bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dancer – Dance – Spirituality: A phenomenological exploration of Bharatha Natyam and Contact Improvisation
Authors: Ramaswamy Aparna , Deslauriers Daniel 
Published: May 2014

Abstract
This article explores the intersections between the dancer, forms of dance and emergent spiritual experience. It articulates different kinds of dancing experiences that are co-created while practicing two forms of dance: Bharatha Natyam (a classical Indian dance) and Contact Improvisation. Inquiry into the phenomenology of dancing reveals commonalities in the emerging spiritual experience, while also recognizing their distinctive techniques and artistic forms. The exploration suggests that the dance, dancer and emerging spiritual experience co-create each other within the process of dancing irrespective of its form. This exploration and inquiry also offers a descriptive language for what is spirituality in dance.
Love Poems to God: The contemplative artistry of Dianne McIntyre
Authors: Goler Veta 
Published: May 2014

Abstract
Modern dance choreographer Dianne McIntyre has been creating dance for film, and concert and theatre stages since the early 1970s. Much of her work brings together a modern dance vocabulary, and African American movement and music to convey universal messages. A major reason that diverse peoples respond so favourably to McIntyre’s choreography is the contemplative practices that undergird her artistry. This article explores McIntyre as an artist who draws on eastern and western spiritual and cultural traditions to create dances that offer transcendent experiences to both audience members and performers. Through her use of improvisation (which can been viewed as a contemplative practice), her incorporation of spiritual themes, and the energy she brings as an individual and as an artist, McIntyre – a long-time meditator – captures mystical elements that empower people to recognize their own greatness, and work to make the world a better place.
Face value: Subversive beauty ideals in contemporary fashion marketing
Authors: Mackinney-Valentin Maria 
Published: May 2014

Abstract
Through five cases from high-end fashion brands, this article explores the use of models in contemporary fashion marketing. The models represent subversive beauty ideals, and the aim of the analysis is to determine whether these ‘faces’ are intended to challenge stereotypes concerning age, gender, body and sexuality or whether they are examples of marketing absorbing consumer behaviour to appeal to contemporary consumers. The research is based on fashion campaigns and runway shows in mainly luxury fashion brands in the Euro-American market in the period 2009–2012. The article concludes that while greater diversity may be a positive side effect of the use of subversive beauty ideals the stereotypes are also the prerequisite for the social strategy at play. This strategy deals with the Logic of Wrong where social distinction is created through literally doing something that is considered socially or culturally wrong.
Cultural collision: The branded abaya
Authors: Lindholm Christina 
Published: May 2014

Abstract
Conservative Muslim women from the Arabian Gulf region typically wear an all-covering black robe and headscarf, the abaya and shayla. These garments adhere to the Qura-’nic directive to dress modestly and to avoid attracting attention from male strangers. With the enormous profits from oil and natural gas, many Muslim women have engaged in personal expressions of wealth and status through dress for decades, wearing haute couture beneath their abayas. As the region modernizes with education and careers for women, the desire for self-expression has spread to their outer garments and these opportunities have been seized by both regional designers and international couturiers. This article discusses the rise of the branded abaya.
The woman in the 360 Mirror: What Not To Wear and the feminist construction of reality
Authors: Moore Monica M. , Williams Gwyneth I. 
Published: May 2014

Abstract
In the last decade, ‘makeover’ reality television has become popular. Feminist scholars in particular have focused on this genre, analysing the ways in which makeover programmes reinforce specific definitions of femininity, class, and sexuality. Academics have been especially critical of the show What Not To Wear, arguing that female guests are demoralized by hosts who prescribe a rigid set of rules for dressing. Many feminist writers perceive the subjects of each week’s episode as unwilling, insecure women who yield their individuality to the dictates of the programme’s stylists. We contend these articles ignore one of the basic tenets of feminist research: the subject must be given agency and allowed to define her experience in her own words. We argue feminists should start from the presumption that these women know how they feel and mean what they say, and even allow them to participate in exploring the meaning of the makeover. To this end, we closely examined several episodes of What Not To Wear that focus on making over highly educated women (several of whom exhibit high levels of gender consciousness) in order to explore how these women understand and interpret their experiences. Also, we interviewed an actual participant in the programme and discussed these issues with her. What results is a more nuanced analysis of what women experience when they are told ‘what not to wear’, in which the subjects smoothly integrate the aspects of the makeover that resonate positively with their sense of self, and leave the rest behind.
Body image resilience and health in an era of ‘The Perfect Body’: Developing a personal sense of social responsibility
Authors: Rudd Nancy A. 
Published: May 2014

Abstract
Achieving a cultural standard of appearance that is thin, physically fit and muscular is advocated as a personal appearance goal for individuals to seek in American culture; benefits are thought to accrue for those who meet this arbitrary and socially constructed standard. Much time, effort and expense can be directed towards appearance management behaviours practiced to this end and both emotional anguish and physical harm can occur in its elusive search. This article describes a college freshman seminar course dedicated to building body image resilience and healthy decision-making regarding appearance behaviours; concurrently, the course helps to build a personal sense of social responsibility so that students are better prepared to advocate for social change and personal empowerment regarding cultural norms of appearance. Herein are described the learning objectives of the course, topics covered and related activities and the impact these experiences have on developing body image resilience and healthy behaviours among students. Through these strategies and teaching pedagogy, we see evidence that building a strong sense of body image resilience and personal goals of healthy living can mitigate the pressure felt to attain such a standard and the dangers of pursuing bodily perfection.
Book Reviews
Authors: Von Schilling James A. , Walker Myra , Byers Catherine Fox 
Published: May 2014

Abstract
BOOM! – A Baby Boomer Memoir, 1947–2022, Ted Polhemus (2012) Raleigh, NC: Lulu Press, 400 pp., ISBN 978-1-47099-995-7, p/bk, $24.82
DECADES: A Century of Fashion, Cameron Silver and Rebecca DiLiberto (2012) London: Bloomsbury (oversize format with colour and black and white fashion images and text), 255 pp., ISBN: 978-1-59691-663-0, h/bk, $60
The Many Lives of Miss K., Jean-Noel Liaut (2013) New York: Rizzoli Ex Libris, ISBN: 978-0-8478-4129-5; 244 pp., p/bk, $24.95
The power structure of the fashion industry: Fashion capitals, globalization and creativity
Authors: Godart Frédéric 
Published: May 2014

Abstract
Geography plays a crucial role in the fashion industry. For example, clothing brands are readily associated with specific countries and cities, and the apparel value chain is globalized in ways that have generated a lot of attention from social scientists, for example regarding outsourcing. In this article, the geographical perspective on fashion is extended and analysed through a power angle. In other words, the origins of the current ‘oligarchic’ structure of fashion - around New York, London, Milan and Paris - are explored in order to (1) better understand how power is shared in fashion; and (2) determine whether this structure actually has a future. More specifically, can the current fashion oligarchy make room for a fully democratized industry or a polyarchical structure that would include additional players, in Brazil, Russia, India or China among others?
Augmenting fan/academic dialogue: New directions in fan research
Authors: Booth Paul 
Published: May 2014

Abstract
Fan studies as a discipline is still in its infancy. But even given this nascence, there have been significant shifts in the ways that it has theorized, studied and investigated fans over the first two and a half decades of research. As scholarship, fan studies has moved away from ethnographic investigations of fans as the main object of study to focus instead on the output of fan discourse as the key mode of examination. At the same time, scholars like Henry Jenkins and Matt Hills, both central to the discipline, have opened dialogue about the nature of the fan/academic, often called the ‘aca-fan’. This article uses the lens of aca-fandom to analyse fan answers to interview questions at a large Midwestern Doctor Who convention. Fans were asked about the role that fan studies has played in their life, how they perceive the study of fans and whether fan studies as an academic discipline has an effect on their fandom. The fans’ answers reflect a critical awareness of fandom but a general ignorance of fan studies. This article argues three points to take away from this. First, fan studies needs to refocus attention back onto fans themselves through ethnographic work. Second, the discipline needs to refocus its output less on esoteric academic titles and more on popular venues. Finally, fans and academics should engage in specific dialogue to open up avenues for new fannish and academic exploration.
A case of identity: Role playing, social media and BBC Sherlock
Authors: McClellan Ann 
Published: May 2014

Abstract
Many fans of Sherlock Holmes are now extending their interest in the famous sleuth into the world of social media. In particular, the BBC’s modern adaptation, Sherlock, seems to have grabbed the public’s attention with multiple character role plays on Facebook, Twitter, and Tumblr. It remains unclear, however, whether to categorize these narratives as fan fiction or role play game. This article explores the genre differences between fan fiction and role play game and identifies specific genre characteristics that place social media fan narratives in the role play game category.
While adaptation studies and much of fan fiction center on issues of fidelity to the source text, role play scholarship emphasizes recreating the world of the sourcetext. Role playing both expands the boundaries of the original series in that it provides viewers with more—more stories, more character development, more adventure—but it is also limited by the constraints of the original show’s characterization and overall narrative arc. Online role play characters must speak like their source characters, they must interact with other characters from the show in textually appropriate ways, and they must respond to new situations in ways that are consistent with their televisual counterparts.
Looking specifically at BBC Sherlock role plays on Facebook, Tumblr and Twitter, this article explores the ways in which contemporary audiences are using social media to challenge traditional understandings of genre, world building and fandom in order to approach a greater verisimilitude of play.
Community clip show: Examining the recursive collaboration between producers and viewers of a postmodern sitcom
Authors: Sharma Rekha 
Published: May 2014

Abstract
In the new media landscape, exclusive communication within a TV show’s creative team or amongst its fans is no longer sufficient to maintain the continuation of the programme. Instead, a community arises through the collaboration of those behind the scenes and those in front of the screens. By utilizing interactive technologies, showrunners and audiences have redefined notions of media consumption and mass media. An illustrative case is NBC’s postmodern sitcom, Community (Harmon, 2009–). The show features metadiscourse on media production, responds to viewers’ feedback and preferred narratives and shares the creation of meaning with the audience. As a result, the show has developed an ardent following because viewers feel their concerns are directly addressed by the show’s creative team. Further, their contributions challenge the conventional belief that fan interpretations are merely secondary discourse to the primary television text, as Community fans’ works have helped shape the televised narrative. One episode, Season 2’s ‘Paradigms of Human Memory’, deals with the creators’ and viewers’ mutual conceptualization of time and reality encapsulated in the series.
‘I’m not a lawyer but …’: Fan disclaimers and claims against copyright law
Authors: Roth Jenny , Flegel Monica 
Published: May 2014

Abstract
Fan fiction has become increasingly widespread, and online discussions between fans about fan fiction and copyright reveal the extent to which fans are both governed by and resist copyright law, as they understand it. As complex agents both within and outside of law, writers and supporters of fan fiction reveal the problems of speaking against law from a position that is regulated by law, a position creative re-producers are forced to occupy in an increasingly copyrighted, patented and trademarked world. So long as those whom the law is meant to regulate see themselves as legitimate shapers of that law, even though they inhabit space outside the formal mechanisms of law or the legal world, the law will not be effective. When fans with little or no legal expertise invoke and interpret copyright, they reveal that copyright does not attend to the complex realities of creative production, nor the very active consumption, engagement with, and re-articulation of cultural artefacts and texts in society to effectively police at the grassroots level.
Fuck yeah, Fandom is Beautiful
Authors: Coppa Francesca 
Published: May 2014

Abstract
First-wave ethnographic work in fan studies, especially that of Henry Jenkins, Camille Bacon-Smith, Constance Penley, Roberta Pearson and John Tulloch, remains foundational to contemporary fan scholarship. Jenkins’ work in particular remains relevant for its ongoing commitment to fandom as a social identity and as a network; this contrasts sharply with the work of later scholars who see fandom as a matter of enthusiastic but individual engagement. It is important for fan scholars both to revisit and to emulate first-wave scholarship because the terms of the relationship between fans and the entertainment industry are being radically renegotiated. Fandom is increasingly understood to have economic and promotional value to content producers, and there is a danger that fandom-as-enthusiasm is being encouraged by producers even as fans are in danger of being alienated from their creative labour and from each other as a community.
Scissors, paper, poetry: The interaction between Chinese folk art and contemporary art practice
Authors: Miller Melanie , Zhou Tongyu 
Published: May 2014

Abstract
This article examines the relationship between folk art in China and contemporary art practice. The main focus is on paper cutting and the work of Lu Shengzhong, a renowned Chinese artist and head of the Experimental Art Department of the Central Academy of Fine Art (CAFA), and how his work is rooted in the folk-art tradition of China.
The article starts with a short overview of the tradition of paper cutting in China. It then discusses the work of Lu Shengzhong. Lu has taken the traditional Chinese process of paper cutting to a new level, transforming it into large-scale monumental work. There is a brief examination of the practice of collecting folk art from the countryside in CAFA; and the folk-art study unit at the Experimental Art Department in which Lu’s students learn about traditional Chinese crafts from extensive field research. Melanie Miller, senior lecturer in the Department of Design at Manchester Metropolitan University (MMU) and co-author of this article, attended a paper-cutting workshop given by Lu Shengzhong at MMU in 2010; the final section of the article discusses the body of work made by Miller in response to the workshop. Through Lu and Miller’s work we see how the ancient art of paper cutting becomes transformed.
The vernacular line: Adoption and transposition of the kitsch in illustration
Authors: Walker James 
Published: May 2014

Abstract
The article considers the affect folk art has on the development of a vernacular visual language in particular associated with the expression and translation of the graphic line in illustration. It is argued that this process of translation and transference results in a conflict between aesthetic readings of the vernacular line, associated with the kitsch and the agency of the illustrated image/object. In adopting Alfred Gell’s (1998) principle of the agency of art a more objective consideration of illustration in relation to its functional role in society, rather than the aesthetic value of the image/object can be developed.
Making (the) subject matter: Illustration as interactive, collaborative practice
Authors: Vormittag Luise 
Published: May 2014

Abstract
Traditional models for operating as a commercial illustrator are being affected by a rapidly changing media landscape and a reduction in commissioning budgets. Illustration as a discipline can use this time of financial uncertainty and change to reflect upon related fields in the creative industries as well as referring back to its own core values, skills and objectives.
In the context of fine art there have been a number of terms and practices discussed over the last decades that centre around social engagement and collaboration: relational aesthetics (Nicolas Bourriaud), new genre public art (Suzanne Lacy), connective aesthetics (Suzy Gablik) and dialogical aesthetics (Grant Kester). Similarly, design has seen a variety of initiatives and organizations that focus on engaging with communities in order to improve people’s lives in meaningful ways while taking into account complex social, political and environmental challenges.
Illustrators can use elements of these practices to expand their remit while continuing to take advantage of their core skill of giving visual form to externally given content for a particular audience. Taking responsibility for generating content through outward-facing engagement while also having a stake in the methods of distribution opens up a wealth of opportunities that promise to be productive for the discipline.
Dione Lucas and the beginnings of television in Australia
Authors: Adams Jillian 
Published: May 2014

Abstract
English-born, American television celebrity chef Dione Lucas, toured Australia in 1956, 1958 and 1960, each time sponsored by The Australian Women’s Weekly (AWW), a magazine that at that time boasted weekly sales of 750,000 copies. On the surface, Lucas’s 1956 Australian visit is in line with the magazine’s practice of bringing high profile international guests to Australia to promote the magazine and increase sales. But there was a more compelling reason for her to travel to Australia. With the launch of television just weeks away, and the knowledge that women controlled 90 per cent of household spending, her cooking demonstrations were closely linked to the promotion of the sale of television sets and television viewing. This article uses a culinary lens along with archival material, magazine and newspaper articles and personal stories to add Lucas’s cooking demonstrations, and Australian women, and their interest in cooking, to the history of the start of television in Australia. It thus challenges the static narratives, about both this event and the 1950s housewife, embedded in our popular memory.
How Mad Men is haunted by race
Authors: Wallace Beth Kowaleski 
Published: May 2014

Abstract
In this article, I argue that, despite arguments to the contrary, Mad Men (2007–) powerfully reflects the realities of a racialized America. From the very first episode, the characters, the actors and the script of Mad Men are haunted by race. First, the characters’ identities are called into being by the black figures who inhabit the edges of their consciousness. Second, the performances of the actors are haunted by a history of racialized representation. Third, the script of Mad Men is haunted by political events that manifest as psychic disturbance. This last form of haunting mirrors the audience’s own experiences with a history of race in America, and, in the end, it evokes a painful knowledge of a history of racial violence.
Speaking for and to the nation? Borgen and the cultural viability of public service broadcasting in Denmark and Germany
Authors: Hochscherf Tobias , Philipsen Heidi 
Published: May 2014

Abstract
The article compares and contrasts the reception of DR’s political drama series Borgen (2010–13) in Denmark and Germany. Whilst German audiences are au fait with a number of Danish primetime drama series, public opinion of the shows can diverge considerably. One such example is the reception of Borgen. Even if the critics’ reaction was for the most part positive in both countries, reviews differ in tone and content. Among other issues, this is particularly apparent when critics relate the drama to a much broader discussion of public service broadcasting.
Nordic Noir challenging ‘the language of advantage’: Setting, light and language as production values in Danish television series
Authors: Jensen Pia Majbritt , Waade Anne Marit 
Published: May 2014

Abstract
In this article, the authors argue that the relative success in Great Britain of Danish television drama series marks an interesting shift in both the British and Danish context. In Denmark, it marks a shift in television’s drama production in which the exoticism of the Danish settings, landscapes, light, climate, language and everyday life become promotional tools when marketing the productions internationally, hence internationalizing Danish television drama production from within. In Great Britain, the success of the Danish series has paved the way for an unprecedented increase in subtitled foreign television drama, which arguably represents a cultural mark-up in the minds of British audiences and critics alike, hence internationalizing British television from without. Consequently, the Danish series’ success in Great Britain and beyond also tentatively challenges long-held ‘truths’ about media globalization and the perceived dominance of anglophone audio-visual industries and content.
Book Reviews
Authors: Edwards Leigh H. , Johnston Derek , Stigler Elizabeth , Geraghty Lincoln , Kleinecke-Bates Iris 
Published: May 2014

Abstract
Legitimating Television: Media Convergence and Cultural Status, Michael Z. Newman and Elana Levine (2012) New York: Routledge, 232 pp., ISBN: 9780415880251, h/bk, $150.00; ISBN: 9780415880268, p/bk, $36.95
1950s ‘Rocketman’ TV Series and Their Fans: Cadets, Rangers, and Junior Space Men, Cynthia J. Miller and A. Bowdoin Van Riper (eds) (2012) New York: Palgrave Macmillan, 270 pp., ISBN: 9780230377318, h/bk, $90
Television, Sex, and Society: Analyzing Contemporary Representations, Basil Glynn, James Aston and Beth Johnson (eds) (2012) London: Continuum International Publishing Group, 196 pp., ISBN: 9780826434982, p/bk, $24
Sherlock and Transmedia Fandom: Essays on the BBC Series, Louisa Ellen Stein and Kristina Busse (eds) (2012) Jefferson: McFarland, 241 pp., ISBN: 0786468181, p/bk, $40.
Television, Memory and Nostalgia, Amy Holdsworth (2011) London: Palgrave Macmillan, 192 pp., ISBN 9780230245983, hbk, £50.