‘The best thing ever’: how children's popular culture matters

This paper reflects upon a popular cultural event which was, briefly, for a particular grouping of children in the UK, ‘the best thing ever’: namely the release of the CD-single Reach, by the British pop group S Club 7. I suggest that this event was illustrative of manifold cultural forms and practices which—being ostensibly banal, fun, faddish, lowbrow and ‘childish’—continue to go largely unheralded by many social/cultural geographers. Against this grain, this paper presents three apprehensions of S Club 7’s significance. First, I restate a particular case made via Anglo-American cultural studies that ‘children's popular culture’, ought to be taken more seriously in contexts salient to social/cultural geographers. Second, I detail how the S Club 7 phenomenon existed, practically and materially, and mattered, in some children's everyday lives. Third, refracting cultural geographers' recent apprehensions of affective, evental aspects of cultural practices, I suggest that the pop cultural phenomenon described herein mattered (to those children, there and then) in ways which elude and exceed canonical scholarly habits of writing/knowing popular cultural phenomena.     

Liberation from the Weberian Iron Cage: Pierre Manent on Max Weber

Abstract

In this article I contend that conventional social contract theory is self-referentially incoherent. Conventional contractarianism therefore fails to provide an adequate foundation for the authority of the state and for the obligation of citizens to obey. The insistence on consent for legitimate political authority has usually been rendered in contractarian terms. Thus, the fall of conventional social contract theory seemingly entails that we should reject the principle of consent as well. Yet, the necessity of consent for the authority of the state and, concomitantly, for the obligation of citizens to obey seems to be an entailment of human equality. Thus, insofar as human persons are equal, the legitimacy of the state seems to require a foundation logically precluded to it. We are therefore confronted with a theoretical crisis. Even so, I will argue that we need not reject the principle of consent. The self-referential incoherency of conventional contractarianism results from its conventionalism. We can begin the work of salvaging the principle of consent from the demise of conventional social contract theory by erecting it upon the foundation of moral and ontological realism.     

Indigenous free prior informed consent: a case for self determination in World Heritage nomination processes

Free prior informed consent is a critical concept in enacting the rights of Indigenous People according to the United Nations Declaration on the Rights of Indigenous Peoples. This paper outlines a case for the inclusion of free prior informed consent in World Heritage nomination processes and examines issues that are problematic when enacting free prior informed consent. Case research was used to analyse current issues in the potential nomination of certain areas of Cape York Peninsula, Australia. The authors’ reflexive engagement within this case offers insights into the praxis of developing a World Heritage nomination consent process. The outcomes of this research were: preconditions need to be addressed to avoid self-exclusion by indigenous representative organisations; the nature of consent needs to account for issues of representation and Indigenous ways of decision making; the power of veto needs to have formal recognition in the nomination process; and prioritising self-determination within free prior informed consent ensures the intent of the United Nations Declaration on the Rights of Indigenous Peoples. The paper contributes to the human rights agenda of Indigenous People and conservation management processes by helping address the issues that will be raised during a World Heritage nomination process.     

‘Each fantasy chosen begin’: the music of The Divine Comedy

This article considers the cultural and social context for the music of the Northern Irish band The Divine Comedy. It focuses on three mid-1990s albums – Liberation (1993), Promenade (1994) and Casanova (1996) – and debates the significance of this performance of alternative Ulster masculinity during the peace process. It will detail the lyrical obsession with a very particular type of imagined Anglo-Irishness during the first two of these albums, and then consider the complicated uses of the ‘Britpop’ genre in Casanova. This music is baroque, literary and written by an Anglican bishop's son, Neil Hannon, who grew up in Enniskillen during the Troubles. It will consider how Hannon cobbles together an acceptable identity through the use of literary pretentiousness and a carefully crafted pop persona.     

Penetrating the ‘black‐box’ of ‘remembrance day’ playlist: bereavement and the induction mechanisms of glocalization – a study in cultural sociology

This article examines the musical repertoire broadcast on Israeli state radio stations on Remembrance Day. Commencing with the first Remembrance Day, Israeli radio stations have refrained from broadcasting songs that do not contribute to the glorification of the military mythology or failure to reinforce the consensual perception of national loss. In view of globalization – it might be assumed that Remembrance Day songs would undergo changes in tune with the times. From a musical point of view, new songs that belong to what Regev and Seroussi classify as ‘globalizing Israel’ penetrated into the nationalist arena. But, following Inglehart and Baker, these songs, despite their seemingly secular façade, remain limited hegemonic enclosures organized around the core of founding values. Apparently, this is an example of the process of glocalization of culture. The article seeks answers to the strategies employed to accommodate these new songs to the traditional ideology of the classical Remembrance Day songs and examines whether the mechanisms of legitimacy that enable the inclusion of new voices on Remembrance Day, can be identified. We argue that their choice is not arbitrary and that they illustrate the manner by which voluntary cultural entrepreneurs (musical editors) are co‐opted in the postnational condition.     

Colonial Refractions of a Malakulan Chief

During the early 20th century, Western adventurers sought encounters with and images of Pacific people to entertain white audiences. But they were often reliant on resident European missionaries to facilitate their access to the glamorous Other. Missionaries were themselves also creators of Indigenous representations intended for Western consumption, to raise support for their enterprise. This paper examines the uneasy relationship between these groups by bringing together archival resources from disparate disciplines – colonial-era adventure-travelogue and mission history – to uncover an unacknowledged relationship between the American film-maker and photographer Martin Johnson and Australian Seventh-day Adventist missionaries in Vanuatu between 1917 and 1920. My focus is a Big Nambas village on Malakula, Vanuatu, which found itself the nexus of conflicting colonial gazes. Representations of its headman Nihapat, refracted through the lenses of a travelogue-adventurer and the narratives of missionaries, highlight Indigenous agency as he and his people contended with their predicament under colonialism.     

Reading with the Occultists: Arthur Machen,A. E. Waite,and the Ecstasies of Popular Fiction

My article recovers a forgotten moment in the history of popular fiction criticism – the late Victorian advent of what I term occultic literary criticism – to challenge the persistent anxiety thesis that continues to dominate fin-de-siècle studies. In the late 1890s, the close friends, writers, bibliophiles, and, for varying amounts of time, practising occultists Arthur Machen and A. E. Waite used their literary criticism to champion the ecstatic occult potential of mass-circulated popular fiction, insisting that the penny dreadful, the newspaper story, and the popular picaresque as exemplified in Charles Dickens’s The Pickwick Papers (1836–37) represented coded versions of ancient mystery tradition rituals. The cheap popular texts could offer to readers, writers, and collectors the kind of joyous direct encounter with the unseen world that sacred texts no longer could. The pair’s conviction that ecstatic occult initiation was just as, if not more, attainable through popular exoteric texts as through their restricted esoteric counterparts offers an important corrective to contemporary understandings of both the late-Victorian reception of popular fiction and of the reach and constituency of the occult revival.     

Emplacement and the politics of heritage in low-income neighbourhoods of Marseille

Recent scholarship addressing efforts to celebrate heritage in low-income neighbourhoods and housing estates has stressed the importance of attending to the continuity of place-based social relationships as a key factor in residents’ understandings of heritage, and, drawing on Smith’s conception of an ‘authorised heritage discourse’, the ways these understandings differ from hegemonic and generalised expert discourse emphasising the deficiencies of the material environment. In this article, I examine a new object of state intervention in France, ‘the heritage of popular neighbourhoods’, and describe points of convergence and conflict between local heritage work in Marseille and the recent discursive framework established to employ heritage as a tool in reorganising French state policy towards urban peripheral neighbourhoods (the politique de la ville). Drawing on ethnographic research (2007–2014), this article identifies emplacement as a key feature in residents’ performances of neighbourhood heritage, a feature often absent or poorly elaborated in heritage work promoted by French urbanist policy in the past. I describe the ways emplacement has been expressed aesthetically in arts projects, trace the range of social networks and relationships enacted, and describe the political implications of these performances as a tool for promoting solidarity across time and space in Marseille.     

Popular geopolitics of Chinese Nanjing massacre films: a feminist approach

This article attempts to deconstruct the masculinised contract among the war narrative, popular culture, and Chinese nationalism by exploring the roles of women in Nanjing Massacre films with war narratives and Chinese audiences' emotional ‘readings’ of these women. Based on the analysis of City of Life and Death (2009) and The Flowers of War (2011) and audiences' comments on these two films from Douban Movie, this article has mapped a popular geopolitics of these two films through a feminist approach. The main argument of this research points out that, through the production and consumption of these two films, the women of the Nanjing Massacre can be territorialised as Nanjing/China and used to represent China's attitudes towards both the historical and current Sino–Japanese relationship. In this way, the women of these films can be considered an articulation of popular culture and politics, and they are empowered to establish Chinese nationalism and construct anti-Japanese identities in Chinese society. To a wider extent, this article can be read as a contribution to the literature on gender, nationalism and popular geopolitics.     

Obtaining meaningful informed consent: preliminary results of a study to develop visual informed consent forms with children

This pilot study explores children's understanding of informed consent (IC) and the potential of participatory visual methods for improving the IC process. Strategies used to improve the IC process have generated mixed evidence as to their ability to increase understanding and willingness to participate among potential research participants. Two workshops with 13 children aged 8–12 years were held to discuss the content of IC forms, particularly confidentiality and voluntary participation, and the children took photographs to represent these concepts. Simplified written IC forms generated boredom, disengagement, and/or anxiety for some children. Preliminary results of this pilot study indicate the potential to enhance the IC process by using participatory visual methods with children to make visual IC forms.