Contemporary Cultural Issues - Literature review Example

Contemporary Cultural Issues Section A, Question (i) – Culture of Body, Mind and Self; what is Rape Culture Culture has many different definitions. According to Vena (2006, pg. 157), it forms a story. Arguably, it is a social glue. Culture is a collective programming of the human mind and a deeper level of rudimentary beliefs and assumptions created by a group of human beings and conveyed from one generation to another (Sandy, 2009, P. 34). Culture is essential for humans, but some cultural patterns are destructive (Grana and Grana, 2010, P. 41). In liaison with Sandy (2009) and Grana (2010), Grey (Pg. 192) outlines that culture is a very essential aspect of the human society. One such cultural pattern that has been rolling in the human society is the ‘Rape Culture.’ Miller and Branson (1987, p. 57) outlines that, rape culture is a phrase that was created by United States feminists in late 1970s. Rape culture refers to the culture that normalizes sexual violence in which societies are not taught not to rape on one hand, but, on the other hand, are shown not to be raped. The culture brings to focus an environment where the term ‘rape’ is prevalent (Grana and Grana, 2010, p. 43). Rape culture involves the ways in which a society rationalizes, trivializes or even excuses acts of sexual violence and rape including sexual harassment and exploitation among others. The rape culture environment unmasks a society where sexual violence against females is normalized and excused as a popular culture in both the society and the media. Vena (pg. 87-90) notes that rape culture dehumanizes women and its stories causes trauma to the victims. According to Buchwald, Fletcher & Roth (2005, p. 78), modern rape culture is soaked in institutionalized misogyny. At its core, it has cultural characteristics of a society that is politicizing, defining, and ultimately controlling females bodies. The rape culture, like all other facets of culture, informs people’s conducts on several levels - often in ways a person is not even aware of. The rape culture is extended by objectification of women’s bodies, using misogynistic language, and the glamorization of sexual ferocity, thereby producing a society that disrespects women’s safety and rights. In this culture, people are surrounded with language, images, laws and other everyday occurrences that endorses and perpetuate rape (James, 2014, p. 121). Rape culture influences how the society discusses sex and rape. In the media, the Rape culture comprises of jokes, music, TV, advertising, laws, legal jargon and normal words and imagery. Such phenomenon makes violence against females and sexual coercion to appear very normal making people consider rape as inevitable (Grey pg. 198). In such situations of such prevalent phenomena, rather than regarding the rape culture as a problem to change, such a society thinks that the persistence of rape is a normal life occurrence (Buchwald et al., 2005, p. 92). The society begins to ‘naturalize’ sexism and violence against females. As the beliefs and assumptions of rape culture persist in the society, people begin to believe that these actions and attitudes towards and against women were there before and will still exist; then rape culture transfers to another generation. The popular culture romanticizes and eroticizes rape culture, without displaying its adverse side effects hence enhancing its persistence (Vena, 2006, p. 142). Rape culture flourishes due to the urban legend that females do not want sex, and men must encourage them to have sex (Buchwald et al., 2005, p. 96). The culture thrives in societies where teenagers are neither taught about sex nor about what they should want (Grey pg. 198). The culture is both informs and is informed by the societys sundry messages about sex on TV and media. Females should be wholesome, and some way above sex, yet everything they buy is sold to them through sex (Miller and Branson, 1987, p. 62). It is no wonder that rape culture is persistent. Miller and Branson (1987, p. 64) outlines that instruments of knowledge and communication are instruments of domination and control. They have useful functions and thrust power of knowledge through communication. Their coherence has practical logic (Vena Das pg. 118). This is the power that the media has in enhancing the persistence of rape culture. Media come in different forms including vision, hearing and comprehension among others. These forms transmit information through their interaction models and powerfully delude the human minds making them think that the culture of rape is inevitable. Media publications, jokes, movies, speeches, songs and advertisements ensure that the human mind always has an image of the rape culture but cannot do anything about the same. As Miller and Branson (1987, 68-73) argues, history has it that among all the foremost solutions to the power dilemma, there is none that is better concealed and better adopted by and to societies than law, information and communication. It is, therefore, true to this course that both the media and law have been fueling the society’s adaptations to rape culture (Cuklaz, 2000, p. 164). According to Sandy (2009, p. 135), rape culture exists in different forms in different global parts. Like all other facets of culture, it sways individuals on their subconscious level extensively before becoming part of their conscious choices (James, 2014, p. 99). Like all other sexuality discussions, it extensively implies to women and men sometimes feel offended, attacked and defensive when discussing the matter (Vena, 2006, p. 103). The modern society is increasingly fueling the rape culture in different parts of the world. The increasing telecommunication development of smartphones and social media has become a lucrative platform for rape culture (Buchwald et al., 2005, p. 134). Nicoletti, Spencer-Thomas & Bollinger (2009, p. 162) argues that, it is a common thing in United States for rape victims to see their pictures in the media, particularly in the internet. In colleges and universities, Facebook Twitter and Instagram and other social media have become outlets for images of rape victims and support for rapists, especially when so-called "popular" students are involved (Vena, 2006, p. 183-92). Rape culture is an acknowledgeable global crisis affecting children and parents alike, men and women alike and governments and civilians alike. It is a matter that should involve not only activism, but also global effort in all areas especially media and telecommunication (Cuklanz, 2000, p. 211). References Buchwald, E., Fletcher, P. P., & Roth, M. (2005). Transforming a rape culture. Minneapolis, Minn, Milkweed Editions. Cuklanz, L. M. (2000). Rape on prime time: television, masculinity, and sexual violence. Philadelphia, University of Pennsylvania Press. Grana, S. J., & Grana, S. J. (2010). Women and justice. Lanham, Md, Rowman & Littlefield Publishers. James, C. (2014). The Digital Disconnect: Youth, New Media, and the Ethics Gap. Boston, MIT press. Miller, D. and Branson, J. (1987). Pierre Bourdieu: Culture and Praxis. In D. J. Austine Broos (ed), Creating Culture: Profiles in the Study of Culture. Winchester, MA: Allen and unwin. sydney. Nicoletti, J., Spencer-Thomas, S., & Bollinger, C. M. (2009). Violence Goes to College the Authoritative Guide to Prevention and Intervention. Springfield, Charles C Thomas Publisher, LTD. Peggy, S. (2007). Fraternity Gang Rape: Sex, Brotherhood and Privileges on campus. New York, New York University Press. VīNnā Dāsa. (2006). Life and words: violence and the descent into the ordinary. Berkeley, CA, University of California Press. Section B, Question (II): Culture Jamming Grey (1933, Pg. 192) outlines culture as an important aspect of the society. Culture shows the evolution of a society from the age of the Apes, through to industrial development and into modernism and postmodernism. To date, the concept of postmodernism is neither widely accepted nor fully understood. To some extent, the unfamiliarity with the concept can be related to its less understandable works that are found in all art forms namely both pre and post-modernity poetry, skyline architecture, and the postmodern photorealism in music and film among others (Grey 1933, Pg. 193). Jamie & Tom (19997, Pg. 85) say that, the list of unfamiliarity with postmodernism depicts two points. First, all the postmodern art cited emerge as particular reactions against certain established forms of postmodernism against the postmodernism activities that conquered museums, universities, art galleries, organizations and foundations (Austin and Dane 1987, Pg. 89). They are reactions against the formerly embattled, subversive and abstract styles in the society. Second, postmodern culture has resulted into the challenging certain boundaries and erosion of the differentiation between higher culture and mass or popular culture. Postmodernisms has given rise to a whole landscape of advertising, internet and social media, T.V shows and films and Para literature arts among others (Grey 1933, Pg. 192-193). The effacement of the older art and culture genre has resulted to the postmodern contemporary society (Austin and Dane 1987, Pg. 90). While a generation ago, the existed a technical dissertation of professional philosophy that was distinguishable from other academic disciplines, the contemporary society gave birth to the theory. The contemporary theory is neither professional nor distinguishable with other academic disciplines. The modern theory is correlated with industrialization, modernization or the consumer society, the media society or the multinational capitalism that has brought a new social and economic order into the society (Grey 1933Pg. 193 and Jamie and Tom 1997, pg. 86-87). The postmodernism theories have redefined the human culture. Culture in the contemporary society is no longer accumulated past understanding, experience or habits. Today’s culture is defined with human institutionalism and symbolism. The society has a culture coined a culture based on interpretation of historical circumstances as per when and where they occur to individuals (Austin and Dane 1987, Pg.99-100). Today studying culture involves focusing on a particular sector of the human life. Culture also helps to recognize the creativity of humans and the propensity of individuals and groups to differ with each other. In an in-depth view, the post-modernity human culture has many aspects voluntarism and focuses on change, variety and mutability rather than the old abstract life of human beings (Jamie and Tom 1997, pg. 88-89). One of the most important practices or features of the contemporary postmodern society is pastiche. Pastiche is often confused with parody. They both mean a desire to change the meaning of a message through imitation of the message. Both the term involve imitation or mimicry of other styles, specifically twitches and mannerism. Parody of the modern theory offers many parodies with unique styles. It capitalizes on the uniqueness of sizes and styles of a certain phenomenon to produce mocking imitations (Austin and Dane 1987, Pg. 104). Parody is always malicious and has one objective of the mockingly changing original message to distort its content while making its proposers and viewers happy. The pride of parody vanishes very quickly. Pastiche, on the other hand, is mimicry without malice or ulterior motive (Jamie and Tom 1997, pg. 90). Pastiche imitates unique, original ideas without any satirical impulse to show that the idea being imitated is comic and worth smiling about. The modern society and practice is more of a pastiche because it presents a blank irony. It is from these practices of parody and pastiche that culture jamming was born (Grey 1933, Pg. 294). As aforementioned, the modern contemporary society has developed into a voluntary consumer society. The society has coined itself into fighting individualism. Even though postmodernity was developed into a more private, unique style with unique personalities and individuality the society has forged its own unmistakable, unique style. The society has developed a style of mass action or grouping of individuals in the fight of their common good (Grey 1933, Pg. 195). Culture jamming is one such mass grouping. According to David (2010, pg. 105), rising numbers of observers propose that the primary public role of individuals has transformed to consumer from citizen in this capitalists society (Austin and Dane 1987, Pg. 96). To avert this, people developed the concept of culture jamming. Culture jamming is a feature of the modern society that is understood as a form social activism intended to kill the rampant consumerism (Kincheloe & Hayes 2006, pg. 84). It is a planned and organized, social activist effort with the aim of countering the offensive of consumption-oriented messages in the mass media (Lievrouw 2011, pg. 139). Culture jamming is a pastiche style that involves mocking advertisements and hijacking billboards to significantly change their message. The style has taken art into a new level in line with the modern technological advancements. Upon realizing that the human society is sinking into brutal individualism, greed and factor consumerism groups begun to emerge to enlighten people on their surroundings. They are called culture jammers. They began to enlighten people of the exploitation of multinationals and political heavyweight to advocate human belief in the notion of brotherhood. Culture jamming is also called ‘a meme’ warfare, competition over implications and forms of depiction, particularly as spread in society through numerous media of communication (Kincheloe & Hayes 2006, pg. 101). Meme is the essential unit of communication in culture jamming: the principal unit of cultural spread. Memes are edited images that inspire verbal, visual, musical, or behavioral relations that people can effortlessly emulate and transmit to others (David 2010 & Leffel 2007). Because culture jamming has an aim of fighting back in opposition of the corporate sponsors, the jammers intend to get their own voices heard over those of corporate advertisers using any possible means (Derry 1993 & Lasn 2000). They can use simple black marker to elaborate computer programs or change billboards and advertisement to alter the meaning of the advertisements. Jammers are often exposing messages of anti- materialism, anti-consumer, anti-corporation, and overall anti-advertising that is modern art in practice (Lievrouw 2011, pg. 150). Their messages are very satirical because they always embed hope to the modern society. Like traditional culture that bore nostalgic messages with hopeful endings, culture jammers embed nostalgic messages of capitalist’s society exploitation of human beings. They then provide a hidden message of hope only if people can listen to them and evade society’s exploitation. Their hope is that, their wishful thinking with imagery speeches and drawings can instill hope to people; hope of instilling solidarity in the society to fight a common good, the societal exploitation bondage(Austin and Dane 1987, Pg. 105). Culture jamming is significant to the society as it occasionally helps construct counter-culture, which is needed for change in case of a large-scale society level. Einstein said, "It is never possible to solve problems using the similar thinking that created them" (James 2014, pg. 50 and Kincheloe, pg. 219& Hayes 2006). It is, therefore, essential for people to step out of the dominant and regular culture in order to solve their problems. Problem solving begins with a single person who spreads the message through applying some of the culture jamming techniques (Lasn 2000, pg. 178). The postmodern society is known for its creativity, innovation and rebellion form established methods of doing things. The postmodern society has embraced the brotherhood philosophy. Through parody and pastiche, the street art has developed tremendously and earned public appraisal. Communication and message delivery by use of social appeal is in the rise. Graffiti has become a common way of expressing one’s message especially in urban and peri-urban areas. There are many artists in the streets than they exist in the museums galleries. Street art is not entirely vandalism when applied appropriately and is a joy to watch the artwork. Street art can provide an alternative to culture jamming because it has proven credentials and the activists do not have to hide behind some protector garment to convey their message (Lewisohn 2008, pg. 213). Both street art and culture jamming are creative, artistic and harmless methods of reaching the public and sending a social movement’s message. I believe if culture jamming is combined with street art, it has a lot to offer to the society (Lievrouw 2011, pg 145). References Austine Broos, Diane J. (1987) Introduction in Creating Culture: Profiles in the study ofculture. Sydney. Allen and Unwin.. (Ed) Diane J,. Austine Broos David, C. (2010). Sign wars: the cultural jammers strike back. [S.l.], Custom Book Centre. Gray, Ann (Ed.) (1993) Studying Culture: An Introductory Reader. London, Edward Arnold, Pp. 193 205 Ch18 James, C. (2014). The Digital Disconnect: Youth, New Media, and the Ethics Gap. Boston, MIT press. Kincheloe, J. L., & Hayes, K. (2006). Metropedagogy: power, justice, and the urban classroom. Rotterdam, the Netherlands, Sense Publishers. Lasn, K. (2000). Culture jam: how to reverse Americanś suicidal consumer binge - and why we must. New York, Quill. Leffel, G. P. (2007). Faith seeking action mission, social movements, and the church in motion. Lanham, Md, Scarecrow Press. Lewisohn, C. (2008). Street art: the graffiti revolution. London, Tate. Lievrouw, L. A. (2011). Alternative and activist new media. New York, John wiley & Sons. Jamie Owen Daniel and Tom Moylan (Ed). (1997) Not Yet: Reconstructing Ernst Bloch. London: Verso, Pp. 80-95 Read More