Editorial Cartoons as Education: The Pop Culture Pedagogy of Political Cartoons (original) (raw)
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Role of Media in Hegemony and Subcultures
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Cultural hegemony is a sociological concept used to describe the impact on a cultural group of dominant groups in society. It can also be applied to political and religious power. Cultural hegemony happens when the dominant group subtly or overtly attempts to control the thoughts, feelings, attitudes, and behaviors of subordinate groups by incorporating aspects of their culture into society's norms and values. The process of cultural hegemony is often traced back to the 18th century Enlightenment and involves contrasting all cultures with a view of universal human reason. Counter-cultures are those that oppose official representations and ideology. Understanding both of these is important for us to know how these ideologies affect our daily lives.
Cultural Hegemony and Counter Hegemony
The idea of cultural hegemony is significantly more expansive than that of ideology since it involves the process of building collective experience, modeling meanings, developing values, establishing worldviews, and guiding society's moral, cultural, and intellectual direction through education. From the very beginning of Media and Cultural Studies, hegemony and counter-hegemony have been mobilized as fundamental theoretical methods in the critical examination of media texts and institutions. Similar to how the Gramscian notion of hegemony has been used by postcolonial theorists to understand the dynamics of conquered cultures and the fallout from empires, particularly in respect to culture.
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Visual sociologists and anthropologists attempting to create representations of social communities and cultural groups inevitably do so within a context of competing cultural images manufactured by the popular mass media. Therefore, in order for social scientists to use visual media effectively they must operate with the fullest possible awareness of popular culture and media practice. This paper argues that it has become the task of visual social scientists and historians to acquire an intimate knowledge, not only of the social subject matter they hope to illustrate, but of the existing media patterns of representation by which that subject has been characterized in news, fiction, advertising and entertainment. For more than ever, the visual media is not just a technical tool for the study and representation of culture but an integral part of the context in which such study takes place.
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Hegemony as Mythical Form: The Re-Emergence of Cultural Studies
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Patterns of Production: Cultural Studies after Hegemony
T HE CONCEPT of hegemony had a central place in the crystallization of 1980s cultural studies, drawing together as it did the analysis of the cultural and ideological formations of the Thatcherite or New Right project with the problematic of the popular and governance through the articulation of consent. 1 For Laclau and Mouffe , hegemony was a perspective with which to engage with the realities of a world where the frames of classical Marxism -class, capital, revolution -had become inadequate to the task of understanding the radical openness of the social and the rise of new, non-class-based actors and social movements. In Laclau and Mouffe's (2001: 161-71) argument, there is some suggestion that the concept of hegemony and the formations that it shed light upon were related to changes in processes of commodification but, as has often been noted, it was a severing of the analysis of hegemonic positions (of the right or left) from an apparently deterministic routing through the economic that was the distinctive feature of this approach. It was to be 'democracy' and the 'logic of equivalence' that became the 'new' and 'fundamental' 'mode of institution of the social' (Laclau and Mouffe, 2001: 155) in a fashion that, as Osborne (1991: 211) notes, reinterpreted class struggle as an instance of an expanded and open field of struggle for democratic articulation. This manoeuvre, associated as it was with certain post-structuralist positions, was what marked the newness of the post-Marxist project, but it is on the same axis that its frameworks today feel lacking in purchase, since -as research on fields such as cultural economy, information and communication technologies, and globalization attests -it is clear that neither culture nor politics can be understood without an intimate attention to the way capitalist dynamics and imperatives infuse the social (Dyer-Witheford, 1999: 189).