Cultural Representation Quotes

The representation of women in the society, especially through mass media has been the most delusional act ever done on the grounds of human existence.

if you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves.

The moment we see a pop artifact offering even a sliver of something different—say, a woman who isn’t a size zero or who doesn't treat a man as the center of the universe—we cling to it desperately because that representation is all we have.

We don't worship Satan, we worship ourselves using the metaphorical representation of the qualities of Satan. Satan is the name used by Judeo-Christians for that force of individuality and pride within us. But the force itself has been called by many names.We embrace Christian myths of Satan and Lucifer, along with Satanic renderings in Greek, Roman, Islamic, Sumerian, Syrian, Phrygian, Egyptian, Chinese or Hindu mythologies, to name but a few. We are not limited to one deity, but encompass all the expressions of the accuser or the one who advocates free thought and rational alternatives by whatever name he is called in a particular time and land. It so happens that we are living in a culture that is predominantly Judeo-Christian, so we emphasize Satan. If we were living in Roman times, the central figure, perhaps the title of our religion, would be different. But the name would be expressing and communicating the same thing. It's all context.

Why does the social order feel the need to defend itself by evading the fact of real women, our faces and voices and bodies, and reducing the meaning of women to these formulaic and endlessly reproduced "beautiful" images? Though unconscious personal anxieties can be a powerful force in the creation of a vital lie, economic necessity practically guarantees it. An economy that depends on slavery needs to promote images of slaves that "justify" the institution of slavery. Western economies are absolutely dependent now on the continued underpayment of women. An idealogy that makes women feel "worth less" was urgently needed to counteract the way feminism had begun to make us feel worth more. This does not require a conspiracy; merely an atmosphere. The contemporary economy depends right now on the representation of women within the beauty myth.

It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio.

The idealized market was supposed to deliver ‘friction free’ exchanges, in which the desires of consumers would be met directly, without the need for intervention or mediation by regulatory agencies. Yet the drive to assess the performance of workers and to measure forms of labor which, by their nature, are resistant to quantification, has inevitably required additional layers of management and bureaucracy. What we have is not a direct comparison of workers’ performance or output, but a comparison between the audited representation of that performance and output. Inevitably, a short-circuiting occurs, and work becomes geared towards the generation and massaging of representations rather than to the official goals of the work itself. Indeed, an anthropological study of local government in Britain argues that ‘More effort goes into ensuring that a local authority’s services are represented correctly than goes into actually improving those services’. This reversal of priorities is one of the hallmarks of a system which can be characterized without hyperbole as ‘market Stalinism’. What late capitalism repeats from Stalinism is just this valuing of symbols of achievement over actual achievement. […] It would be a mistake to regard this market Stalinism as some deviation from the ‘true spirit’ of capitalism. On the contrary, it would be better to say that an essential dimension of Stalinism was inhibited by its association with a social project like socialism and can only emerge in a late capitalist culture in which images acquire an autonomous force. The way value is generated on the stock exchange depends of course less on what a company ‘really does’, and more on perceptions of, and beliefs about, its (future) performance. In capitalism, that is to say, all that is solid melts into PR, and late capitalism is defined at least as much by this ubiquitous tendency towards PR-production as it is by the imposition of market mechanisms.

Those words . . . national and portrait. They were both to do with identity: the identity of a culture (place, language and history), the identity of an individual human being as an object for mimetic representation.

...consider the possibility that to love blackness is dangerous in a white supremacist culture- so threatening, so serious a breach in the fabric of the social order, that death is the punishment.

This wilderwoman is the prototypical woman ... no matter what culture, no matter what era, no matter what politic, she does not change. Her cycles change, her symbolic representations change, but in essence, she does not change. She is what she is and she is whole.

In the culture of madness ‘reality’ and ‘representations’ endlessly played off each other. What a crazy world in which the poor had to pretend to be mad in order to get a crust!

The whiteness celebrated in Paris is Burning is not just any old brand of whiteness but rather that brutal imperial ruling-class capitalist patriarchal whiteness that presents itself -its way of life- as the only meaningful life there is. What could be more reassuring to a white public fearful that marginalized disenfranchised black folks might rise any day now make revolutionary black liberation struggle a reality than a documentary affirming that colonized, victimized, exploited black folks, are all too willing to be complicit in perpetuating the fantasy that ruling-class white culture is the quintessential site of unrestricted joy, freedom, power and pleasure.

Women are socialised from an early age to comply with hyper-sexual stereotypes found in both fast-moving media and ‘high art’ and cultural representations, which consequently become the default norm. And seeing women as sexually available in images found everywhere from the art gallery to the workplace to the top deck of the bus on the way to school, creates a totalising environment of erotic privilege for straight men.

Holography could prosper only in America, a country obsessed with realism, where, if a reconstruction is to be credible, it must be absolutely iconic, a perfect likeness, a “real” copy of the reality being represented.

...we must consistently challenge dehumanizing public representations of poverty and the poor. Restoring to our nation the understanding that people can be materially poor yet have abundant lives rich in engagement with nature, with local culture, with spiritual values is essential to any progressive struggle to halt mountaintop removal

This book has two determinants: on the one hand, an ideological critique of the language of so-called mass culture; on the other, an initial semiological dismantling of that language: I had just read Saussure and emerged with the conviction that by treating “collective representations” as sign systems one might hope to transcend pious denunciation and instead account in detail for the mystification which transforms petit bourgeois culture into a universal nature.

Since the mirror of gentrification is representation in popular culture, increasingly only the gentrified get their stories told in mass ways. They look in the mirror and think it's a window, believing that corporate support for and inflation of their story is in fact a neutral and accurate picture of the world. If all art, politics, entertainment, relationships, and conversations must maintain that what is constructed and imposed by force is actually natural and neutral, then the gentrified mind is a very fragile parasite.

The world shown us in books, whether the books be confessed epics or professed gospels, or in codes, or in political orations, or in philosophic systems, is not the main world at all: it is only the self-consciousness of certain abnormal people who have the specific artistic talent and temperament. A serious matter this for you and me, because the man whose consciousness does not correspond to that of the majority is a madman; and the old habit of worshipping madmen is giving way to the new habit of locking them up. And since what we call education and culture is for the most part nothing but the substitution of reading for experience, of literature for life, of the absolete fictitious for the contemporary real, education, as you no doubt observed at Oxford, destroys, by supplantation, every mind that is not strong enough to see through the imposture and to use the great Masters of Arts as what they really are and no more: that is, patentees of highly questionable methods of thinking, and manufacturers of highly questionable, and for the majority but half valid representations of life. The school boy who uses his Homer to throw at his fellow's head makes perhaps the safest and most rational use of him; and I observe with reassurance that you occasionally do the same, in your prime, with your Aristotle.

The model minority myth is often used to separate Asian Americans from other people of color by using their perceived socioeconomic and academic success and docile nature to compare and contrast with black Americans, Hispanic Americans, and Native Americans. This divide-and-conquer technique serves to redirect struggle against oppressive White Supremacy to competition between Asian Americans and other people of color. The real animosity between some Asian Americans and other people of color that has been manufactured by the model minority myth prevents Asian Americans and non-Asian people of color from recognizing and organizing around shared experiences of labor exploitation, lack of government representation, lack of pop culture representation, cultural appropriation, and much more.

The Constitution is a paper manifestation of a deeper cultural commitment to liberty and limited government, in the same way a marriage certificate is a physical and legalistic representation of something far deeper, mysterious, and complicated. When the marriage fails, the marriage certificate won't save it. And when the American people lose their love of liberty, the Constitution will not save us either.

Girls have been written and represented in popular culture in many different ways. Most of these representations have been largely unsatisfying because they never get girlhood quite right. It is not possible for girlhood to be represented wholly—girlhood is too vast and too individual an experience. We can only try to represent girlhood in ways that are varied and recognizable. All too often, however, this doesn’t happen.

..there is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy, a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History, and, even, with the European tradition.

The systematic association between love, marriage, and bliss was different from nineteenth-century representations, in which love was more often tragic rather than a happy feeling.

Music has been called 'the most noise conveying the least information

A stereotype is a rigid often simplistic representation of a specific group or category of people

Representation in popular culture is key. It is often the first way many of us learn about different identities, cultures, and ideas.

In other words, representation alone will not save us, no matter how much we want it to, because most representation that exists now is designed to placate instead of liberate.

When we frame the stories of people of color as narratives steeped in pain or even smallness, this becomes the dominant or sole representation.

Claiming that the past was socially better than the present is also a hallmark of white supremacy. Consider any period in the past from the perspective of people of color: 246 years of brutal enslavement; the rape of black women for the pleasure of white men and to produce more enslaved workers; the selling off of black children; the attempted genocide of Indigenous people, Indian removal acts, and reservations; indentured servitude, lynching, and mob violence; sharecropping; Chinese exclusion laws; Japanese American internment; Jim Crow laws of mandatory segregation; black codes; bans on black jury service; bans on voting; imprisoning people for unpaid work; medical sterilization and experimentation; employment discrimination; educational discrimination; inferior schools; biased laws and policing practices; redlining and subprime mortgages; mass incarceration; racist media representations; cultural erasures, attacks, and mockery; and untold and perverted historical accounts, and you can see how a romanticized past is strictly a white construct. But it is a powerful construct because it calls out to a deeply internalized sense of superiority and entitlement and the sense that any advancement for people of color is an encroachment on this entitlement.

Writing something down cannot change in any significant way our mental representation of it, for it is the mental representation that gives birth to the written form, not vice versa.

When we think of the word culture, obvious representations such as how to dress, eat, speak, and act like those around us come to mind. But learning culture is more than learning conformity to external patterns of behavior. Culture is also a system of shared concepts, beliefs, and values. It is the framework from which we interpret and make sense of life and the world around us.

In short, statistical disparities are commonplace among human beings. Many historical and cultural reasons underlie the peculiar patterns observed. But the even “representation” of groups chosen as a baseline for measuring discrimination is a myth rather than an established fact. It is significant that those who have assumed that baseline have seldom, if ever, been challenged to produce evidence.

Most people respond automatically to their given circle of representation, and strengthen it by their unconscious allegiance. Since their cultural circle is made of many conflicting drives for their allegiance,

What I want you to understand is that the words that our schools, our government, our media, our colleagues, and our family use have a profound effect on how you think and feel about life. The words that you learn, and then use to speak and think with, are molding your reality. Your vernacular creates your visual representation of the world, and the language you think with essentially creates your experienced reality.

Fidelity is surely our highest aim, but a translation is not made with tracing paper. It is an act of critical interpretation. Let me insist on the obvious: Languages trail immense, individual histories behind them, and no two languages, with all their accretions of tradition and culture, ever dovetail perfectly. They can be linked by translation, as a photograph can link movement and stasis, but it is disingenuous to assume that either translation or photography, or acting for that matter, are representational in any narrow sense of the term. Fidelity is our noble purpose, but it does not have much, if anything, to do with what is called literal meaning. A translation can be faithful to tone and intention, to meaning. It can rarely be faithful to words or syntax, for these are peculiar to specific languages and are not transferable.

As the rest of the modern world develops into what Seoul already has been for years—an image-laden, social-media-driven landscape, where digital representations of us can be automatically filtered to have longer lashes or poreless skin, and digital makeup can be instantly applied before we show up on our video meetings—it makes clear Korea’s looks-obsessed culture, where appearance norms inch further and further out of reach, isn’t some anomaly.

Working with students and families from diverse class backgrounds, I am constantly amazed at how difficult it is to cross boundaries in this white supremacist, capitalist, patriarchal society. And it is obviously most difficult for individuals who lack material privilege or higher levels of education to make the elaborate shifts in location, thought, and life experience cultural critics talk and write about as though it is only a matter of individual will.

Actively question what we are doing and why. Rather than passively consuming our culture's ideas and representation of gender, break them down. Reflect on why they are the way they are. Greater undestanding comes through analysis.

As I see it, anthropology’s mission is to attempt, alongside other sciences but using its own methods, to render intelligible the way in which organisms of a particular kind find a place in the world, acquire a stable representation of it, and contribute to its transformation by forging with it and between one another links either constant or occasional and of a remarkable but not infinite diversity. Before constructing a new charter for the future in gestation, we need first to map out those links, understand their nature more clearly, establish their modes of compatibility and incompatibility, and examine how they take shape in their patently distinctive ways of being in the world.

Discrimination can be subtle but it undoubtedly exists in the workplace. Corporate culture can be sexist, classist, racist and ableist, and simply having representation without challenging the roots of the ‘isms’ will not get us very far

Changing the way we talk is not political correctness run amok. It reflects an admirable willingness to acknowledge others who once were barely visible to the dominant culture, and to recognize that something that may seem innocent to you may be painful to others.

It has become rare in mainstream evangelicalism to hear in-depth theological teaching. Megachurch pastors of Greear’s variety wear not suits and ties, but checked sport shirts, the sleeves rolled up at the wrist, with maybe a fleece Patagonia vest in the fall. Their sermon style tends to be similarly informal, rarely taxing attendees’ attention by delving into theological terms like soteriology or hypostatic. Yet, in recent years, a new form of spiritual jargon—words like hegemony and cultural representation—has peppered their preaching.

My pronoun is people, I'm divergent, yet invincible. I am straight, I am queer; I am civilian, I am seer. Spirit of life, I - am universal! Call me disabled or differently able, Call me collective or individual. Fleshly forms I've got plenty, All run by same love and liberty - Culture supreme is inclusion.

Sensitivity readers are readers who provide cultural consulting and critiques on manuscripts for a fee. Say, for example, a white author writes a book that involves a Black character. The publisher might then hire a Black sensitivity reader to check whether the textual representations are consciously, or unconsciously, racist. They’ve gotten more and more popular in the past few years, as more and more white authors have been criticized for employing racist tropes and stereotypes. It’s a nice way to avoid getting dragged on Twitter, though sometimes it backfires—I’ve heard horror stories of at least two writers who were forced to withdraw their books from publication because of a single subjective opinion.

You guys know about vampires? … You know, vampires have no reflections in a mirror? There’s this idea that monsters don’t have reflections in a mirror. And what I’ve always thought isn’t that monsters don’t have reflections in a mirror. It’s that if you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves. And growing up, I felt like a monster in some ways. I didn’t see myself reflected at all. I was like, “Yo, is something wrong with me? That the whole society seems to think that people like me don’t exist?” And part of what inspired me, was this deep desire that before I died, I would make a couple of mirrors. That I would make some mirrors so that kids like me might see themselves reflected back and might not feel so monstrous for it.

Faced with the numbering logic of neoliberal regimes, literature offers an intervention in order to consider identity and voice, to consider representation in both the political and artistic sense of the term... [Literature and art] cultivate tension between an unresolved past and present, between invisibility and exposure, showing the dualities of face and mask that leave their trace on identitarian struggles today.

We’re at this really unique time, I think, in trans representation in popular culture where homelessness, depression, mental health issues, instability-in-general are still so very real and need to be talked about, but we’re aware that they’ve dominated “trans” stories for years and years. And we’re now finally at a place where we’re seeing some really positive representations of trans folks in pop culture, and there’s this new pressure -- at least, I feel it, within trans and trans-ally communities -- to only focus on the positive. Because we’re trying, in some sense, to overcompensate for the years and years of too much negativity. As a writer, you might feel a pressure to push the negative stuff away. But there are consequences for that too. Anyone who’s working with trans characters right now is going to have to reconcile that tension.

Perhaps the most obvious political inequality is the violation of the precept one person one vote. Yet until recent times most writers rejected equal universal suffrage. Indeed, persons were not regarded as the proper subjects of representation at all. Often it was interests that were to be represented, with Whig and Tory differing as to whether the interest of the rising middle class should be given a place alongside the landed and ecclesiastical interests. For others it is regions that are to be represented, or forms of culture, as when one speaks of the representation of the agricultural and urban elements of society. At the first sight, these kinds of representation appear unjust. How far they depart from the precept one person one vote is a measure of their abstract injustice, and indicates the strength of the countervailing reasons that must be forthcoming.119

Vitality, understood both somatically and mentally, is itself the medium that contains a gradient between more and less. It therefore contains the vertical component that guides ascents within itself, and has no need of additional external or metaphysical attractors. That God is supposedly dead is irrelevant in this context. With or without God, each person will only get as far as their form carries them. Naturally 'God', during the time of his effective cultural representation, was the most convincing attractor for those forms of life and practice which strove 'towards Him' - and this towards-Him was identical to 'upwards'. Nietzsche's concern to preserve vertical tension after the death of God proves how seriously he took his task as the 'last metaphysician', without overlooking the comical aspect of his mission. He had found his great role as a witness to the vertical dimension without God.

It has been over forty years since the Gay Liberation Front first took trans seriously, but the gay men who wore those shirts with the polo players or alligator emblems didn't want trans people as the representation of their community. Their revisionist history has been accepted into popular culture because they were the ones with connections to publishers, the influence, as well as the money and time to sit back and write about what "really" happened.

I’m done being polite about this bullshit. My list of professional insecurities entirely stems from being a young woman. Big plot twist there! As much as I like to execute equality instead of discussing the blaring inequality, the latter is still necessary. Everything, everywhere, is still necessary. The more women who take on leadership positions, the more representation of women in power will affect and shift the deep-rooted misogyny of our culture—perhaps erasing a lot of these inherent and inward concerns. But whether a woman is a boss or not isn’t even what I’m talking about—I’m talking about when she is, because even when she manages to climb up to the top, there’s much more to do, much more to change. When a woman is in charge, there are still unspoken ideas, presumptions, and judgments being thrown up into the invisible, terribly lit air in any office or workplace. And I’m a white woman in a leadership position—I can only speak from my point of view. The challenges that women of color face in the workforce are even greater, the hurdles even higher, the pay gap even wider. The ingrained, unconscious bias is even stronger against them. It’s overwhelming to think about the amount of restructuring and realigning we have to do, mentally and physically, to create equality, but it starts with acknowledging the difference, the problem, over and over.

all human achievement must also be accomplished by mammals and this realisation (interestingly negated by sexless plaster saints and representations of angels) puts us on a useful spot. It strongly suggests that anyone could do what the heroes have done. Our current culture, with its stupid emphasis on the “role model,” offers as examples the lives of superstars and princesses and other pseudo-ethereal beings whose lives—fortunately, I think—cannot by definition be emulated.

American cold war culture represented an age of anxiety. The anxiety was so severe that it sought relief in an insistent, assertive optimism. Much of American popular culture aided this quest for apathetic security. The expanding white middle class sought to escape their worries in the burgeoning consumer culture. Driving on the new highway system in gigantic showboat cars to malls and shopping centers that accepted a new form of payment known as credit cards, Americans could forget about Jim Crow, communism, and the possibility of Armageddon. At night in their suburban homes, television allowed middle class families to enjoy light domestic comedies like The Adventures of Ozzie and Harriet, Father Knows Best, and Leave It to Beaver. Somnolently they watched representations of settled family life, stories where lost baseball gloves and dinnertime hijinks represented the only conflicts. In the glow of a new Zenith television, it became easy to believe that the American dream had been fully realized by the sacrifice and hard work of the war generation. American monsters in pop culture came to the aid of this great American sleep. Although a handful of science fiction films made explicit political messages that unsettled an apathetic America, the vast majority of 'creature features' proffered parables of American righteousness and power. These narratives ended, not with world apocalypse, but with a full restoration of a secure, consumer-oriented status quo. Invaders in flying saucers, radioactive mutations, and giant creatures born of the atomic age wreaked havoc but were soon destroyed by brainy teams of civilian scientists in cooperation with the American military. These films encouraged a certain degree of paranoia but also offered quick and easy relief to this anxiety... Such films did not so much teach Americans to 'stop worrying and love the bomb' as to 'keep worrying and love the state.

But in the Petit Palais, which Daphne had not visited in thirty years, Roland had what she liked to call ‘a moment’. He retired early from the paintings and waited in the main hall. After she had joined him and they were walking away he let rip. He said that if he ever had to look at one more Madonna and Child, Crucifixion, Assumption, Annunciation and all the rest he would ‘throw up’. Historically, he announced, Christianity had been the cold dead hand on the European imagination. What a gift, that its tyranny had expired. What looked like piety was enforced conformity within a totalitarian mind-state. To question or defy it in the sixteenth century would have been to take your life in your hands. Like protesting against Socialist Realism in Stalin’s Soviet Union. It was not only science that Christianity had obstructed for fifty generations, it was nearly all of culture, nearly all of free expression and enquiry. It buried the open-minded philosophies of classical antiquity for an age, it sent thousands of brilliant minds down irrelevant rabbit holes of pettifogging theology. It had spread its so-called Word by horrific violence and it maintained itself by torture, persecution and death. Gentle Jesus, ha! Within the totality of human experience of the world there was an infinity of subject matter and yet all over Europe the big museums were stuffed with the same lurid trash. Worse than pop music. It was the Eurovision Song Contest in oils and gilt frames. Even as he spoke he was amazed by the strength of his feelings and the pleasure of release. He was talking – exploding – about something else. What a relief it was, he said as he began to cool down, to see a representation of a bourgeois interior, of a loaf of bread on a board beside a knife, of a couple skating on a frozen canal hand in hand, trying to seize a moment of fun ‘while the fucking priest wasn’t looking. Thank God for the Dutch!

Overall it’s really clear that the way we talk about genitals is a super concentrated representation of how we thing about sex and gender,” he [Lal Zimman] tells me. “The research that people have done on heteronormative gender naming really shows that our worst cultural values are reflected in the ways we talk about genitals. Like penises are always weapons that exist for penetrating, sex is always violence, and women and vaginas are passive and absence, just a place to put a penis.

Black people forgive because we need to survive,” Gay wrote. “We have to forgive time and time again while racism or white silence in the face of racism continues to thrive. We have had to forgive slavery, segregation, Jim Crow laws, lynching, inequity in every realm, mass incarceration, voter disenfranchisement, inadequate representation in popular culture, microaggressions and more. We forgive and forgive and forgive and those who trespass against us continue to trespass against us.

Issy is a male fantasy of a girl or young woman, but she is also a ‘real’ character who, though invaded and smothered by cultural stereotypes and analogies, retains a particularity. And this goes for all the Wake’s characters, in always being both dreamt and real, that have to contend with the inevitable constraints of culture’s approximate representations. Our readings may find themselves split, like Issy, between these worlds, the dream fantasy reflection and the mimetic realist novel.

Again, it is important to stress that this belief is not necessarily a consciously chosen one. It is a deeply hidden, unconscious aspect of white supremacy that is hardly ever spoken about but practiced in daily life without even thinking about it. The reality is that you have been conditioned since you were a child to believe in white superiority through the way your history was taught, through the way race was talked about, and through the way students of color were treated differently from you. You have been educated by institutions that have taught white superiority through curricula that favor a white-biased narrative, through the lack of representation of BIPOC, and through the way these institutions handled acts of racism. You have been conditioned by media that continues to reinforce white superiority through an overrepresentation of celebrities and leaders who look like you, through the cultural appropriation of BIPOC fashion, language, and customs, and through the narrative of the white savior.

Hand-holding those who don’t share your cultural background to address the needs of people who do, is a tough task. When you are part of a majority or a privileged class, it’s hard to accept that your needs and your perspective are anything but universal. It’s even harder to understand that addressing the needs of the few won’t suddenly marginalize the many. Those “majority needs” and that “privileged perspective” will also be acknowledged and accommodated. That’s fine. They just can’t be the only ones in the spotlight.

Islam's prohibitions against pictoral representation of the human being have prevented the ubiquitous spread of the use of the female body for corporate purposes. Advertisements do not feature superfluous female body there to titillate potential buyer. In advertisements...image is not advanced as an ideal to which other women should aspire. Hence the use of images of women (and men) does not promote the phenomenon of self-correcting and self-policing, as is the case with the use of images in the mainstream Western culture.

Liberal, free-market societies can, and do, grant visibility and representation to the hitherto invisible and unrepresented, in other words, without radically changing the social structure. Marginal groups and peripheral movements rise up; they win legal emancipation and cultural acceptance; and then they are absorbed into the fabric of liberalism. At its best – or worst, depending on your outlook – liberal capitalism can defang even its most ardent enemies, rendering them into harmless kitsch like so many Che Guevara T-shirts.

MANO: There's no question in my mind that we've always felt, in the heart of our Western, Christian culture, that Jesus was very much female. That is why the representations of Jesus with long hair have always been predominant in art. The Virgin Mary was later presented as a harmless sort of woman to whom we can address our need for a maternal outlet in prayer, as a safer way of dealing with the fact that Jesus was as much a woman as a man, particularly when he died. DOOR: You said that if men don't overcome their wanting of women, society will crack. MANO: We are coming to a point where the genders are clumsily engaging in civil war with each other. There's a lot of unpleasantness in the land. Men feel terribly threatened. Women have been crucified for many years, so they understand it and have their axes to grind as well. The truth of the matter is, Jesus on the cross is the female being exploited in every which way. I mentioned intercourse being, at its best, an act of penetration, but there are many other ways in which women have been sacrificed, whether from childbirth or being sold as wives or whatever, through history. So when the male S&M devotee binds a woman to a cross, he has to realize, if he's a Christian-- DOOR: Uh, just how many Christian S&M devotees are there? MANO: Even if he's not a Christian, he ought to realize that he is essentially binding Jesus again, because Jesus contains in him the female--very, very strongly--but almost mystically hidden, I think, because the truth is too painful to deal with. I don't know. I've never heard anyone else say what I'm saying now.

Fandom is really fandoms, plural—an always diverse and contentious sphere. Mass media representations of fanfiction and fan culture present it at best as a “wacky world,” or more typically as a bastion of the physically, socially, and literarily inept. Academic accounts of fandom overcompensate, often presenting overly utopian pictures of sisterly collaboration and feminist critique. Utopias and dystopias, though, are not parallel but rather intersecting universes. This is surely one of the great lessons of Star Trek—and of its fandom.

...the real issue is whether indeed there can be a true representation of anything, or whether any and all representations, because they are representations, are embedded first in the language and then in the culture, institutions, and political ambience of the representor. If the latter alternative is the correct one (as I believe it is), then we must be prepared to accept the fact that a representation is eo ipso implicated, intertwined, embedded, interwoven, with a great many other things besides the "truth" which is itself a representation.

The various Eichmann testimonies are truly staggering in their total volume. But how, if at all, can they be used? Even more than most memoirs, the Eichmann testimonies, both before and after capture, are consciously calculated attempts at self-representation, self-justification, and legal defense. It must be said as emphatically perpetrator testimony as possible that, at the core of these testimonies, there are three monstrous falsehoods that are central to his whole enterprise. -- Perpetrator Testimony: Another Look at Adolf Eichmann, pages 8-9.

One should not conclude too hastily that the degradation of American political practices is a decline in power. Behind this masquerade, there is a vast political strategy (certainly not deliberate; it would require too much intelligence) that belies our eternal democratic illusions. By electing Schwarzenegger (or in Bush's rigged election in 2000), in this bewildering parody of all systems of representation, America took revenge for the disdain of which it is the object. In this way, it proved its imaginary power because no one can equal it in its headlong course into the democratic masquerade, into the nihilist enterprise of liquidating value and a more total simulation than even in the areas of finance and weapons. America has a long head start. This extreme, empirical and technical form of mockery and the profanation of values, this radical obscenity and total impiety of a people, otherwise known as "religious," this is what fascinates everyone. This is what we enjoy even through rejection and sarcasm: this phenomenal vulgarity, a (political, televisual) universe brought to the zero degree of culture. It is also the secret of global hegemony.

The act of forgiveness seems a silent clause in a one-sided contract between the subordinate and the dominant. “Black people forgive because we need to survive,” Gay wrote. “We have to forgive time and time again while racism or white silence in the face of racism continues to thrive. We have had to forgive slavery, segregation, Jim Crow laws, lynching, inequity in every realm, mass incarceration, voter disenfranchisement, inadequate representation in popular culture, microaggressions and more. We forgive and forgive and forgive and those who trespass against us continue to trespass against us.

The world shown us in books, whether the books be confessed epics or professed gospels, or in codes, or in political orations, or in philosophic systems, is not the main world at all: it is only the self-consciousness of certain abnormal people who have the specific artistic talent and temperament. A serious matter this for you and me, because the man whose consciousness does not correspond to that of the majority is a madman; and the old habit of worshipping madmen is giving way to the new habit of locking them up. And since what we call education and culture is for the most part nothing but the substitution of reading for experience, of literature for life, of the obsolete fictitious for the contemporary real, education, as you no doubt observed at Oxford, destroys, by supplantation, every mind that is not strong enough to see through the imposture and to use the great Masters of Arts as what they really are and no more: that is, patentees of highly questionable methods of thinking, and manufacturers of highly questionable, and for the majority but half valid representations of life. The schoolboy who uses his Homer to throw at his fellow's head makes perhaps the safest and most rational use of him; and I observe with reassurance that you occasionally do the same, in your prime, with your Aristotle. Fortunately for us, whose minds have been so overwhelmingly sophisticated by literature, what produces all these treatises and poems and scriptures of one sort or another is the struggle of Life to become divinely conscious of itself instead of blindly stumbling hither and thither in the line of least resistance. Hence there is a driving towards truth in all books on matters where the writer, though exceptionally gifted is normally constituted, and has no private axe to grind.

we compared a sampling of successful and unsuccessful fairy tales in the famous Brothers Grimm collection. Successful (widely known) fairy tales, such as Cinderella and Little Red Riding Hood, had just two or three counterintuitive violations. Unsuccessful ones (have you heard of the Donkey Lettuce?) had none, or in other cases, quite the opposite—they had far too many violations. Successful counterintuitive representations and stories were also likely to generate emotional responses, like fear, and encouraged additional inferences.25 These kinds of memory biases play an important role in religious belief.26 The extraordinary agents endemic to religions appear to possess a particularly evocative set of abilities not shared by ordinary beings. They can be invisible; they can see things from afar; they can move through physical objects. This minimal counterintuitiveness is memorable, giving these concepts an advantage in cultural transmission. These departures from common sense are systematic but not radical enough to rupture meaning completely. As Sperber has put it, these minimal counterintuitions are relevant mysteries: they are closely connected to background knowledge, but do not admit to a final interpretation.

Also renowned is the beautiful painting ceiling of the cave at Altamira, in Northern Spain. This was the first cave art to be discovered in 1879. The art at Altamira, which has been dated to around 19,000-11,000 years ago, comprises stunning representations of bison, horses, and other large animals, with extraordinary use of colors and shading to indicate depth. The quaint story of its discovery details that the paintings, which are on a low ceiling, were initially missed by the team of archaeologists, but were spotted by one of the team's 8-year-old daughter; she was the only individual small enough to stand erect and still look up at the ceiling.

Other big questions tackled by ancient cultures are at least as radical. What is real? Is there more to reality than meets the eye? Yes! was Plato's answer over two millennia ago. In his famous cave analogy, he likened us to people who'd lived their entire lives shacked ina a cave, facing a blank wall, watching the shadows cast by things passing behind them, and eventually coming to mistakenly believe that these shadows were the full reality. Plato argued that what we humans call our everyday reality is similarly just a limited and distorted representation of the true reality, and that we must free ourselves from our mental shackles to comprehending it.

After the sacrifice of value, after the sacrifice of representation, after the sacrifice of reality, the West is now characterized by the deliberate sacrifice of everything through which a human being keeps some value in his or her own eyes. The terrorists' potlatch against the West is their own death. Our potlatch is indignity, immodesty, obscenity, degradation and abjection. This is the movement of our culture - where the stakes keep rising. Our truth is always on the side of unveiling, desublimation, reductive analysis - the truth of the repressed -- exhibition, avowal, nudity - nothing is true unless it is desecrated, objectified, stripped of its aura, or dragged onstage.

Oil production affects gender relations by reducing the presence of women in the labor force. The failure of women to join the nonagricultural labor force has profound social consequences: it leads to higher fertility rates, less education for girls, and less female influence within the family. It also has far-reaching political consequences: when fewer women work outside the home, they are less likely to exchange information and overcome collective action problems; less likely to mobilize politically, and to lobby for expanded rights; and less likely to gain representation in government. This leaves oil-producing states with atypically strong patriarchal cultures and political institutions

Now everyone knows that to try to say something in the mainstream Western media that is critical of U.S. policy or Israel is extremely difficult; conversely, to say things that are hostile to the Arabs as a people and culture, or Islam as a religion, is laughably easy. For in effect there is a cultural war between spokespersons for the West and those of the Muslim and Arab world. In so inflamed a situation, the hardest thing to do as an intellectual is to be critical, to refuse to adopt a rhetorical style that is the verbal equivalent of carpet-bombing, and to focus instead on those issues like U.S. support for unpopular client re­gimes, which for a person writing in the U.S. are somewhat more likely to be affected by critical discussion. Of course, on the other hand, there is a virtual cer­tainty of getting an audience if as an Arab intellectual you passionately, even slavishly support U.S. policy, you attack its critics, and if they happen to be Arabs, you invent evi­dence to show their villainy; if they are American you confect stories and situations that prove their duplicity; you spin out stories concerning Arabs and Muslims that have the effect of defaming their tradition, defacing their history, accentuating their weaknesses, of which of course there are plenty. Above all, you attack the officially ap­ proved enemies-Saddam Hussein, Baathism, Arab na­tionalism, the Palestinian movement, Arab views of Israel. And of course this earns you the expected accolades: you are characterized as courageous, you are outspoken and passionate, and on and on. The new god of course is the West. Arabs, you say, should try to be more like the West, should regard the West as a source and a reference point. · Gone is the history of what the West actually did. Gone are the Gulf War's destructive results. We Arabs and Mus­lims are the sick ones, our problems are our own, totally self-inflicted. A number of things stand out about these kinds of performance. In the first place, there is no universalism here at all. Because you serve a god uncritically, all the devils are always on the other side: this was as true when you were a Trotskyist as it i's now when you are a recanting former Trotskyist. You do not think of politics in terms of interrelationships or of common histories such as, for instance, the long and complicated dynamic that has bound the Arabs and Muslims to the West and vice versa. Real intellectual analysis forbids calling one side innocent, the other evil. Indeed the notion of a side is, where cultures are at issue, highly problematic, since most cultures aren't watertight little packages, all homogenous, and all either good or evil. But if your eye is on your patron, you cannot think as an intellectual, but only as a disciple or acolyte. In the back of your mind there is the thought that you must please and not displease.

My Pronoun is People (Inclusivity Sonnet, 1266) My pronoun is people, I'm divergent, yet invincible. I am straight, I am queer; I am civilian, I am seer. Spirit of life, I - am universal! Call me disabled or differently able, Call me collective or individual. Fleshly forms I've got plenty, All run by same love and liberty - Culture supreme is inclusion. Each heart is a shelter for another, Each life is sanctuary for another. Blasting all traditions of divide into cinders with knowledge-dynamite, we shall emerge as each other's keeper. You ask, what am I - I say, I am human, Better yet, I'm human's idea of a human. I am but the human absolute - morally unbending 'n divinely cute - ever evolving testament to expansion.

Questioning this most dearly held core of the Dutch sense of self not only is felt as a direct attack, it also means that the nonbeliever, the antiracist killjoy, is putting himself or herself above “us,” which in itself again runs deeply counter to another strand in the Dutch sense of self: “gelijke monnikken, gelijke kappen” (literally, equal monks, equal cowls), which invokes the deep egalitarian strand in Dutch self-representation. Critical self-reflection, moreover and ironically, is a scarce commodity in a culture that delights in imagining itself as “nothing,” “just normal” (Ramdas 1998), without specific characteristics, much less infused with deep racializations. The point of not knowing, racial ignorance, and innocence has long passed.

By 1850, the pauper funeral had become perhaps the dominant representation of that vulnerability, of the possibility of falling irrevocably from the grace of society, of exclusion from the values of one's culture. It was an image that worked on the poor; they would, as one observer put it, "sell their beds out from under them sooner than have parish funerals." Anxiety about pauper burial did not, of course, stand alone in drawing - pushing might be the better verb - the poor into industrial civilization, but ignominious burial was one of the most powerful ways in which the relationship between money and standing was made manifest, a metaphor for the meaning of consumption, a vehicle for the creation of desire that made the new economic order possible.

It is almost inconceivable that so many filmmakers could think of nothing -- be inspired by nothing -- nothing, nothing, nothing -- but the politics of representation, 'performitivity', gender, race, queer theory etc. There must be other subjects, in the world outside or in their inner lives, which belong on the silver (or digital) screen. This degree of conformity is unsettling. It should alarm cultural elites rather than comfort them. Yet the art world's ideological atmosphere is so thick and pervasive that those inside of it don't even realise it as the air they breathe." "Forgive me, I forgot to mention the other permissible topic: 'consumptive capitalism', that oppressive economic system which creates vast sums of taxable wealth, which in turn allows the UK government to fund even this nonsense.

Dr Silay said the poor girl should have a Sunni Muslim funeral, but he thinks the family were probably secretly Yazidi, because she said you were her Peacock Angel,” Joannes said. “She said crazy things like that,” I said. “What’s the difference between Muslim and Yazidi?” “Well, Muslims here refer to Yazidi as devil worshippers, but that’s too simple, a lot of cultural baggage, as always,” Joannes said. “And I’m no expert, but I think their God is much like anyone else’s. They don’t believe in an evil entity like Satan, they believe all evil is man made, but we have the choice to be good or evil. The Peacock Angel embodies all that is good, a representation of God, so she must have really respected you. And I think they have some form of reincarnation too, not sure about that. I’m sorry for my hostility towards you last night, you didn’t deserve it,” Joannes said.

On the other hand, identification as a relationship of audience to performance disguised the arbitrarily constructed nature of the performance and encouraged the audience to experience the representation as though it were the real, and, in particular, to see characters as individually real people. This blurring of the distinction between the representation and the real disguised the fact that people and incidents were on stage to perform ideologically determined actions and made them appear as innocent, objective relections of reality. It made them appear prodcuts of nature, not of culture. Identification encouraged the audience to share the experiences and emotions of the characters and thus produced a feeling audience, not a thinking one, an accepting not an interrogative one, and one that understood incidents and actions through individual experience rather than through a sociopolitical framework.

The Bill of Rights is largely a prescription for preventing government from restricting the flow of information and ideas. But the Founding Fathers did not foresee that tyranny by government might be superseded by another sort of problem altogether, namely, the corporate state, which through television now controls the flow of public discourse in America. I raise no strong objection to this fact (at least not here) and have no intention of launching into a standard-brand complaint against the corporate state. I merely note the fact with apprehension, as did George Gerbner, Dean of the Annenberg School of Communication, when he wrote: Television is the new state religion run by a private Ministry of Culture (the three networks), offering a universal curriculum for all people, financed by a form of hidden taxation without representation. You pay when you wash, not when you watch, and whether or not you care to watch.

In short, in contrast to the magician - who is still hidden in the medical practitioner – the surgeon at the decisive moment abstains from facing the patient man to man; rather, it is through the operation that he penetrates into him. Magician and surgeon compare to painter and cameraman. The painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one, that of the cameraman consists of multiple fragments which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art.

We, everyday citizens who are increasingly befuddled about what has happened to society and how it happened so quickly, regularly hear demands to “decolonize” everything from academic curricula to hairstyles to mathematics. We hear laments about cultural appropriation at the same time we hear complaints about the lack of representation of certain identity groups in the arts. We hear that only white people can be racist and that they always are so, by default. Politicians, actors, and artists pride themselves on being intersectional. Companies flaunt their respect for “diversity,” while making it clear that they are only interested in a superficial diversity of identity (not of opinions). Organizations and activist groups of all kinds announce that they are inclusive, but only of people who agree with them. American engineers have been fired from corporations like Google for saying that gender differences exist,43 and British comedians have been sacked by the BBC for repeating jokes that could be construed as racist by Americans.

Who do I write for? I thought about this again and again over the next few days until the answer crystalized in my consciousness. I write for all readers. But my primary interest is in representing the complex but universal experience of Somalis. I do this because the media representation of the global Somali community is one that is carved out of derivative clichés crammed with pirates, warlords, terrorists, passive women and girls whose entire existence seems to be nothing more than a footnote on the primitive dangers of female genital mutilation. I write because I want to give a long-overdue voice to a community that has experienced a tremendous array of challenges but who constantly face these challenges with the most wicked sense of humour, humility and dignity. My father always used to tell me that in our culture, the done thing when you’re facing hardship and your belly is empty is to moisturize your face, comb your hair, press your clothes and step out into the sun with your sense of humanity intact. It’s a lesson I’ve carried with me to this day.

Put in terms of autonomy, Islam bore similarities to medieval Christianity, seeing life on this earth as important primarily as a preparation for eternal life, and harboring deep suspicions about the piety of inquiring too closely into the nature of God’s creation. But Islam, more than Christianity at any point in its history, also saw God as sustaining the universe on a continuing basis, and as a deity who is not bound by immutable laws. To proclaim scientific truths that applied throughout the universe and throughout time could easily become blasphemy, implying limits to what God could and could not do.20 Islamic piety consisted in obedience to God’s rules and submission to his will, not presuming to analyze his works or glorify him with flights of one’s personal fancies and curiosities. Indeed, expressing one’s fancies through representational art or most fictional literature ran directly against Islamic teaching. Islam was (and is) not a religion that encourages autonomy. Seen in the framework I have been using, it is no surprise that the burst of accomplishment in the golden age was aberrational, not characteristic, of Islamic culture.

The Hollywood storylines almost always go something like: the Russians are dangerous spies planning to invade us, the Chinese are trying to pull the carpet from under our feet, the people of the Middle East are terrorists, and on and on goes the list of malicious and intentional misrepresentations. At the end of the storyline, the American heroes always win and save America and the world from ‘evil’. What is quite ironic – and often goes unnoticed by many – in these Hollywood storylines is that, while the American culture is engineered to dismiss valid and genuine critique of American life and foreign policies as being ‘conspiracy theories’, America’s relationships with the outside world is strongly based on threats, punishment, sanctioning, wars, and revenge, all done under pretexts like ‘they hate us’, ‘they hate our freedoms and values’, and other such nonsense. It never occurs to many Americans that representing the outside world as constantly ‘hating’ us or wanting to destroy our nation and values (unless, of course, they do as we say), is in fact nothing short of conspiracy theory. Overall, Hollywood’s storylines ensure keeping the myth of exceptionalism alive.

Melancholy pervades me every time I enter a souvenir shop. I have been to many of them around the world. I try not to buy anything for multiple reasons. One of them is because I find the way souvenir shops represent a country or a culture problematic, to say the least. The items you find there are almost always either much better or much worse than the way locals do things. Each item is glorified or trivialized – depending on the taste of the manufacturer and the demand of the buyers. They are always designed to give you a presumed idyllic and warm feeling about the country from which you buy them. In reality, many locals strive to get close to owning some of the items displayed in souvenir shops. Moreover, even if locals use items like those displayed, their daily lives are never as romantic and as smooth as the feeling you get in these shops. In a sense, then, souvenir shops are places where people and their cultures are objectified and romanticized par excellence. Their human joys are amplified. Their grand sorrows are downplayed or buried altogether. Their real histories are either erased or diluted at best. Nevertheless, I confess to you, I always end up buying honey. Perhaps because bees represent life to me. Perhaps because I find that healthy bees and wildlife speak volumes about the overall health of a place and its people?

The shift from precious metals to paper in retrospect clarifies that artifacts serving as money tokens are no more than representations of abstract exchange value—they are thus ultimately coveted for their potential use in social transaction, nor for some imagined, essential value intrinsic to the money tokens themselves. If it were not for international agreements such as those of Bretton Woods, gold could conceivably be as useless a medium of exchange in some cultural contexts as seashells are to modern Europeans. This understanding of money, however, simultaneously implies that there is no such thing as intrinsic value. If value ubiquitously pertains to social relations, any notion of intrinsic value is an illusion. Although the European plundering and hoarding of gold and silver, like the Melanesian preoccupation with kula and the Andean reverence for Spondylus, has certainly been founded on such essentialist conceptions of value, the recent representation of exchange value in the form of electronic digits on computer screens is a logical trajectory of the kind of transformation propagated by [Marco] Polo. It is difficult to imagine how money appearing as electronic information could be perceived as possessing intrinsic value. This suggests that electronic money, although currently maligned as the root of the financial crisis, could potentially help us rid ourselves of money fetishism. Paradoxically, the progressive detachment of money from matter, obvious in the transitions from metals through paper to electronics, is simultaneously a source of critique and a source of hope.

Equity financing, on the other hand, is unappealing to cooperators because it may mean relinquishing control to outside investors, which is a distinctly capitalist practice. Investors are not likely to buy non-voting shares; they will probably require representation on the board of directors because otherwise their money could potentially be expropriated. “For example, if the directors of the firm were workers, they might embezzle equity funds, refrain from paying dividends in order to raise wages, or dissipate resources on projects of dubious value.”105 In any case, the very idea of even partial outside ownership is contrary to the cooperative ethos. A general reason for traditional institutions’ reluctance to lend to cooperatives, and indeed for the rarity of cooperatives whether related to the difficulty of securing capital or not, is simply that a society’s history, culture, and ideologies might be hostile to the “co-op” idea. Needless to say, this is the case in most industrialized countries, especially the United States. The very notion of a workers’ cooperative might be viscerally unappealing and mysterious to bank officials, as it is to people of many walks of life. Stereotypes about inefficiency, unprofitability, inexperience, incompetence, and anti-capitalism might dispose officials to reject out of hand appeals for financial assistance from co-ops. Similarly, such cultural preconceptions may be an element in the widespread reluctance on the part of working people to try to start a cooperative. They simply have a “visceral aversion” to, and unfamiliarity with, the idea—which is also surely a function of the rarity of co-ops itself. Their rarity reinforces itself, in that it fosters a general ignorance of co-ops and the perception that they’re risky endeavors. Additionally, insofar as an anti-democratic passivity, a civic fragmentedness, a half-conscious sense of collective disempowerment, and a diffuse interpersonal alienation saturate society, this militates against initiating cooperative projects. It is simply taken for granted among many people that such things cannot be done. And they are assumed to require sophisticated entrepreneurial instincts. In most places, the cooperative idea is not even in the public consciousness; it has barely been heard of. Business propaganda has done its job well.106 But propaganda can be fought with propaganda. In fact, this is one of the most important things that activists can do, this elevation of cooperativism into the public consciousness. The more that people hear about it, know about it, learn of its successes and potentials, the more they’ll be open to it rather than instinctively thinking it’s “foreign,” “socialist,” “idealistic,” or “hippyish.” If successful cooperatives advertise their business form, that in itself performs a useful service for the movement. It cannot be overemphasized that the most important thing is to create a climate in which it is considered normal to try to form a co-op, in which that is seen as a perfectly legitimate and predictable option for a group of intelligent and capable unemployed workers. Lenders themselves will become less skeptical of the business form as it seeps into the culture’s consciousness.

One early terracotta statuette from Catal Huyuk in Anatolia depicts an enthroned female in the act of giving birth, supported by two cat-like animals that form her seat (Plate 1). This figure has been identified as a 'birth goddess' and it is this type of early image that has led a number of feminist scholars to posit a 'reign of the goddess' in ancient Near Eastern prehistory. Maria Gimbutas, for whom such images are proof of a perfect matriarchal society in 'Old Europe' , presents an ideal vision in which a socially egalitarian matriarchal culture was overthrown by a destructive patriarchy (Gimbutas 1991). Gerda Lerner has argued for a similar situation in the ancient Near East; however, she does not discuss nude figurines at any length (Lerner 1986a: 147). More recently, critiques of the matriarchal model of prehistory have pointed out the flaws in this methodology (e.g. Conkey and Tringham 1995; Meskell 1995; Goodison and Morris 1998). In all these critiques the identification of such figures as goddesses is rejected as a modern myth. There is no archaeological evidence that these ancient communities were in fact matriarchal, nor is there any evidence that female deities were worshipped exclusively. Male gods may have worshipped simultaneously with the 'mother goddesses' if such images are indeed representations of deities. Nor do such female figures glorify or show admiration for the female body; rather they essentialise it, reducing it to nothing more nor less than a reproductive vessel. The reduction of the head and the diminution of the extremities seem to stress the female form as potentially reproductive, but to what extent this condition was seen as sexual, erotic or matriarchal is unclear. ....Despite the correct rejection of the 'Mother Goddess' and utopian matriarchy myths by recent scholarship, we should not loose track of the overwhelming evidence that the image of female nudity was indeed one of power in ancient Mesopotamia. The goddess Ishtar/Inanna was but one of several goddesses whose erotic allure was represented as a powerful attribute in the literature of the ancient Near East. In contact to the naked male body which was the focus of a variety of meanings in the visual arts, female nudity was always associated with sexuality, and in particular with powerful sexual attraction, Akkadian *kuzbu*. This sexuality was not limited to Ishtar and her cult. As a literary topos, sensuousness is a defining quality for both mortal women and goddesses. In representational art, the nude woman is portrayed in a provocative pose, as the essence of the feminine. For femininity, sexual allure, *kuzbu*, the ideal of the feminine, was thus expressed as nudity in both visual and verbal imagery. While several iconographic types of unclothed females appear in Mesopotamian representations of the historical period - nursing mothers, women in acts of sexual intercourse, entertainers such as dancers and musicians, and isolated frontally represented nudes with or without other attributes - and while these nude female images may have different iconographic functions, the ideal of femininity and female sexuality portrayed in them is similar. -Zainab Bahrani, Women of Babylon: Gender and Representation in Mesopotamia

Kung Fu's process of individualization similarly takes part in this backlash as the representation of the social ills experienced by racial minorities is routinely disciplined and rechanneled to make the show palatable for mass consumption. Under this rubric, it is assumed that changing the hearts of individuals will automatically lead to changing society. To a post-1960s liberal audience who obviously felt sympathy toward the plight of racial minorities but who nevertheless were wary of certain measures taken by these groups toward self-determination and weary from extended conflict, this simple adage proved seductive. Indeed, for a great many Americans, post-Civil Rights race relations has transformed the United States into an unruly site with different groups vying for cultural, economic, and political resources. In this way, Kung Fu's Wild West setting—the uneven hand of justice, the social free-for-all, the generally inhospitable natural landscape—seemed to reflect the audience's view of their contemporary social environment. It also mirrored the overall impotence that Americans felt toward ameliorating the situation. Given such a scenario, individualizing racial oppression and other social inequities may have seemed like a final alternative. While this process of individualization is key in deciphering the show's political stance, the types of identifications the series forged between character and audience more substantively reveal its ideological commitments. Although Kung Fu's psychospiritualized vision was available to all of its audience members, one could argue that it was primarily framed as a commentary toward racial minorities and women who sought social change through means other than or in addition to inner transformation. It achieved this through a formulaic pattern of identifications.

The world can be validly construed as a forum for action, as well as a place of things. We describe the world as a place of things, using the formal methods of science. The techniques of narrative, however – myth, literature, and drama – portray the world as a forum for action. The two forms of representation have been unnecessarily set at odds, because we have not yet formed a clear picture of their respective domains. The domain of the former is the 'objective world' – what is, from the perspective of intersubjective perception. The domain of the latter is 'the world of value' – what is and what should be, from the perspective of emotion and action. The world as forum for action is 'composed,' essentially, of three constituent elements, which tend to manifest themselves in typical patterns of metaphoric representation. First is unexplored territory – the Great Mother, nature, creative and destructive, source and final resting place of all determinate things. Second is explored territory – the Great Father, culture, protective and tyrannical, cumulative ancestral wisdom. Third is the process that mediates between unexplored and explored territory – the Divine Son, the archetypal individual, creative exploratory 'Word' and vengeful adversary. We are adapted to this 'world of divine characters,' much as the 'objective world.' The fact of this adaptation implies that the environment is in 'reality' a forum for action, as well as a place of things. Unprotected exposure to unexplored territory produces fear. The individual is protected from such fear as a consequence of 'ritual imitation of the Great Father' – as a consequence of the adoption of group identity, which restricts the meaning of things, and confers predictability on social interactions. When identification with the group is made absolute, however – when everything has to be controlled, when the unknown is no longer allowed to exist – the creative exploratory process that updates the group can no longer manifest itself. This 'restriction of adaptive capacity' dramatically increases the probability of social aggression and chaos. Rejection of the unknown is tantamount to 'identification with the devil,' the mythological counterpart and eternal adversary of the world-creating exploratory hero. Such rejection and identification is a consequence of Luciferian pride, which states: all that I know is all that is necessary to know. This pride is totalitarian assumption of omniscience – is adoption of 'God’s place' by 'reason' – is something that inevitably generates a state of personal and social being indistinguishable from hell. This hell develops because creative exploration – impossible, without (humble) acknowledgment of the unknown – constitutes the process that constructs and maintains the protective adaptive structure that gives life much of its acceptable meaning. 'Identification with the devil' amplifies the dangers inherent in group identification, which tends of its own accord towards pathological stultification. Loyalty to personal interest – subjective meaning – can serve as an antidote to the overwhelming temptation constantly posed by the possibility of denying anomaly. Personal interest – subjective meaning – reveals itself at the juncture of explored and unexplored territory, and is indicative of participation in the process that ensures continued healthy individual and societal adaptation. Loyalty to personal interest is equivalent to identification with the archetypal hero – the 'savior' – who upholds his association with the creative 'Word' in the face of death, and in spite of group pressure to conform. Identification with the hero serves to decrease the unbearable motivational valence of the unknown; furthermore, provides the individual with a standpoint that simultaneously transcends and maintains the group.

If we consider this official or elite multiculturalism as an ideological state apparatus we can see it as a device for constructing and ascribing political subjectivities and agencies for those who are seen as legitimate and full citizens and others who are peripheral to this in many senses. There is in this process an element of racialized ethnicization, which whitens North Americans of European origins and blackens or darkens their 'others' by the same stroke. This is integral to Canadian class and cultural formation and distribution of political entitlement. The old and established colonial/racist discourses of tradition and modernity, civilization and savagery, are the conceptual devices of the construction and ascription of these racialized ethnicities. It is through these 'conceptual practices of power' (Smith, 1990) that South Asians living in Canada, for example, can be reified as hindu or muslim, in short as religious identities.....We need to repeat that there is nothing natural or primordial about cultural identities - religious or otherwise - and their projection as political agencies. In this multiculturalism serves as a collection of cultural categories for ruling or administering, claiming their representational status as direct emanations of social ontologies. This allows multiculturalism to serve as an ideology, both in the sense of a body of content, claiming that 'we' or 'they' are this or that kind of cultural identities, as well as an epistemological device for occluding the organization of the social....an interpellating device which segments the nation's cultural and political space as well as its labour market into ethnic communities....Defined thus, third world or non-white peoples living in Canada become organized into competitive entities with respect to each other. They are perceived to have no commonality, except that they are seen as, or self-appellate as, being essentially religious, traditional or pre-modern, and thus civilizationally backward. This type of conceptualization of political and social subjectivity or agency allows for no cross-border affiliation or formation, as for example does the concept of class.

1. Divine Writing: The Bible, down to the details of its words, consists of and is identical with God’s very own words written inerrantly in human language. 2. Total Representation: The Bible represents the totality of God’s communication to and will for humanity, both in containing all that God has to say to humans and in being the exclusive mode of God’s true communication.[11] 3. Complete Coverage: The divine will about all of the issues relevant to Christian belief and life are contained in the Bible.[12] 4. Democratic Perspicuity: Any reasonably intelligent person can read the Bible in his or her own language and correctly understand the plain meaning of the text.[13] 5. Commonsense Hermeneutics: The best way to understand biblical texts is by reading them in their explicit, plain, most obvious, literal sense, as the author intended them at face value, which may or may not involve taking into account their literary, cultural, and historical contexts. 6. Solo Scriptura:[14] The significance of any given biblical text can be understood without reliance on creeds, confessions, historical church traditions, or other forms of larger theological hermeneutical frameworks, such that theological formulations can be built up directly out of the Bible from scratch. 7. Internal Harmony: All related passages of the Bible on any given subject fit together almost like puzzle pieces into single, unified, internally consistent bodies of instruction about right and wrong beliefs and behaviors. 8. Universal Applicability: What the biblical authors taught God’s people at any point in history remains universally valid for all Christians at every other time, unless explicitly revoked by subsequent scriptural teaching. 9. Inductive Method: All matters of Christian belief and practice can be learned by sitting down with the Bible and piecing together through careful study the clear “biblical” truths that it teaches. The prior nine assumptions and beliefs generate a tenth viewpoint that—although often not stated in explications of biblicist principles and beliefs by its advocates—also commonly characterizes the general biblicist outlook, particularly as it is received and practiced in popular circles: 10. Handbook Model: The Bible teaches doctrine and morals with every affirmation that it makes, so that together those affirmations comprise something like a handbook or textbook for Christian belief and living, a compendium of divine and therefore inerrant teachings on a full array of subjects—including science, economics, health, politics, and romance.[15]

ON JULY 1, 2006, Cory Booker officially took office as the new mayor of Newark. He’d gained fame in the late ’90s as a city councilman who would sleep in a tent at city housing projects, hold hunger strikes and live on food stamps, patrol bad neighborhoods himself and physically confront the dealers holding down their corners. His victory was the first regime change in two decades, and it happened only after six years of near-bloody battling between the young, charismatic, light-skinned, Stanford-Yale-Oxford-educated upstart and the old, grizzled, but equally charismatic incumbent. The tension between Cory Booker and Sharpe James had been national news for most of the ’00s. The 2002 election, which Booker lost, was documented in the Oscar-nominated Streetfight, which between talking head interviews showed intense footage of the predominantly poor, black constituents who ardently supported James’s altercating with the working-class whites and Puerto Ricans who fought for Booker and his eloquent calls for public service and revitalization. The documentary was a near-perfect picture of a specific place and time: the declining city at risk of being left behind, the shoulder-height view of the vast number of problems in play, and the presentation of two equal and opposing paths forward whose backers were split almost definitively along socioeconomic lines. The 2002 election had been beyond combative; a riot nearly broke out when Booker showed up at a street basketball tournament that Sharpe James was already attending, and James called Booker “a Republican who took money from the KKK and the Taliban . . . who’s collaborating with the Jews to take over Newark.” When James—who was constantly being investigated for various alleged corruptions—won the election by a margin of 53 percent to 47 percent, his victory seemed to cement Newark’s representation of “permanent poverty,” a culture of violence and corruption (at least if you subscribed to the New York Times).

The problem is also not, as suggested by the technosphere concept, that human beings are incapable of controlling systems that have a larger range of behaviors than they do themselves. The problem rather lies in the question of what 'control' means in the first place. The stewardship of technological systems and infrastructures always depends on their specific nature (in particular, the way they are embedded in natural and cultural environment) as well as on their representation in knowledge and belief systems. Human cognition is always embodied cognition. There are historical examples showing that humans have been able to manage and sustain extremely complex ecologies and infrastructures of their own making over the long term. The systems' potential behaviors always far exceeded those of their human components, but these were typically ecologies and infrastructures in which the relevant regulative structures of human behavior had themselves been coevolving over long periods, including in their representation by knowledge and belief systems. As recent work on Japanese ecologies during the Tokugawa period (between 1603 and 1868) shows, age-old traditions had accumulated knowledge on how to sustainably manage a complex landscape providing humans with food, shelter, clothing, and energy. The knowledge was implemented through a complex system of governance and material practices ranging from sanitation to publishing.

The sources of covert racial bias are found all around us and are parts of US history. They are not particular to the criminal justice system, but given the powerful effects of race on criminal justice matters, and the over-representation of minorities in the criminal justice system, there should be no surprise that many associate crime with minorities, particularly young males. Crucially, according to the accumulated social psychological literature, no one growing up in mainstream US culture would be immune to these pressures (see for example Gillian and Iyengar 2000). Furthermore, within the police profession, there is ample reason to expect that such biases may be especially strong. In particular, as relates to the decision to shoot or not to shoot a hypothetical suspect in an ambiguous experimental setting, the black suspects are typically shot in a higher percentage of the cases than an identically situated white suspect (see for example Correll et al. 2002; Correll et al. 2007; Correll 2009).

One of the most potent ways white supremacy is disseminated is through media representations, which have a profound impact on how we see the world. Those who write and direct films are our cultural narrators; the stories they tell shape our worldviews. Given that the majority of white people live in racial isolation from people of color (and black people in particular) and have very few authentic cross-racial relationships, white people are deeply influenced by the racial messages in films.

Talk to your partners. Talk to your community leaders and event coordinators. Tell your story on social media and invite others to make it a dialogue. Use every bit of access you have to speak your truth, hear the truth of others, and grow as a person, as a community, and as a culture.

According to the 2015 United States Census Bureau, the yearly median household income is almost $20,000 lower for black Americans vs. the average. It’s nearly $25,000 lower vs. white Americans. Combine that income disparity with the cumulative effects of discriminatory housing practices, and it creates a survival-driven, needs-based culture.