- In CS is none other than Stuart Hall. Rightly, I think, Hall (1992a: 278-92) highlights the risk of 'an extremely slack form of pluralism'. He warns of an 'overwhelming textualization of cultural studies' own discourses' that turns power into 'an easy floating signifier' and the field of study into 'every.
- “Faith, comrade,” said one of them to the other, “yonder is a well made young fellow and of the right size.” Upon which they made up to Candide and with the greatest civility and politeness invited him to dine with them. “Gentlemen,” replied Candide, with a most engaging modesty, you do me much honor, but upon my word I have no.
- Stuart Hall Date 2013 Is part of Book Title Representation Author(s) Stuart Hall, Jessica Evans, Sean Nixon Date 2013 Publisher Open University Press, SAGE Pub place London, Milton Keynes, Thousand Oaks, Calif Edition 2nd ed ISBN-205474, 634.
The Society of the Spectacle Chapters 1-3 Summary & Analysis Chapter 1 Summary: “Separation Perfected” What is at stake in this first chapter is the question of the alienated existence of human beings under the capitalist mode of production.
Why are popular representations so drawn upon?
Where did popular figures and stereotypes come from?
How do we class ‘otherness’?
What is ‘other’?
These are all questions we should be asking ourselves.
Henrietta Lidchi looked at the Ethnographic museum (a national museum in Budapest, Hungary) and their project on “The West” from other cultures depict how the west live, racial and ethnic differences being prominent.
These stereotypes typically have been found to come form commercial adverting and magazine illustrations since the late nineteenth century beginning with the competitive world of modern day bodily aesthetics.
In “The chemical Olympics” magazine, a lead story was based on “Drug taking in athletes” specifically talking about Ben Johnson, when he used drugs to enhance his performance. Looking at the picture above before you knew that information, you could say it’s message is; ‘A triumphant moment for Johnson’ however when you know its also captioned ‘heros and villians’, it changes the meaning. When you are more informed, it could suggest that no matter what colour or race you are, everyone is susceptible to being a villain OR hero.
At a devotive level the image is “a picture of the 100 metres race”, however on a connotative level or sub theme being the drug story is ‘race’ and ‘difference’. Having these 2 meanings gives the magazine the choice with what to play on, giving the image a ‘preferred meaning’.
Roland Barths (1977) argues that when you caption an image, the words are stuck with it. The discourse of the words and discourse of the image produce a ‘fixed’ meaning. Barths would specifically talk about the image of Johnson and call it a ‘meta-message’ or myth about race, colour and otherness because of what I have spoken about above with duel meaning.
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Similarly Linford Christie won the 100 meters as well, while on the British team. Some where racial to him, arguing he was not British. In answer to this, he explained he was born in Jamaica and lived there until he was seven when he moved to live in the UK. He was a British citizen 27 years before he won the medal. Just because he was not ‘white’ do not mean he should be ‘othered’ by our western society.
Why does ‘difference’ matter?
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It is something that is both necessary and dangerous. Without it ‘meaning’ would not exist, however it is far to easy for us to compare, which can digress to a negative. “we can only construct meaning through dialogue with “other” explains Mikhal Bakhtin.