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Drawing upon material from Britain, Canada, the United States, Australia and New Zealand, Making Representations explores the ways in which museums and anthropologists are responding to pressures in the field by developing new policies and practices, and forging new relationships with communities. Simpson examines the increasing number of museums and cultural centres being established by indigenous and immigrant communities as they take control of the interpretive process and challenge the traditional role of the museum. Museum studies students and museum professionals will all find this a stimulating and valuable read.
In the past decade, the way we look at political representation has changed. A new wave of thinking shows how representation rises from claims to speak for others, and how the claims are performed and received. The claim-based approach introduces new characters to the drama of representation, such as non-elective, shape-shifting and transnational representatives. Written by an originator of this approach, Making Representations responds to critical questions about the practice and the legitimacy of representation in today's politics. It also expands the scope of the representative claim approach by exploring innovative themes such as performances of representation, becoming representative, and how we can generate political insights by exploring artistic representation.
This book employs actor-network theory in order to examine how representations of crime are produced for contemporary prime-time television dramas. As a unique examination of the production of contemporary crime television dramas, particularly their writing process, Making Crime Television: Producing Entertaining Representations of Crime for Television Broadcast examines not only the semiotic relations between ideas about crime, but the material conditions under which those meanings are formulated. Using ethnographic and interview data, Anita Lam considers how textual representations of crime are assembled by various people (including writers, directors, technical consultants, and network executives), technologies (screenwriting software and whiteboards), and texts (newspaper articles and rival crime dramas). The emerging analysis does not project but instead concretely examines what and how television writers and producers know about crime, law and policing. An adequate understanding of the representation of crime, it is maintained, cannot be limited to a content analysis that treats the representation as a final product. Rather, a television representation of crime must be seen as the result of a particular assemblage of logics, people, creative ideas, commercial interests, legal requirements, and broadcasting networks. A fascinating investigation into the relationship between television production, crime, and the law, this book is an accessible and well-researched resource for students and scholars of Law, Media, and Criminology.
4e de couverture : This book investigates the historical practice of producing stereotyped spectacles of colonized peoples at the great exhibitions and in colonial photography, and relates it to the shaping of European and settler identities. In doing so, it singles out the homogeneous aspects of colonialism's culture as well as distinguishing its discontinuities. By comparing the images produced in Britain and France with those produced in North America, Australia, New Zealand, the Pacific, Japan, and China, it proposes that differences in representations of colonized peoples between the imperial centres and the colonies were the result of different social and political agendas. By focusing on the images connected to anthropology, dying race theory, travel, tourism, and portraiture, Maxwell argues that while some photographs were directed at naturalizing the precept of colonialism, others were used to criticize it and to empower indigenous subjects. Written from a postcolonial perspective, and pursuing an interdisciplinary approach, this book will be of interest to scholars, students, and researchers intent on knowing more about the images of racial and cultural difference that shaped our immediate past.
Queen Victoria was one of the most complex cultural productions of her age. In Royal Representations, Margaret Homans investigates the meanings Victoria held for her times, Victoria's own contributions to Victorian writing and art, and the cultural mechanisms through which her influence was felt. Arguing that being, seeming, and appearing were crucial to Victoria's "rule," Homans explores the variability of Victoria's agency and of its representations using a wide array of literary, historical, and visual sources. Along the way she shows how Victoria provided a deeply equivocal model for women's powers in and out of marriage, how Victoria's dramatic public withdrawal after Albert's death helped to ease the monarchy's transition to an entirely symbolic role, and how Victoria's literary self-representations influenced debates over political self-representation. Homans considers versions of Victoria in the work of Elizabeth Barrett Browning, George Eliot, John Ruskin, Margaret Oliphant, Lewis Carroll, Alfred Lord Tennyson, and Julia Margaret Cameron.
This book presents the main findings of an empirical exploration of media discourses on social representations of “otherness” in seven European countries. It focuses on the analysis of press discourses produced over a fifteen-year period (2000–2015) on three contemporary figures of otherness that challenge the identity of European societies, question the attitudes towards diversity, and pose significant challenges for policy-makers: immigration, Islam, and LGBT. The book provides a comprehensive and articulate map of how national media addresses such themes from both synchronic and diachronic perspectives, revealing patterns of continuity and discontinuity across time and space. Lastly, it discusses these patterns in the light of their cultural meanings and their influence on social and political collective behaviours.
Scholars have only recently discovered that the human body itself has a history. Not only has it been perceived, interpreted, and represented differently in different epochs, but it has also been lived differently, brought into being within widely dissimilar material cultures, subjected to various technologies and means of control, and incorporated into different rhythms of production and consumption, pleasure and pain. The eight articles in this volume support, supplement, and explore the significance of these insights. They belong to a new historical endeavor that derives partly from the crossing of historical with anthropological investigations, partly from social historians' deepening interest in culture, partly from the thematization of the body in modern philosophy (especially phenomenology), and partly from the emphasis on gender, sexuality, and women's history that large numbers of feminist scholars have brought to all disciplines.
This unique book explores the social processes which shape fictional representations of police and crime in television dramas. Exploring ten leading British and European police dramas from the last twenty-five years, Colbran, a former scriptwriter, presents a revealing insight into police dramas, informed by media and criminological theory.
Common sense, by definition, is familiar to us all. Science, for some of us, is more remote, yet it is not always clear what the connections are between these two ways of seeing the world. In this title, originally published in 1993, the author explores several related themes in social psychology to elucidate the way we understand the social construction of knowledge and the means by which we change social reality. From the perspective of a critique of social representations theory, the author argues that this necessitates a change of viewpoint from the individualistic and mechanistic assumptions of Cartesian science to the social and evolutionary perspective of a Hegelian framework. This not only emphasizes the cultural and historical dimensions of social phenomena but also illuminates the social and dynamic nature of individuals. As a consequence, the discipline of social psychology must itself be transformed, recognizing the active participation of scientists in the social construction of scientific knowledge. This title will be of interest to those working in social psychology, history and philosophy of science, and sociology.
Cognitive science is a field that began with the realization that researchers in varied disciplines-psychology, artificial intelligence, linguistics, philosophy, formal semantics, neuroscience, and others-had taken on a common set of problems in representation and meaning, in reasoning and language. Nevertheless, cognitive science as a whole enjoys no common methodology or theoretical framework, and is in danger of becoming even more fragmented with time. There are two reasons for this. First, cognitive science is built on existing methodologies that have different historical origins. AB a result, the psychologist's truth is different from the linguist's truth. The artificial intelligence researcher's truth is different from the philosopher's truth. The neuroscientist's truth is different from the formal semanticist's truth. All too often there is little or no recognition of the relevance of work in other disciplines to one's own concerns. Second, cognitive scientists tend to develop theories around isolated problems. For instance, there are theories about how humans categorize concepts, about how humans analyze linguistic expressions syntactically, about how the English tense system works semantically, about how humans reason about space or reason about time, about how goal-directed problem solving occurs, about how the brain computes, and so on.