Representation
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| Schriftenreihe: | Culture, media and identities
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Datensatz im Suchindex
| _version_ | 1819706070152511488 |
|---|---|
| adam_text | Titel: Representation
Autor: Hall, Stuart
Jahr: 2013
USAGE
Los Angeles I London | New Delhi
Singapore | Washington DC
SAGE Publications Ltd
1 Oliver s Yard
55 City Road
London EC1Y1SP
SAGE Publications Inc.
2455 Teller Road
Thousand Oaks, California 91320
SAGE Publications India Pvt Ltd
B1/11 Mohan Cooperative Industrial Area
Mathura Road
New Delhi 110 044
SAGE Publications Asia-Pacific Re Ltd
3 Church Street
#10-04 Samsung Hub
Singapore 049483
Editor: Mila Steele
Editorial assistant: James Piper
Production editor: Imogen Roome
Copyeditor: Sarah Bury
Proofreader: Sharika Sharma
Indexer: Avril Ehrlich
Marketing manager: Michael Ainsley
Cover design: Wendy Scott
Typeset by: C M Digitals (P) Ltd, Chennai, India
Printed in Great Britain by MPG Printgroup.UK
7?5 uk
. «-»»» F8CC018875
j m i
STADT- !
9
c i The Open University
|| Walton Hall
51 Milton Keynes
MK7 6AA
United Kingdom
www.open.ac.uk
©The Open University 1997,2013
First edition published 1997. Reprinted 1998,1999,
2000, 2001, 2002, 2003, 2007, 2009, 2011
This second edition published 2013
Apart from any fair dealing for the purposes of research or
private study, or criticism or review, as permitted under the
Copyright, Designs and Patents Act, 1988, this publication
may be reproduced, stored or transmitted in any form, or by
any means, only with the prior permission in writing of the
publishers, or in the case of reprographic reproduction, in
accordance with the terms of licences issued by the Copyright
Licensing Agency. Enquiries concerning reproduction outside
those terms should be sent to the publishers.
Library of Congress Control Number: 2012950346
British Library Cataloguing in Publication data
A catalogue record for this book is available from
the British Library
ISBN 978-1-84920-547-4
•SBN 978-1-84920-563-4 (pbk)
CONTENTS
Acknowledgements xii
Introduction xvii
Stuart Hall
Chapter 1 THE WORK OF REPRESENTATION Stuart Hall 1
1 Representation, Meaning and Language 1
1.1 Making meaning, representing things 2
1.2 Language and representation 5
1.3 Sharing the codes 7
1.4 Theories of representation 10
1.5 The language of traffic lights 11
1.6 Summary 13
2 Saussure s Legacy 16
2.1 The social part of language 18
2.2 Critique of Saussure s model 19
2.3 Summary 20
3 From Language to Culture: Linguistics to semiotics 20
3.1 Myth today 24
4 Discourse, Power and the Subject 26
4.1 From language to discourse 29
4.2 Historicizing discourse: discursive practices 31
4.3 From discourse to power/knowledge 32
4.4 Summary: Foucault and representation 35
4.5 Charcot and the performance of hysteria 36
5 Where is the Subject ? 39
5.1 How to make sense of Velasquez Las Meninas 40
5.2 The subject of/in representation 42
6 Conclusion: Representation, meaning and language reconsidered 45
References 46
Readings for Chapter One 48
Reading A:
Norman Bryson, Language, reflection and still life 48
Reading B:
Roland Barthes, The world of wrestling 50
Reading C:
Roland Barthes, Myth today 52
Reading D:
Roland Barthes, Rhetoric of the image 53
Reading E:
Ernesto Laclau and Chantal Mouffe, New Reflections on the Revolution
of Our Time 54
Reading F:
Elaine Showalter, The performance of hysteria 56
Chapter 2 RECORDING REALITY: DOCUMENTARY FILM AND
TELEVISION Frances Bonner 60
1 Introduction 60
2 What do we Mean by Documentary ? 62
2.1 Non-fiction texts 62
2.2 Defining documentary 64
3 Types of Documentary 66
3.1 Categorizing documentary 66
3.2 Alternative categories 71
3.3 Ethical documentary filmmaking 74
4 Dramatization and the Documentary 75
4.1 Scripting and re-enactment in the documentary 75
4.2 Docudrama 80
5 Documentary - An historic genre? 81
5.1 Postdocumentary ? 81
5.2 Docusoaps 83
5.3 Reality TV 89
6 Natural History Documentaries 90
6.1 Documenting animal life 90
7 Conclusion 96
References 97
Readings for Chapter Two 100
Reading A:
Bill Nichols, The qualities of voice 100
Reading B:
John Corner, Performing the real: documentary diversions 103
Reading C:
Derek Bouse, fflstoria fabulosus 115
Chapter 3 THE POETICS AND THE POLITICS OF EXHIBITING 120
OTHER CULTURES Henrietta Lidchi
1 Introduction 120
2 Establishing Definitions, Negotiating Meanings, Discerning Objects 122
2.1 Introduction 122
2.2 What is a museum ? 122
2.3 What is an ethnographic museum ? 127
2.4 Objects and meanings 128
2.5 The uses of text 132
2.6 Questions of context 133
2.7 Summary 134
3 Fashioning Cultures- The poetics of exhibiting 134
3.1 Introduction 134
3.2 Introducing Paradise 135
3.3 Paradise regained 146
3.4 Structuring Paradise 148
3.5 Paradise: the exhibit as artefact 150
3.6 The myths of Paradise 152
3.7 Summary 156
4 Captivating Cultures: The politics of exhibiting 157
4.1 Introduction 157
4.2 Knowledge and power 157
4.3 Displaying others 159
4.4 Museums and the construction of culture 163
4.5 Colonial spectacles 167
4.6 Summary 170
5 Devising New Models: Museums and their futures 171
5.1 Introduction 171
5.2 Anthropology and colonial knowledge 172
5.3 The writing of anthropological knowledge 172
5.4 Collections as partial truths 173
5.5 Museums and contact zones 177
5.6 Art, artefact and ownership 180
6 Conclusion 184
References 186
Acknowledgements 191
Readings for Chapter Three 192
Reading A:
John Tradescant the younger, extracts from Musaeum Tradescantianum 192
Reading B: 195
Elizabeth A. Lawrence, His very silence speaks: the horse who
survived Custer s Last Stand 195
Reading C:
Michael O Hanlon, Paradise: portraying the New Guinea Highlands 199
Reading D:
James Clifford, Paradise 203
Reading E.-
Annie E. Coombes, Material culture at the crossroads of
knowledge: the case of the Benin bronzes 206
Reading F:
John Picton, To see or not to see! That is the question 211
Chapter 4 THE SPECTACLE OF THE OTHER Stuart Hall 215
1 Introduction 215
1.1 Heroes or villains? 216
1.2 Why does difference matter? 224
2 Racializing the Other 228
2.1 Commodity racism: Empire and the domestic world 229
2.2 Meanwhile, down on the plantation ... 232
2.3 Signifying racial difference 233
3 Staging Racial Difference : And the melody lingered on ... 237
3.1 Heavenly bodies 243
4 Stereotyping as a Signifying Practice 247
4.1 Representation, difference and power 249
4.2 Power and fantasy 251
4.3 Fetishism and disavowal 253
5 Contesting a Racialized Regime of Representation 259
5.1 Reversing the stereotypes 260
5.2 Positive and negative images 262
5.3 Through the eye of representation 263
6 Conclusion 267
References 270
Readings for Chapter Four 272
Reading A:
Anne McClintock, Soap and commodity spectacle 272
Reading B:
Richard Dyer, Africa 276
Reading C:
Sander Gilman, The deep structure of stereotypes 278
Reading D:
Kobena Mercer, Reading racial fetishism 280
Chapter 5 EXHIBITING MASCULINITY Sean Nixon 288
1 Introduction 288
2 Conceptualizing Masculinity 294
2.1 Plural masculinities 295
2.2 Thinking relationally 295
2.3 Invented categories 298
2.4 Summary 298
3 Discourse and Representation 299
3.1 Discourse, power/knowledge and the subject 299
4 Visual Codes of Masculinity 301
4.1 Street style 302
4.2 Italian American 305
4.3 Conservative Englishness 307
4.4 Summary 310
5 Spectatorship and Subjectivization 311
5.1 Psychoanalysis and subjectivity 312
5.2 Spectatorship 314
5.3 The spectacle of masculinity 315
5.4 The problem with psychoanalysis and film theory 316
5.5 Techniques of the self 317
6 Consumption and Spectatorship 318
6.1 Sites of representation 319
6.2 Just looking 320
6.3 Spectatorship, consumption and the new man 321
7 Conclusion 322
References 324
Readings for Chapter Five 326
Reading A:
Steve Neale, Masculinity as spectacle 326
Reading B:
Sean Nixon, Technologies of looking: retailing and the visual 330
Chapter 6 GENRE AND GENDER: THE CASE OF SOAP OPERA 335
Christine Gledhill with Vicky Ball
1 Introduction 335
2 Representation and Media Fictions 336
2.1 Fiction and everyday life 336
2.2 Fiction as entertainment 338
2.3 But is it good for you? 340
3 Mass Culture and Gendered Culture 341
3.1 Women s culture and men s culture 341
3.2 Images of women vs real women 342
3.3 Entertainment as a capitalist industry 343
3.4 Dominant ideology, hegemony and cultural negotiation 344
3.5 The gendering of cultural forms: high culture vs mass culture 345
4 Genre, Representation and Soap Opera 347
4.1 The genre system 347
4.1.1 The genre product 347
4.1.2 Genre and mass-produced fiction 349
4.2 Genre as standardization and differentiation 349
4.3 The genre product as text 351
4.3.1 Genres and binary differences 353
4.3.2 Genre boundaries 353
4.4 Signification and reference 355
4.4.1 Cultural verisimilitude, generic verisimilitude and realism 356
4.5 Media production and struggles for hegemony 357
4.6 Summary 361
5 Genres for Women: The case of soap opera 361
5.1 Genre, soap opera and gender 361
5.1.1 The invention of soap opera 3 62
5.1.2 Women s culture 362
5.1.3 Soap opera as women s genre 363
5.1.4 Soap opera s binary oppositions 363
5.1.5 Serial form and gender representation 364
5.2 Soap opera s address to the female audience 366
5.2.1 Talk vs action 368
5.2.2 Soap opera s serial world 368
5.3 Textual address and the construction of subjects 369
5.3.1 The ideal spectator 369
5.3.2 Female reading competence 371
5.3.3 Cultural competence and the implied reader of the text 373
5.3.4 The social audience 374
6 Conclusion 376
6.1 Soap opera: a woman s form no more? 376
6.2 Dissolving genre boundaries and gendered negotiations 378
References 383
Readings for Chapter Six 385
Reading A:
Tania Modleski, The search for tomorrow in today s soap operas 385
Reading B:
Charlotte Brunsdon, Crossroads: notes on soap opera 387
Reading C:
Su Holmes and Deborah Jermyn, Why not Wife SwapT 389
Index 391
Titel: Representation
Autor: Hall, Stuart
Jahr: 2013
USAGE
Los Angeles I London | New Delhi
Singapore | Washington DC
SAGE Publications Ltd
1 Oliver s Yard
55 City Road
London EC1Y1SP
SAGE Publications Inc.
2455 Teller Road
Thousand Oaks, California 91320
SAGE Publications India Pvt Ltd
B1/11 Mohan Cooperative Industrial Area
Mathura Road
New Delhi 110 044
SAGE Publications Asia-Pacific Re Ltd
3 Church Street
#10-04 Samsung Hub
Singapore 049483
Editor: Mila Steele
Editorial assistant: James Piper
Production editor: Imogen Roome
Copyeditor: Sarah Bury
Proofreader: Sharika Sharma
Indexer: Avril Ehrlich
Marketing manager: Michael Ainsley
Cover design: Wendy Scott
Typeset by: C M Digitals (P) Ltd, Chennai, India
Printed in Great Britain by MPG Printgroup.UK
7?5 uk
. «-»»» F8CC018875
j m i
STADT- !
9
c i The Open University
|| Walton Hall
51 Milton Keynes
MK7 6AA
United Kingdom
www.open.ac.uk
©The Open University 1997,2013
First edition published 1997. Reprinted 1998,1999,
2000, 2001, 2002, 2003, 2007, 2009, 2011
This second edition published 2013
Apart from any fair dealing for the purposes of research or
private study, or criticism or review, as permitted under the
Copyright, Designs and Patents Act, 1988, this publication
may be reproduced, stored or transmitted in any form, or by
any means, only with the prior permission in writing of the
publishers, or in the case of reprographic reproduction, in
accordance with the terms of licences issued by the Copyright
Licensing Agency. Enquiries concerning reproduction outside
those terms should be sent to the publishers.
Library of Congress Control Number: 2012950346
British Library Cataloguing in Publication data
A catalogue record for this book is available from
the British Library
ISBN 978-1-84920-547-4
•SBN 978-1-84920-563-4 (pbk)
CONTENTS
Acknowledgements xii
Introduction xvii
Stuart Hall
Chapter 1 THE WORK OF REPRESENTATION Stuart Hall 1
1 Representation, Meaning and Language 1
1.1 Making meaning, representing things 2
1.2 Language and representation 5
1.3 Sharing the codes 7
1.4 Theories of representation 10
1.5 The language of traffic lights 11
1.6 Summary 13
2 Saussure s Legacy 16
2.1 The social part of language 18
2.2 Critique of Saussure s model 19
2.3 Summary 20
3 From Language to Culture: Linguistics to semiotics 20
3.1 Myth today 24
4 Discourse, Power and the Subject 26
4.1 From language to discourse 29
4.2 Historicizing discourse: discursive practices 31
4.3 From discourse to power/knowledge 32
4.4 Summary: Foucault and representation 35
4.5 Charcot and the performance of hysteria 36
5 Where is the Subject ? 39
5.1 How to make sense of Velasquez Las Meninas 40
5.2 The subject of/in representation 42
6 Conclusion: Representation, meaning and language reconsidered 45
References 46
Readings for Chapter One 48
Reading A:
Norman Bryson, Language, reflection and still life 48
Reading B:
Roland Barthes, The world of wrestling 50
Reading C:
Roland Barthes, Myth today 52
Reading D:
Roland Barthes, Rhetoric of the image 53
Reading E:
Ernesto Laclau and Chantal Mouffe, New Reflections on the Revolution
of Our Time 54
Reading F:
Elaine Showalter, The performance of hysteria 56
Chapter 2 RECORDING REALITY: DOCUMENTARY FILM AND
TELEVISION Frances Bonner 60
1 Introduction 60
2 What do we Mean by Documentary ? 62
2.1 Non-fiction texts 62
2.2 Defining documentary 64
3 Types of Documentary 66
3.1 Categorizing documentary 66
3.2 Alternative categories 71
3.3 Ethical documentary filmmaking 74
4 Dramatization and the Documentary 75
4.1 Scripting and re-enactment in the documentary 75
4.2 Docudrama 80
5 Documentary - An historic genre? 81
5.1 Postdocumentary ? 81
5.2 Docusoaps 83
5.3 Reality TV 89
6 Natural History Documentaries 90
6.1 Documenting animal life 90
7 Conclusion 96
References 97
Readings for Chapter Two 100
Reading A:
Bill Nichols, The qualities of voice 100
Reading B:
John Corner, Performing the real: documentary diversions 103
Reading C:
Derek Bouse, fflstoria fabulosus 115
Chapter 3 THE POETICS AND THE POLITICS OF EXHIBITING 120
OTHER CULTURES Henrietta Lidchi
1 Introduction 120
2 Establishing Definitions, Negotiating Meanings, Discerning Objects 122
2.1 Introduction 122
2.2 What is a museum ? 122
2.3 What is an ethnographic museum ? 127
2.4 Objects and meanings 128
2.5 The uses of text 132
2.6 Questions of context 133
2.7 Summary 134
3 Fashioning Cultures- The poetics of exhibiting 134
3.1 Introduction 134
3.2 Introducing Paradise 135
3.3 Paradise regained 146
3.4 Structuring Paradise 148
3.5 Paradise: the exhibit as artefact 150
3.6 The myths of Paradise 152
3.7 Summary 156
4 Captivating Cultures: The politics of exhibiting 157
4.1 Introduction 157
4.2 Knowledge and power 157
4.3 Displaying others 159
4.4 Museums and the construction of culture 163
4.5 Colonial spectacles 167
4.6 Summary 170
5 Devising New Models: Museums and their futures 171
5.1 Introduction 171
5.2 Anthropology and colonial knowledge 172
5.3 The writing of anthropological knowledge 172
5.4 Collections as partial truths 173
5.5 Museums and contact zones 177
5.6 Art, artefact and ownership 180
6 Conclusion 184
References 186
Acknowledgements 191
Readings for Chapter Three 192
Reading A:
John Tradescant the younger, extracts from Musaeum Tradescantianum 192
Reading B: 195
Elizabeth A. Lawrence, His very silence speaks: the horse who
survived Custer s Last Stand 195
Reading C:
Michael O Hanlon, Paradise: portraying the New Guinea Highlands 199
Reading D:
James Clifford, Paradise 203
Reading E.-
Annie E. Coombes, Material culture at the crossroads of
knowledge: the case of the Benin bronzes 206
Reading F:
John Picton, To see or not to see! That is the question 211
Chapter 4 THE SPECTACLE OF THE OTHER Stuart Hall 215
1 Introduction 215
1.1 Heroes or villains? 216
1.2 Why does difference matter? 224
2 Racializing the Other 228
2.1 Commodity racism: Empire and the domestic world 229
2.2 Meanwhile, down on the plantation ... 232
2.3 Signifying racial difference 233
3 Staging Racial Difference : And the melody lingered on ... 237
3.1 Heavenly bodies 243
4 Stereotyping as a Signifying Practice 247
4.1 Representation, difference and power 249
4.2 Power and fantasy 251
4.3 Fetishism and disavowal 253
5 Contesting a Racialized Regime of Representation 259
5.1 Reversing the stereotypes 260
5.2 Positive and negative images 262
5.3 Through the eye of representation 263
6 Conclusion 267
References 270
Readings for Chapter Four 272
Reading A:
Anne McClintock, Soap and commodity spectacle 272
Reading B:
Richard Dyer, Africa 276
Reading C:
Sander Gilman, The deep structure of stereotypes 278
Reading D:
Kobena Mercer, Reading racial fetishism 280
Chapter 5 EXHIBITING MASCULINITY Sean Nixon 288
1 Introduction 288
2 Conceptualizing Masculinity 294
2.1 Plural masculinities 295
2.2 Thinking relationally 295
2.3 Invented categories 298
2.4 Summary 298
3 Discourse and Representation 299
3.1 Discourse, power/knowledge and the subject 299
4 Visual Codes of Masculinity 301
4.1 Street style 302
4.2 Italian American 305
4.3 Conservative Englishness 307
4.4 Summary 310
5 Spectatorship and Subjectivization 311
5.1 Psychoanalysis and subjectivity 312
5.2 Spectatorship 314
5.3 The spectacle of masculinity 315
5.4 The problem with psychoanalysis and film theory 316
5.5 Techniques of the self 317
6 Consumption and Spectatorship 318
6.1 Sites of representation 319
6.2 Just looking 320
6.3 Spectatorship, consumption and the new man 321
7 Conclusion 322
References 324
Readings for Chapter Five 326
Reading A:
Steve Neale, Masculinity as spectacle 326
Reading B:
Sean Nixon, Technologies of looking: retailing and the visual 330
Chapter 6 GENRE AND GENDER: THE CASE OF SOAP OPERA 335
Christine Gledhill with Vicky Ball
1 Introduction 335
2 Representation and Media Fictions 336
2.1 Fiction and everyday life 336
2.2 Fiction as entertainment 338
2.3 But is it good for you? 340
3 Mass Culture and Gendered Culture 341
3.1 Women s culture and men s culture 341
3.2 Images of women vs real women 342
3.3 Entertainment as a capitalist industry 343
3.4 Dominant ideology, hegemony and cultural negotiation 344
3.5 The gendering of cultural forms: high culture vs mass culture 345
4 Genre, Representation and Soap Opera 347
4.1 The genre system 347
4.1.1 The genre product 347
4.1.2 Genre and mass-produced fiction 349
4.2 Genre as standardization and differentiation 349
4.3 The genre product as text 351
4.3.1 Genres and binary differences 353
4.3.2 Genre boundaries 353
4.4 Signification and reference 355
4.4.1 Cultural verisimilitude, generic verisimilitude and realism 356
4.5 Media production and struggles for hegemony 357
4.6 Summary 361
5 Genres for Women: The case of soap opera 361
5.1 Genre, soap opera and gender 361
5.1.1 The invention of soap opera 3 62
5.1.2 Women s culture 362
5.1.3 Soap opera as women s genre 363
5.1.4 Soap opera s binary oppositions 363
5.1.5 Serial form and gender representation 364
5.2 Soap opera s address to the female audience 366
5.2.1 Talk vs action 368
5.2.2 Soap opera s serial world 368
5.3 Textual address and the construction of subjects 369
5.3.1 The ideal spectator 369
5.3.2 Female reading competence 371
5.3.3 Cultural competence and the implied reader of the text 373
5.3.4 The social audience 374
6 Conclusion 376
6.1 Soap opera: a woman s form no more? 376
6.2 Dissolving genre boundaries and gendered negotiations 378
References 383
Readings for Chapter Six 385
Reading A:
Tania Modleski, The search for tomorrow in today s soap operas 385
Reading B:
Charlotte Brunsdon, Crossroads: notes on soap opera 387
Reading C:
Su Holmes and Deborah Jermyn, Why not Wife SwapT 389
Index 391
|
| any_adam_object | 1 |
| author2 | Hall, Stuart 1932-2014 Evans, Jessica Nixon, Sean 1966- |
| author2_role | edt edt edt |
| author2_variant | s h sh j e je s n sn |
| author_GND | (DE-588)119345862 (DE-588)188449590 (DE-588)124946445 |
| author_facet | Hall, Stuart 1932-2014 Evans, Jessica Nixon, Sean 1966- |
| building | Verbundindex |
| bvnumber | BV040257623 |
| classification_rvk | EC 2500 LB 31850 MS 7850 |
| ctrlnum | (OCoLC)802362145 (DE-599)BVBBV040257623 |
| discipline | Soziologie Literaturwissenschaft Sozial-/Kulturanthropologie / Empirische Kulturwissenschaft |
| edition | Second edition |
| format | Book |
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| genre_facet | Einführung Lehrbuch |
| id | DE-604.BV040257623 |
| illustrated | Illustrated |
| indexdate | 2024-12-24T02:43:57Z |
| institution | BVB |
| isbn | 9781849205474 9781849205634 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025113455 |
| oclc_num | 802362145 |
| open_access_boolean | |
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| physical | xxvi, 410 Seiten Illustrationen |
| psigel | gbd_AEK |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Sage The Open University |
| record_format | marc |
| series2 | Culture, media and identities |
| spellingShingle | Representation Individuum (DE-588)4026751-9 gnd Kulturwissenschaften (DE-588)4033597-5 gnd Repräsentation Soziologie (DE-588)4202023-2 gnd Kultur (DE-588)4125698-0 gnd Sprache (DE-588)4056449-6 gnd Bedeutung (DE-588)4005184-5 gnd Begriff (DE-588)4005248-5 gnd Soziale Wahrnehmung (DE-588)4055740-6 gnd Repräsentation (DE-588)4137492-7 gnd Kultursoziologie (DE-588)4133431-0 gnd |
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| title | Representation |
| title_auth | Representation |
| title_exact_search | Representation |
| title_full | Representation edited by Stuart Hall, Jessica Evans and Sean Nixon |
| title_fullStr | Representation edited by Stuart Hall, Jessica Evans and Sean Nixon |
| title_full_unstemmed | Representation edited by Stuart Hall, Jessica Evans and Sean Nixon |
| title_short | Representation |
| title_sort | representation |
| topic | Individuum (DE-588)4026751-9 gnd Kulturwissenschaften (DE-588)4033597-5 gnd Repräsentation Soziologie (DE-588)4202023-2 gnd Kultur (DE-588)4125698-0 gnd Sprache (DE-588)4056449-6 gnd Bedeutung (DE-588)4005184-5 gnd Begriff (DE-588)4005248-5 gnd Soziale Wahrnehmung (DE-588)4055740-6 gnd Repräsentation (DE-588)4137492-7 gnd Kultursoziologie (DE-588)4133431-0 gnd |
| topic_facet | Individuum Kulturwissenschaften Repräsentation Soziologie Kultur Sprache Bedeutung Begriff Soziale Wahrnehmung Repräsentation Kultursoziologie Einführung Lehrbuch |
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