Visualization of “people” in Soviet Estonian public photographs of the Stalinist era

The main purpose of this article is to elaborate some conceptual tools for clearer analysis of social reality, power relations and their visual representations. One of these instruments through which power relations are established in society is photography. The paper focuses on different strategies by which, in photography, the “people” are constructed as a homogeneous whole of specific historical self-reflection of culture. The first part of the paper discusses the relationship between the theory of hegemony as elaborated by Ernesto Laclau and the semiotics of culture of Yuri Lotman. The ground for believing this incorporation of the two thinkers to be successful is the very apparent theoretical congeniality between them. They both belong to the Saussurean ontological terrain. The second part of the paper tries to develop a bridge between the given theoretical framework, especially Laclau's concept of empty signifier and Barthes's concepts of studium/punctum, and “iconic photograph” from visual rhetoric. I will distinguish four hegemonical strategies of signification: visual naming, dominant text, code text, and dominant language. The analysed material is taken from Stalin-era soviet Estonia's newspaper and magazine photographs.     

The birth of corruption and the politics of anti-corruption in Albania, 1991–2005

This paper analyzes the transformation of the signifier “corruption” in the Albanian public sphere during the period 1991–2005 from a discourse analysis approach. The aim is not to trace corruption in its presence and consequences, but to show how different articulations of corruption supported different agendas. More specifically, this paper aims to show how the corruption discourse that dominated Albanian public discussion during the period 1998–2005 served to legitimize a neoliberal order by articulating corruption as inherent to the public sector and to state intervention in the economy. This meant that corruption could be eliminated through neoliberal policies such as privatization and deregulation. Through a discourse analysis of corruption it is possible to politicize the concept of corruption instead of reducing it to a static and inherent feature of Albanian culture and society.     

A cultural political economy of crisis recovery: (trans-)national imaginaries of ‘BRIC’ and subaltern groups in China

Abstract

This paper explores crisis recovery from a cultural political economy (CPE) perspective. It examines the role of (trans-)national forces in constructing BRIC (Brazil, Russia, India, China) as drivers for recovery. First, it comments on some ‘cultural economy’ studies and indicates the value of a CPE approach. Second, it examines the ‘BRIC’ as a symbolic condensation of ‘hope’ knowledge and shows how this signifier evolved in three overlapping moments referring to its role as investor, consumer and lender. Third, it considers the material basis of the appeal of BRIC discourses, especially the credibility acquired through BRIC stimulus packages in the global financial crisis. Fourth, it indicates how China's ‘gold standard’ stimulus package has intensified some deep-rooted political tensions and harmed subaltern groups. Finally, it reflects on how CPE can contribute to studies of crisis and recovery.     

“They might read a fly speck”: musical literacy as a discursive resource in Louis Armstrong's autobiographies

Jazz has been described as a music in which the “oral” element plays a crucial role, in opposition to Western “classical” music, seen as a chiefly “written” tradition. Although such an image is frequently advocated by critics and musicians themselves, it is also true that it can generate ambivalence and negative outputs, such as the persistent myth of “primitivism” and “naivety,” often associated with jazz music. Building on Social Semiotics and Critical Discourse Analysis, this study aims at analyzing how the representations of “orality” and “literacy,” that emerge in some autobiographical narratives by Louis Armstrong, are generated, and how they can work as semiotic and discursive resources. It argues that the different depictions of musicians, and the attitude displayed toward musical literacy, are sensitive to the historical, societal, and political context in which texts have been produced and published, as well as to the narrator's willingness and ability to resist or subvert dominant discourses. Moreover, the characterization of a musician (or a category of musicians) as able or unable to access musical literacy can also serve local purposes, such as expressing the narrator's stance toward narrative characters.