadamerian hermeneutics offers an explanation for how bella figura functions as a frame of reference for understanding Italian culture and identity, which does not disappear or fuse when Italians interact with people from different countries but instead takes on an interpretive dimension that is continually integrating new information into the subconscious structures of the mind. In sum, bella figura is a sense-making process, and requires a pragmatic know-how of Italian communication (verbal and nonverbal). From this perspective, bella figura is prestructure by which Italians and some Italian migrants understand and interpret their linguistically mediated and historical world. This distinction changes the concept bella figura from a simple facade to a dynamic interplay among ever-changing interpretations and symbolic interactions. The exploration of bella figura is relevant to understanding Italian communication on both local and transnational levels.

Article

The field of cultural studies in Latin America has had a long history and a series of both productive and convoluted developments. Today, its widespread academic commodification and institutionalization in graduate programs deter incisive, critical, and politically daring works that question the limits of the field. Even when there has never been just one way of understanding and practicing cultural studies—its internal differences are mainly due to its local geo-cultural and sociohistoric contextualization—cultural studies in Latin America cannot be understood without the transnational circulation of knowledge, hegemonized by Anglo-Saxon—British as well as American—influences and overdeterminations. Four specific and abridged transformations help sieve through this complex history intricately enmeshed in specific sociopolitical, economic, and cultural processes vis-à-vis epistemic and hermeneutic theoretical projects. These moments are unraveled from the specific articulations built from local traditions of critical thinking mixed with exogenous theories and discourses from the time when self-reflexive postmodern irony and globalization began materializing in a qualitative higher degree around the globe to its critically silent acquiescence.

Article

Min-Sun Kim

Conflict, as part of interpersonal interactions, occurs in specific cultural settings. Viewing conflict as cultural behavior helps explain why disputes over seemingly similar issues can be handled so dissimilarly in different cultures. There have been numerous cross-cultural comparison studies of different conflict management strategies, most of them utilizing a “national culture” approach. The findings reported in the cross-cultural conflict literature point to a picture that collectivists value harmonious interpersonal relationships with others, preferring indirect or avoiding styles of dealing with conflict and showing concern for face-saving. Understanding the range of behavior choices and strategies available to manage conflict as well as differences in preferred styles adds considerably to people’s skills as effective communicators.

Article

Yea-Wen Chen and Hengjun Lin

Within the discipline of communication, the concept of “cultural identities” has captivated, fascinated, and received sustained attention from scholars of communication and culture over time. Like the concept of “culture,” which is varied, complex, and at times contested, the study of cultural identity has been approached from diverse lenses, whether theoretically, methodologically, or ontologically. In one sense, cultural identity can be understood as the experience, enactment, and negotiation of dynamic social identifications by group members within particular settings. As an individual identifies with—or desires acceptance into—multiple groups, people tend to experience, enact, or negotiate not just one cultural identity at a time but often multiple cultural identities at once. Further, how one experiences her/his intersecting cultural identities with others can vary from context to context depending on the setting, the issue at hand, the people involved, etc. Not surprisingly, intercultural communication scholars have contributed quite a number of theories concerning cultural identities within communication interactions: co-cultural theory, cultural contract theory, and identity negotiation theory, to name a few. In addition, intercultural communication scholars have offered rich cases that examine dynamic enactments, negotiations, or contestations of cultural identities across important contexts such as race, media, and globalization. Ultimately, the study of cultural identities offers rich understandings for both oneself and others. As the world that we inhabit is becoming increasingly diverse, the study of cultural identities will continue to gain traction within the communication discipline and beyond.

Article

Culture is a broad term that is often used in a wide variety of contexts. Its meanings can be anything from very narrow conceptualizations such as the notion of high culture to a much broader view of culture being all-encompassing. In addition, scholars identify different types of cultures, such as regional, national, or even global cultures, as well as sub-cultures or cultures of shared social practices. At the social systems level, culture is often defined as relating to shared social practices, meanings, beliefs, symbols and norms. The relationship between journalism, culture, and society is a symbiotic one. Journalism influences culture, but it is also influenced by it. In fact, as some argue, journalism is culture. While journalism’s influence on culture has found extensive attention in the cultural studies literature, cultural and societal influences on journalism have been far less researched. When studies examine broader media system influences on journalism, the focus tends to be on political and economic determinants. However, cultural influences also provide substantial explanatory potential when trying to understand why journalism is practiced differently across the globe. Culture as the broader system of beliefs and practices in a given society, as in the case of cultural values, has an established research tradition in cross-cultural psychology. Three key works on cultural values provide guidance for examining cultural influences on journalism, and involving these in research improves understanding of journalism cultures on a variety of levels. Both normative calls for the preferred role of culture in journalism, as well as empirical studies of the influence of cultural values on journalism demonstrate the value such approaches bring to journalism studies.

Article

The European Union (EU) is an economic, political, and social conglomeration of 28 member nations. These member nations work together via a system of supranational institutional and intergovernmental-negotiated treaties and decisions by member states. While the EU has been able to continue its development in various stages since the 1950s respectively, a key issue continually facing the EU has always been integration at different levels. Integration of new member states, integration of individuals and cultures within member states, and most recently integration of immigrants (newcomers of different designations) into the EU. While the EU has strict guidelines regarding the integration of new member states into the EU, no policies/procedures are in place regarding the integration of individuals into the EU. Issues of national sovereignty are critical to EU member states when discussing how to integrate newcomers. Most recently during the heightened wave of refugees entering the EU through its southern and eastern borders, the issue of how to integrate newcomers into the EU has come to the forefront of national and EU policymakers. Key questions facing the EU and its member states include: What are the national integration policies, and how do they differ? What is the future for the EU in response to increased legal, illegal, and irregular migration?

Article

The Birmingham School of Cultural Studies refers to the Centre for Contemporary Cultural Studies (CCCS), which was housed at Birmingham University from 1964 to 2002. The shorthand “Birmingham School” refers to a site, a moment, a movement, and a method. Emerging alongside other intellectual and activist currents in the British New Left, it posed a radical democratic alternative to traditional higher education and the available methods and methodologies of communication and media studies. Centre researchers expanded the possible objects worthy of critical academic research—arguing it was imperative that we look at the products of the mass media or so-called popular arts—as well as the means through which those objects and their potential effects were understood. Central to the methodological approach espoused by CCCS scholars is the need to look at the way the meanings and values of cultural texts are articulated to and through a “cultural circuit”: A text emerges from a context, and its meanings are contingent on the frameworks of ideology and experience of both that context and audiences that read it. Under the leadership of Stuart Hall, and then Richard Johnson, the CCCS developed pathbreaking research into cultural politics more generally, looking at the way identities and subjectivity were developed, reinforced, and lived, and intersecting with emergent theories from and research in postcolonialism, poststructuralism, nationalism, feminism, gender and sexuality studies, science and technology studies, studies of race and ethnicity, and a variety of other subfields in the humanities and social sciences. Despite the closure of the Centre, these tendencies and emphases remain important, especially to the many academic monographs, journals, and conferences in cultural studies each year.

Article

Global branding has become a key strategic option for businesses and organizations to capture growth opportunities beyond national boundaries. In this context, global branding broadly refers to marketing brands across geographic markets. While the essence of branding remains the same—to achieve differentiation and relevance for competitive advantage, the discussions and debates surrounding global branding center on accounting cross-national and cross-cultural commonalities and differences regarding consumers’ brand perception and behavior. Geographic markets continue to be principally defined by the cultural unit of country, even as regionalization of markets and branding is growing. Research on global branding is therefore built on such spatial associations and cultural manifestations. Meanwhile, given the shifting geo-political economy and the onset of a technological age, the relative stability of cultural units in a connected global system is constantly being challenged. Both consumer identity and producer identity are in a state of flux. In this respect, global branding offers a window into who we are and what we aspire to be in an ever-expanding web of cultural mobility. This article highlights the main streams of research in global branding based on the core ideas and perspectives underlying recent studies in select English-language academic publications. It is intended not as a comprehensive survey but to open up analytical possibilities in this area of inquiry. The article begins with a discussion of the general business environment for global branding to contextualize the research endeavors in this space. It then examines the key topical domains and conceptual lenses in the extant literature. It concludes with observations about some of the gaps in current research and implications for future studies.

Article

In the 19th century, Western medicine spread widely worldwide and ultimately diffused into Japan. It had a significant impact on previous Japanese medical practice and education; it is, effectively, the foundation of contemporary Japanese medicine. Although Western medicine seems universal, its elements and origins as it has spread to other countries show localized differences, depending on the context and time period. Cultural fusion theory proposes that the culture of a host and influence of a newcomer conflict, merge, or transform each other. It could shed light on how Japanese medicine and medical education have been influenced by and coevolved with Western medicine and culture. Cultural fusion is not assimilation or adaptation; it has numerous churning points where the traditional and the modern, the insider (indigenous) and the outsider (immigrant), mix and compete. In Japan, medicine has a long history, encountering medical practices from neighboring countries, such as China and Korea in ancient times, and Western countries in the Modern period. The most drastic changes happened in the 19th century with strong influence from Germany before World War II and in the 20th century from the impact of the United States after World War II. Recently, the pressure of globalization could be added as one influence. Since cultural fusion is ubiquitous in Japanese medical fields, examples showing how the host and newcomers interact and merge can be found among many aspects of Japanese medicine and medical education, such as curricula, languages, systems, learning styles, assessment methods, and educational materials. In addition, cultural fusion is not limited to influence from the West but extends to and from neighboring Asian countries. Examining cases and previous studies on cultural fusion in Japanese medicine and medical education could reveal how the typical notion that Japan pursued Westernization of its medicine and medical education concealed the traditions and the growth of the local education system. The people involved in medicine in the past and the present have struggled to integrate the new system with their previous ideals to improve their methods, which could be further researched.

Article

Elisabeth Gareis

Following the devastation of World War II, policymakers and scholars worked to advance international partnerships and mutual understanding. In the 1940s and 1950s, international student exchange programs were launched to foster international good will; training programs for diplomats were created that focused on intercultural communication competence; and researchers turned their attention on how to optimize intergroup relations. Most prominently, Gordon Allport outlined principles of effective intergroup contact in the contact hypothesis. Scholarship based on the contact hypothesis later determined that the potential for friendship is not only a facilitating but also an essential factor for prejudice reduction and optimal intergroup contact. Focusing largely on the friendship experiences of international students studying abroad, research also identified numerous other benefits of intercultural-friendship formation, including stronger language skills, greater life satisfaction, lower levels of stress, and enhanced perceptions of the host country. Despite these benefits, the lack of friendship between sojourners and host nationals is a common finding in intercultural-friendship research and a concern for the many educational institutions worldwide that are attempting to internationalize, in part by attracting international students. Current research, therefore, often focuses on factors that influence intercultural-friendship formation and, increasingly, on measures for promoting intercultural friendship. First among the factors affecting the development of intercultural friendships is cultural difference. Cultural similarity provides attributional confidence and reduces uncertainty; that is, interactants can more easily predict and explain behaviors in people who are similar to them. Highly dissimilar cultures often exhibit differences in communication patterns, value dimensions, and friendship styles that can impede relationship development, especially in the orientation and exploratory stages of social penetration, during which cultural complexities are most critical. Another prominent factor is the interactants’ motivation to form relationships across cultural lines. In one of the prime arenas for intercultural contact, international student exchange, for example, sojourners seeking cultural knowledge and personal growth generally have more interest in interaction and friendships with host nationals than students who are task oriented and focus on education for better career prospects after returning home. Similarly, host environment factors, such as host receptivity (ranging from welcoming attitudes to discrimination) influence the likelihood with which intercultural friendships are formed. Other factors affecting intercultural-friendship formation include communicative competence, intercultural sensitivity, and aspects of identity and personality (e.g., cultural versus personal identification, empathy, and open-mindedness). Among measures for promoting intercultural-friendship formation are infrastructures that facilitate proximity and frequency of contact, provide foreign language training, support experience abroad, and offer intercultural education and training to further intercultural competence and the appreciation of difference.

Article

At the core of what we know as popular culture studies today is the work of scholars associated with or influenced by the Birmingham Centre for Contemporary Cultural Studies. Popular culture itself and intellectual interest in its risks and possibilities, however, long predate this moment. Earlier in the 20th century, members of the Frankfurt School took an active interest in what was then referred to as “mass culture” or the culture industry. Semiotics, emerging in the latter half of the 20th century as an exciting new methodology of cultural analysis, turned to popular culture for many of its objects as it redefined textuality, reading, and meaning. The works of Roland Barthes and Umberto Eco are exemplary in this regard. The work of the Birmingham school, also known as British cultural studies, drew from both of these intellectual traditions but went on to forge its own unique methods drawing on Marxist and poststructuralist theoretical legacies. Quickly spreading across the Anglophone world, Cultural Studies is now widely recognized, if not as a discipline proper, as a distinctive branch of the humanities. Other methodologies contemporaneous with this trend are also now clubbed together as part of this generalized practice of cultural studies. Important among these are feminist approaches to popular culture exemplified by work on Hollywood cinema and women’s melodrama in particular, the study of images and representations through a mass communications approach, and ethnographic studies of readers of popular romances and television audiences. A minor, theoretically weak tradition of popular culture studies initiated by Ray Browne parallelly in the Unites States may also be mentioned. More recently, Slavoj Zizek has introduced startlingly new ways of drawing popular cultural texts into philosophical debates. If all of these can be taken together as constituting what is generally referred to as popular culture studies today, it is still limited to the 20th century. Apart from the Frankfurt School and semiotics, British cultural studies also counts among the precursors it had to settle scores with, the tradition of cultural criticism in Britain that Matthew Arnold and in his wake F. R. Leavis undertook as they sought to insulate “the best of what was thought and said” from the debasing influence of the commercial press and mass culture in general. But the history of popular culture as an object of investigation and social concern goes further back still to the 18th and 19th centuries, the period of the rise and spread of mass literature, boosted by the rise of a working-class readership.

Article

Malgorzata Lahti and Maarit Valo

The workplace is a highly meaningful context for intercultural communication where persons who come from different countries, identify with different ethnic groups or speak different languages get to collaborate and develop relationships with one another. Needless to say, interpersonal communication in the workplace has always been a primary area of interest for intercultural communication research. Early scholarship focused on the preparation of U.S. military personnel, diplomats, business people, and missionaries for overseas assignments. However, the increasing pluralization of the social landscape has bolstered research endeavors. These days, the scope of intercultural workplace communication inquiry comprises everyday face-to-face and technology-mediated interactions in encounters, relationships, groups, and teams in a variety of working arrangements, and across a range of public and private sector organizations worldwide. The scholarship also draws on the organizational approaches of antidiscrimination and diversity management that emerged in the United States and have subsequently been exported to and reinterpreted in workplaces around the world. Researchers have looked into such workplace communication processes and phenomena as social categorization, stereotyping, prejudice and discrimination, conflict and its management, organizational satisfaction and identification, socialization, supportive communication, interpersonal relationship development and informal interaction, negotiation of shared workplace culture, knowledge sharing, decision-making, learning and innovation, or leadership and management. In recent years, there has been a growing interest in the ways languages are used in interactions at work.

Article

Cultural globalization has promoted seemingly opposing forces simultaneously, such as recentering and decentering, standardization and diversification, and renationalization and transnationalization. The intensification of transnational flows of media culture and the associated cross-border connection and communication has been destabilizing national cultural borders and engendering the formation of diverse mediated communities among hitherto marginalized people and groups within and across national borders. At the same time, we have observed the increasing pervasiveness of the inter-nationalized modes of media culture flows and communication—“inter-nationalized” with a hyphen is intentional—in the sense of highlighting the nation as the unit of global cultural encounters that resolidify exclusive national boundaries. The synergism of the process of market-driven glocalization and the state’s policy of soft power and nation branding has further instituted a container model of the nation, as the inter-nationalized circulation and encounter of media culture have become sites in which national identity is mundanely invoked, performed, and experienced. In this process, national cultural borders are mutually reconstituted as transnational cultural flows and encounters are promoted in a way to accentuate a nation-based form of global cultural encounter and exchange. While lacking in a historically embedded, coherent narrative of the nation, it works to institute a new, container form of the nation in which cultural diversity within national borders is not given its due attention and thus sidelined. Facilitation of border crossing of culture and communication does not necessarily accompany the transgression of clearly demarcated national cultural borders.

Article

Eric Mark Kramer

Cultural fusion is the process of integrating new information and generating new cultural forms. Cultural fusion theory recognizes the world as a churning information environment of cultural legacies, competing and complementing one another, forming novel cultural expressions in all aspects of life, including music, cuisine, pedagogy, legal systems, governance, economic behavior, spirituality, healthcare, norms of personal and interpersonal style, family structures, and so forth. This is a process of pan-evolution, involving countless channels, not merely two cultures coming together to form a third, hybrid culture. During this process the traditional pace and form of change is itself changing. Cultures are also transformed as a result of the churning process of an emergent global semantic field generated by countless networked exchanges.

Article

Patricia Olivia Covarrubias

An enduring problem for all people is the universal call for figuring out how to live together. This problem, which requires some measure of organization, quintessentially is responded to and managed in and through communication. That is, humans coordinate their daily meaningful actions via situated webs of linguistic and nonlinguistic means during the course of daily social interactions. These situated webs can be interpreted as cultural codes about communication. Further, and importantly, these codes vary across social groupings—and the codes are distinctive. This distinctiveness arises from the reality that societies shape their respective codes according to their local means and meanings; that is, to their own sets of beliefs, values, and rules for managing their lives individually and collectively. The communicative means and meanings in and by which humans create meaningful lives are the central concern of cultural communication, which is defined as follows: the social enactment of learned systems of symbolic resources, premises, rules, emotions, spatial orientations, and notions of time that groups of people use to shape distinctive and meaningful communal identities, relationships, and ways of living and being. Indeed, cultural communication pertains to the use of language and other communicative means to carry out the activities and commitments of their particular communities in and through the use of symbolic resources. These resources include verbal and nonverbal means, as well as the rules for using and interpreting them. This paper is inspired by a number of scholars of cultural communication, including Dell Hymes, who conceptualized the ethnography of communication (EOC); Gerry Philipsen and his notion of codes of communication; and the many scholars who have followed their leads. The definition of cultural communication requires some fleshing out—and in particular, the tension between the individual and the communal that exists within the concept of cultural communication needs attention. Empirically accessed, real-life examples of locations where communication can be seen, heard, felt, and experienced help to explicate cultural communication. Such examples include cultural terms, silence practices, terms of address, rituals, and social dramas. Indeed, cultural communication treats culture and people, not with wide brushstrokes where the features of daily life occur uniformly and generically, but rather as unique sets of social actors whose lives are composed of intricate webs of nuanced expressions and attendant meanings, wherein each enactor plays a part in animating the symbolic resources that comprise their richly diverse schemes of life.

Article

Robert T. Tally, Jr.

Fredric Jameson (b. 1934) was the leading Marxist literary and cultural critic in the United States and, arguably, in the English-speaking world in the late 20th century and remains so in the early 21st. In a career that spans more than 60 years, Jameson has produced some 25 books and hundreds of essays in which he has demonstrated the versatility and power of Marxist criticism in analyzing and evaluating an enormous range of cultural phenomena, from literary texts to architecture, art history, cinema, economic formations, psychology, social theory, urban studies, and utopianism, to mention but a few. In his early work, Jameson introduced a number of important 20th-century European Marxist theorists to American audiences, beginning with his study of Jean-Paul Sartre’s style and continuing with his Marxism and Form (1971) and The Prison-House of Language (1972), which offered critical analyses of such theorists as Georg Lukacs, Ernst Bloch, Walter Benjamin, and Herbert Marcuse, along with the Frankfurt School, Russian formalism, and French structuralism. With The Political Unconscious (1981) and other works, Jameson deftly articulated such topics as the linguistic turn in literature and philosophy, the concepts of desire and national allegory, and the problems of interpretation and transcoding in a decade when continental theory was beginning to transform literary studies in the English-speaking world. Jameson then became the leading theorist and critic of postmodernism, and his Postmodernism, or, the Cultural Logic of Late Capitalism (1991) demonstrated the power of Marxist theoretical practice to make sense of the system underlying the discrete and seemingly unrelated phenomena in the arts, architecture, media, economics, and so on. Jameson’s concept of cognitive mapping has been especially influential on cultural theories of postmodernity and globalization. Jameson’s lifelong commitment to utopian thought and dialectical criticism have found more systematic expression in such books as Archaeologies of the Future (2005) and Valences of the Dialectic (2009), and he has continued to develop a major, six-volume project titled “The Poetics of Social Forms” (the final two volumes of which remain forthcoming as of 2018), whose trajectory ultimately covers myth, allegory, romance, realism, modernism, postmodernism, and beyond. Jameson’s expansive, eclectic, and ultimately holistic approach to cultural critique demonstrates the power of Marxist critical theory both to interpret, and to help change, the world.

Article

Kevin Douglas Kuswa and Edward Lubich Kuperman

Donna Haraway is a prophet. Not only is her work indispensable to an understanding of science, technology, feminism, environmental studies, and protest, but she is also outlining a vivid description of where society is headed in a simultaneous array of dystopian and utopian futures. To think about human and nonhuman bodies (as well as their machinic and organic trajectories) requires engaging this provocative scholar and her work spanning over three decades. Like other prophets, Haraway has her critics, including many with understandable objections to her politics or her omissions. From any perspective, however, the way she merges genres and negotiates perspectives is unparalleled, even in critical and cultural studies. The insight she offers into the juxtaposition between humans and the environment shows how the interactions between the natural and social worlds are far more intricate and intertwined than previously conceived. The very survival of the planet depends on a new orientation to humanity’s impact on surrounding ecosystems, generating a personal, political, theoretical, and moral imperative to live in tandem with our surroundings, not in opposition. Reading Haraway thus becomes more than an academic exercise or form of intellectual tourism. In short, she is arguing for a sea-change in perspective that centers on animals and ecosystems as an indispensable part of human life on Earth. Whether thinking through the relationships between humans and primates, ants and acacias, art and politics, compost and toxicity, or gods and pigeons, Haraway always finds ways to blur science and fiction, speculation and empiricism, or sustainability and rupture. As she demonstrates that the Anthropocene is better thought of as the Chthulucene, Haraway provokes her readers to think deeply and in unique and reflective ways. The three main clusters that constitute her work are each monumental: first, the merging of human and machine in the form of the cyborg; second, the concept of “natureculture” and the double-edged sword represented by technology that can either help natureculture contribute to a radical emancipation or experience a catastrophic exploitation; and, third, the available means of politics within both ideological structures and new identities. Between the clusters the various criticisms of Haraway’s work will also emerge, both highlighting and interrogating the clusters themselves. Overall, quilting a shelter to brave the ongoing storm is Haraway’s objective, but she knows that such a goal necessitates staying with the trouble.

Article

Diane Marie Keeling and Marguerite Nguyen Lehman

Posthumanism is a philosophical perspective of how change is enacted in the world. As a conceptualization and historicization of both agency and the “human,” it is different from those conceived through humanism. Whereas a humanist perspective frequently assumes the human is autonomous, conscious, intentional, and exceptional in acts of change, a posthumanist perspective assumes agency is distributed through dynamic forces of which the human participates but does not completely intend or control. Posthumanist philosophy constitutes the human as: (a) physically, chemically, and biologically enmeshed and dependent on the environment; (b) moved to action through interactions that generate affects, habits, and reason; and (c) possessing no attribute that is uniquely human but is instead made up of a larger evolving ecosystem. There is little consensus in posthumanist scholarship about the degree to which a conscious human subject can actively create change, but the human does participate in change. As distinguished from posthumanism, humanism is credited with attributing the conscious and intentional human subject as the dominant source of agency most worthy of scholarly attention. Since its inception during the Renaissance, humanism has been constituted in various ways throughout history, but as a collective body of literature, the human is typically constituted through humanism as: (a) autonomous from nature given the intellectual faculties of the mind that controls the body, (b) uniquely capable of and motivated by speech and reason, and (c) an exceptional animal that is superior to other creatures. Humanist assumptions concerning the human are infused throughout Western philosophy and reinforce a nature/culture dualism where human culture is distinct from nature. In contrast, a posthumanist scholar rejects this dichotomy through understanding the human as entangled with its environment. A posthumanist scholar of communication typically integrates scholarship from a variety of other disciplines including, but not limited to: art, architecture, cybernetics, ecology, ethology, geology, music, psychoanalysis, and quantum physics.