Стенограмма выступления В.В.Путина

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SCOPUS Articles

Authors of DocumentLee, C., Lee, D., Hwang, J.
Year the Document was Publish2015
Source of the DocumentTelecommunications Policy
© 2014 Elsevier Ltd. ElsevierLtd.Allrightsreserved. This paper analyzes the platform environments in which content providers (CPs) may succeed by using a meta-frontier analysis that compares the efficiency of different groups in identical industries. The results illustrate that a group focusing on an iOS platform achieves a high average efficiency with low variance within the group because the iOS ecosystem manages the content novelty and uncertainty risk in the selection process. This quality control enables a CP to maximize value once the CP enters the ecosystem. From the meta-frontier viewpoint, however, Android-group firms have a higher efficiency level than iOS-group firms. Android transfers risk management to CPs who can conduct additional trial and error, causing CPs to endure the tough selection process. This explains the low initial technical efficiency, but in the long term, this group has the potential to achieve high efficiency. In addition, the group providing content to both platforms was the most efficient group because of the economies of scale.
Authors of DocumentGombay, N.
Year the Document was Publish2015
Source of the DocumentPolitical Geography
Number of Documents that reference this Document0
© 2015 Elsevier Ltd. Settler colonial nations are sites of legal pluralism in which encounters between differing constructions of citizenship are formulated. These can involve customary, differentiated, and universal modes of citizenship. But the relationships amongst these are problematic, as are the ways they play out in the performance of subjectivities. To understand these dynamics, we need to think about ideas of personhood that are at their root. Based on research in Nunavik, this article focuses on how, through wildlife management, notions of personhood are being legally codified, particularly in relation to property. It examines the degree to which official ideas of personhood coincide with Indigenous ones in the construction of citizenship, and considers how these combine with property relations in the performance of subjectivities. Enforcing state wildlife regulations has altered the moral codes that define what persons are and determine how they should interact with one another. This research underscores the contradictions that arise as a result of codifying notions of personhood and citizenship in the context of settler colonialism.
© 1980, Southern States Communication Association. We use the frontier myth and the rhetoric of the Indian Wars as a heuristic for analyzing four racial valences in presidential rhetoric on the War on Terror. First, the naming of the enemy in both instances racializes and conflates identities, amplifying a potential threat and justifying a similarly amplified reaction. Second, the war zone is characterized by shifting borders and alliances, suggesting a racialized political hierarchy in which the United States wars against nonwhite tribal leaders. Third, presidents distinguish between savagery and civilization in war practices such that technology, specifically contrasted to trickery, is a marker of whiteness. Fourth, in both wars, the disciplining of nonwhite bodies is justified as the means to spreading and preserving democracy.
DOI:
10.1080/1041794X.2015.1043139

Zoë Hess Carneya* & Mary E. Stuckeya

pages 163-188

Authors of DocumentCole, D.
Year the Document was Publish2015
Source of the DocumentNew York Review of Books
62(8)
Authors of DocumentGibson, K.L., Heyse, A.L.
Year the Document was Publish2014
Source of the DocumentWestern Journal of Communication
78 (1), pp. 97-117
Number of Documents that reference this Document0

This essay analyzes a chapter from Sarah Palin’s best-selling book America by Heart: Reflections on Family, Faith, and Flag. We argue that Sarah Palin draws upon the mythology of the American frontier in “The Rise of the Mama Grizzlies” in order to legitimate a conservative feminism. Our analysis demonstrates how Palin appropriates the history of the women’s rights movement and the symbols and language of feminism to position her audience of contemporary conservative women as the rightful heirs of a distinctly American frontier feminism. Ultimately, we expose Palin’s narrative of frontier feminism as a pseudo feminist rhetoric that functions to bolster conservative and masculinist logics while undermining core tenets of feminism. While very few rhetorical studies examine women speaking frontier rhetoric, our analysis helps to fill this void by demonstrating how Sarah Palin reinterprets the frontier myth to insert conservative women at its center and by exploring the consequences of framing feminism through a masculinist myth. Our essay also extends the effort to understand the rhetorical appeal and presentation of post-feminism. Importantly, we argue that the myth of the American frontier operates as a post-feminist script to define the mama grizzly as an exclusionary construct and to depoliticize the very core of Palin’s frontier feminism. Our essay lends insight into the growing trend of appropriation by conservative women of feminist rhetoric and considers the consequences of such appropriation. © 2014 Copyright Western States Communication Association.
Authors of DocumentBlackburn, J.
Year the Document was Publish2014
Source of the DocumentAppalachian Journal
 41 (3-4), pp. 214-230
Authors of DocumentAlexander, B.K.
Year the Document was Publish2014

Source of the DocumentCultural Studies – Critical Methodologies

  1. Cultural Studies <=> Critical Methodologies June 2014 vol. 14 no. 3223-226
Number of Documents that reference this Document0

This is the introduction to the Special Issue, “Iconography of the West: Autoethnographic Representations of the West(erns)” that engages a writing of variable images invoked in the reference to the West and Westerns, and the exposure of the authors to the movie genre and lived reality of westerns and frontier life. © 2014 SAGE Publications.
 Introduction Notions of the West and Westerns conjure up images. These images are made manifest in memory and mythic construc￾tions of simulated realities of the old West as in images of the untamed territories of North America in the latter half of the 19th century, images of Cowboys versus Indians, repre￾sentative images and demonstrations of rugged individual￾ism, images of man against nature, and the image of established bordered territories and the wreckage of mani￾fest destiny, among others. These imaged constructions run in the face of material realities. Untamed territories is a construction that is relative only in the dynamic between those native to the land (e.g., peoples, nations, and nature itself) and those seeking to tame, control, or claim place as acts of caprice, containment, or consumerism. Cowboys versus Indians is a relational and political stance between race/culture and power/privilege—a side taking in a strug￾gle over peace and policing. Rugged individualism is always constructed with personal liberty, self-reliance, and the notions of will and want as cornerstones to individual pos￾sibility and success—yet always relative to social position￾ality, a force of engagement that establish thresholds of accomplishment without assistance, as well as the unassail￾able constructions of race, gender, and sexuality as hierar￾chical values of worth. Man against nature always suggests a competition of wills between the natural flow of bounty that nourishes, with a set of balances that are already known—and the human desire to force a will of controls over nature’s order. And the notion of bordered territories, as governed geographic spaces, signal the ownership of land and the sequestering of resources with fences or imagi￾nary lines that determine access and limitations of human migration in what LeMenager (2008) refers to as Manifest and Other Destinies, determining the parameter of national identity. The images set within these constructions are of people and personas, of places and spaces—both real and imag￾ined; the images are of practiced places—where people did things to other people and the land—conquering, killing, and devastation as a romanticized way of life; the images are of raced bodies and performed personas that are rela￾tional, comparative, and competitive; the images are mani￾fested longings of a way of life that may have circulated maybe only in the social imaginary but with material con￾sequences. One can trace the images back to origins of meaning and human social engagement in the West—and through essays like this Special Issue presents—one can then “show how historical discourse can in fact turn back on itself, revise its stance toward the past, and perform new, progressive representations of cultural difference” (Denzin, 2008, p. 23). Iconography is most often linked with the identification, description, and the interpretation of image content/the con￾tent of images. In an Introduction to Iconography: Symbols, Allusions and Meaning in the Visual Arts, Roelof van Straten writes, “Iconography is derived from the Greek words, eikon and graphein, that is ‘image’ and ‘writing.’ 527553 CSCXXX10.1177/1532708614527553Cultural Studies Critical MethodologiesAlexander research-article2014 1 Loyola Marymount University, Los Angeles, CA, USA Corresponding Author: Bryant Keith Alexander, College of Communication and Fine Arts, Loyola Marymount University, St. Roberts Hall, 100, 1 LMU Dr. MS 834, Los Angeles, CA 90045-265, USA. Email: bryantkeithalexander@lmu.edu Iconography of the West: Autoethnographic Representations of the West(erns) Bryant Keith Alexander1 Abstract This is the introduction to the Special Issue, “Iconography of the West: Autoethnographic Representations of the West(erns)” that engages a writing of variable images invoked in the reference to the West and Westerns, and the exposure of the authors to the movie genre and lived reality of westerns and frontier life. Keywords iconography, autoethnographic, rugged individualism, authenticity Downloaded from csc.sagepub.com at Ural Federal University on September 20, 2015224 Cultural Studies ↔ Critical Methodologies 14(3) Therefore, translated literally, iconography means ‘image￾writing’ or ‘image describing’” (p. 3). The title of this Special Issue, “Iconography of the West: Autoethnographic Representations of the West(erns)” engages a writing of variable images and “immediately recognizable motifs associated with westerns through repetition” (Giannetti, 2008, p. 52). The essays, autoethnographic in nature, are also about a critical writing of self-experience in relation to the cultural significance of Westerns. The authors take seri￾ously notions of the West—as each entry positions the author in relation not only to the ideology of the West—but their experience and orientations to location, genre, and the icons of Western representation. The essays present desir￾ous and defiant orientations to Cowboys and Indians—both the orientation of these character types in relationship to the teller—with some authors expressing affinity, one to/toward the other, or a complete rejection of the Cowboy/Indian dynamic as a performative act of resistance to the dyadic/ binary of power and oppression. As a companion to the Special Issue of Cultural Studies/ Critical Methodologies, volume 12, Issue 6, December 2012, “West of Everything: Critical Reflections, Remembrances, and Representations of/on/in Westerns,” this Special Issue considers the historical, cultural, and somatic impacts of Western images and motifs across a range of bordered experiences. This issue explores a series of interlocking motifs: the nostalgic yearn for the West and a critical discernment of images/representations and memo￾ries of West(erns) with both domestic and international per￾spectives. In the case of the latter, some of the essays ask, “How do Western movies and novels circulate in interna￾tional contexts across U.S. borders to have an impact on constructions of the West, performances of gender, racial deference and indifference, westward expansion, and notions of manifest destiny at large?” In the introduction to their collection of essays, True West: Authenticity and the American West, editors William R. Handley and Nathaniel Lewis (2004) writing about examining the conceits of Western authenticity note: It challenges many assumptions we make about western writing and opens the door to an important new chapter in western literary history and cultural criticism—while returning us to some old, recalcitrant problems in history and culture of the American West. (p. 1) And while only one of the essays in this issue specifically take up the question of authenticity (McMullen), all of the essays make new contributions to Western literary history through a critical autoethnographic frame of exposition, experience, and exposure; and in most cases, flipping the script of how we discuss notions of the West—inviting new frames of seeing the enduring legacy of the West and Westerns. The first set of essays in this volume is presented in the order of the originating panel at the 2013 International Qualitative Inquiry (QI) Congress with the regrettable omission of the presentation made by Jean Halley, which was unavailable for this publication. I begin with a brief description of my own performative presentation titled, “Writing/Righting Images of the West: A Brief Auto/ Historiography the Black Cowboy (or ‘I want to be a (Black) Cowboy’ . . . Still).” This performative/presentation is an excerpt from a longer project that speaks to my orien￾tation to watching old television Westerns with my father, my father’s desire to have me see images of Black cowboys in these films, and my yearning to see more realistic por￾trayals of Black cowboys in everyday life. The essay begins to speak to and against experiences of silenced histories and empowering narratives of nearly eraced Western historiog￾raphies of Black cowboys. In her essay, “From Voyageurs to Bush Pilots: Resonance and Resistance to the ‘Cowboy’ Motif in Canada’s NorthWest Territories,” Elyse Pineau narrates aspects of Canada’s colonial history and particularizes a “cowboy” mythos of frontiersmen-heroes and the practice of killing and selling animals for profit. This autoethnography explores themes of resonance and resistance to the American cowboy mythos through Canadian icons of entrepreneurial frontiersmenship and their dominion over indigenous life, both human and animal. Using Gregory Ulmer’s Mystory technique of interlocking autobiographical, dramaturgical, and cultural/ folkloric narratives, [her performative essay] weaves a critical historiography of growing up in a small Ontario bushtown where “cowboys and Indians” carried unique geopolitical implications. In his essay, “Remembering Learning about America: Real/ising the Impact of Western Movies on the Discursive and Material Construction of (My) Self,” Ken Gale offers an autoethnographic inquiry into the influence of the imagery of the western on the nascent becomings of self in immediate post World War II United Kingdom. By sharing fragments and brief rememberings in terms of “concept, affect and percept” drawn from the work of Deleuze and Guattari, his essay attempts to re-live the world of “Cowboys” and “Indians” in the fragile emergence of and continuing life of self. In “Damming the Amazon: The Postcolonial March of the Wicked West Damming the Amazon,” Marcelo Diversi forces the audience/reader to directionally reorient itself to issues of manifest destiny by resituating “a story about the West when told from the point of view of the South”—as he tells the story of encroachment and colonial destiny on “the Belo Monte Dam on the Xingu River at the heart of the Amazon tropical forest, as what will be the third largest hydroelectric plant on the planet”—and its ecological, Downloaded from csc.sagepub.com at Ural Federal University on September 20, 2015Alexander 225 cultural, and sociological impact on the people and region. “Energy over people,” he writes, “It is an old story happen￾ing again, in a massive ecological scale, in our times.” In the essay, he “grapples with the competing narratives of jus￾tification and try to imagine a narrative that firmly puts people over energy” while forcing the viewer/reader to see the parallel messaging of Western narratives. In his stirring autobiographical narrative titled, “West of Indianola,” Norman K. Denzin describes a 1953 Family photo of he and his family in Indianola, Iowa. He writes, We stand in a group, looking western in western clothes: father, hand on hip, cowboy hat, cowboy boots, wide silver belt; mother, cowgirl hat, red bandana around her neck, wide silver belt; Mark, my brother, and me, Norman, wearing little cowboy outfits—hats, vests, cowboy boots, toy pistols in leather holsters. Forced smiles, we have slightly down-cast, but far-off looks in our eyes. Our family is about to fall apart, and everybody knows it. The narrative situates the family between location and desire, between a simulation of being and the destiny of becoming, and the West and Western motif is both location and character in the telling and happening of the story. The second set of essays includes responses to a call relative to the primary panel presented at QI 2013. Each of the essays in this section, like the preceding essays in this issue, positions the authors (or the authors position them￾selves) in the center of the story: as a situated other, as a researcher, as a critique, as a border crosser, as a commod￾ity. In her essay, “The Girl-Child, the Outlaw, and the Land/ Woman: Or, How the Imaginary of the Western Permeated a Distant War,” Dijana Jelača uses three separate-yet-connected instances of spectatorial re-appropriation of the Western cinematic iconicity to explore how the genre framed an understanding of a war that is both geographically, but also historically and politically far away from the Western’s American home culture. The war in question is one that broke her home country of Yugoslavia apart. These images and realities are fused with her childhood love of the Western film genre—as she explores how “the Western mythology was re-appropriated to symbolize something entirely different from what it might have meant in its home context.” The essay ends with a simulated dialogue between her scholarly-self and the girl-child within her—each yearning to reconcile the rela￾tional tug between the war in Yugoslavia, the reading of Westerns, and the location of the Self in telling the told. In her essay, “The Old West of Old Town: Understanding Visual Simulacra as a Means of Staged Authenticity,” Melissa McMullen engages an ethnographic project visiting, engag￾ing, and immersing herself in Old Town, Scottsdale, Arizona “a modern day old western town that boldly claims to transport visitors back to the days of cowboys and Indians.” Her analysis, steeped in Baudrillard’s principle of visual sim￾ulacrum, questions whether Old Town is a “representation of an old western town that never existed as depicted.” Her essay “argues that the visual narratives of the space attract visitors to the area while simultaneously failing to achieve what they promise.” In the description of the site and the people who gather, the essay realizes the powerful yearning and nostalgia of a West that for many only existed in the sim￾ulation of Western movies that romanticize place and cultural practice. In his essay, “Revising the Western: Connecting Genre Rituals and Revising the American Western in TV’s Sons of Anarchy,” Garret Castleberry “analyzes the TV show Sons of Anarchy and how the cable drama revisits and revises the American Western film genre.” Castleberry begins his essay with comparative references to his two grandfathers one who “served as both a trucker and blue-collar oil fields￾man while another worked simultaneously in military ser￾vice, mechanical engineering, and carpentry. In addition, the latter always exuded his motorist enthusiasm.” He uses the lived and narrated experience of his grandfathers in building an ideological standpoint to values emphasizing family, com￾munity, and loyalty—which he later links to Western mythol￾ogies. Through autoethnography, Castleberry recalls personal memories as an ideological travelogue for navigating the rhe￾torical power that Sons of Anarchy invokes, while arguing that the show’s Western evocation updates audience concerns amid the ideological war on terror. The final two essays offer narratives of embodiment, narra￾tives in which the authors speak directly to the material nature of their bodies: raced bodies, gendered bodies, and sexed bod￾ies in place and space; bodies that are marked by their particu￾larity by nature and choice; bodies that cross multiple borders and are read differently forcing the authors to come to gripping understandings of their own otherness, their own positionality, and their self-implication in the spaces in which they circulate, with intention. In his essay titled, “Disidentifications from the West(ern): An Autoethnography of Becoming an Other,” Shinsuke Eguchi writes an autoethnography of disidentifica￾tions from the West and the Western as he engages in a cross￾national transition from Japan to the United States through an Asian/Japanese transnational gay identity. In his essay, Eguchi (like Alexander, Jelača, Pineau, Castleberry and later Staszel in differing ways) makes allusion to a paternal orientation to the West, Westerns and cowboys. In this case, a reference to his grandfather’s love of Western movies and speculates on how “global circulations of U.S.-Western movies in Japan culti￾vated his grandfather’s” imagination of the West. He shares encounters with White gay men dressed as cowboys in a Denver Pride parade juxtaposed against scenes from the film Brokeback Mountain, and then focuses on the shifting orienta￾tions to his gay Asian body in differing queer-U.S. contexts— leading to his own disidentification of West(erns) and the development of a queer activist identity. Downloaded from csc.sagepub.com at Ural Federal University on September 20, 2015226 Cultural Studies ↔ Critical Methodologies 14(3) In the last essay, “The Stripping Cowboy: Music, Medium and Movement in the Male Strip Show,” John Paul Staszel chronicles particular aspects of his experience as a male stripper with a cowboy persona. Staszel’s analysis both reveals the enduring nature of the cowboy as an iconic masculine symbol as he capitalizes on this image for per￾sonal profit, establishing himself as a visual commodity to be consumed, but also as a case study in the social invest￾ment of this character-image deep in the social conscious￾ness for both men and women. In the context of his analysis, Staszel narrates the shifting variables of desire and the mar￾ketability of the stripping cowboy to differing audiences— gay, straight, queer, and so on; but he also elucidates how the music selection that accompanies the dance—informs the social and cultural reference point for differing audi￾ences. In the process, he deconstructs the lyrics of several popular songs that celebrate the cowboy—from “Mammas Don’t Let Your Babies Grow Up to be Cowboys” to “Where Have All the Cowboys Gone.” Each set of lyrics lay out a set of idealized, idiomatic, and desirous aspects of the cow￾boy that speaks to the enduring legacy of this Western icon linked with rebel resistance, masculine prowess, destruc￾tion, and desire. Declaration of Conflicting Interests The author declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article. Funding The author received no financial support for the research, author￾ship, and/or publication of this article. References Denzin, N. K. (2008). Searching for Yellowstone: Race, gender, family, and memory in the postmodern west. Walnut Creek, CA: Left Coast. Giannetti, L. (2008). Understanding movies. Toronto, Ontario, Canada: Person. Handley, W. R., & Lewis, N. (2004). True west: Authenticity and the American West. Lincoln: University of Nebraska Press. LeMenager, S. (2008). Manifest and other destinies: Territorial fictions of the nineteenth-century United States. Lincoln: University of Nebraska Press. van Straten, R. (1994). Introduction to Iconography: Symbols, Allusions and Meaning in the Visual Arts. New York, NY: Routledge. Author Biography Bryant Keith Alexander is a professor and a dean in College of Communication and Fine Arts at Loyola Marymount University in Los Angeles, CA. He is the coeditor of Performance Theories in Education: Power, Pedagogy and the Politics of Identity (Erlbaum) and is the author of the books Performing Black Masculinity: Race, Culture, and Queer Identity (Alta Mira) and The Performative Sustainability of Race: Reflec