Politics,income perceptions and living standards

Political and economic debates over community living standards, poverty and economic inequality often pay little attention to the subjective and socially conditioned aspects which influence public perceptions of material wellbeing. An attempt to explore the latter involved asking a national sample of Australian voters in 1988 to estimate the minimum weekly income on which they could ‘just make ends meet’. The amounts nominated varied not only according to the financial and domestic circumstances of respondents, but also with their age, education, housing situation and political affiliation. The relationships between these variables and the ‘making ends meet’ income level are estimated statistically and their implications explored with the help of several illustrative examples. Some speculations are offered as to what these results say about the social meaning of income levels and possible implications for public policy.     

The Representation of Joe Whelks: Charles Dickens’s Reflections on a Theatre Audience

This article explores how Charles Dickens both alludes to and occludes the Victoria Theatre’s looking-glass curtain in his article ‘The Amusements of the People’ (1850). This vast mirror curtain hung at the Victoria in the early 1820s and again in the mid-1830s. Contending that Dickens would have been aware of this spectacular novelty, this article argues that his reference to the Victoria Theatre’s management ‘holding up a mirror’ to its audience is an allusion to the curtain. The mirror curtain reflected the working-class audience at the theatre back to itself, putting it ‘on the stage’, a comment on the nature of representation and its relationship to reality. Like theatre itself, which it also figured, the mirror curtain had a heterotopic nature, both representing and contesting reality. This challenge was particularly unsettling to middle-class onlookers in the context of the representation of an unrepresented (disenfranchised) plebeian audience. I argue that Dickens’s article, like the mirror curtain, reflects the Victoria’s working-class audience and that he alludes to the mirror when making radical arguments concerning the political and class-based nature of aesthetic judgements about representation. His article, however, remains equivocal about the right to working-class self-determination and enfranchisement that the mirror curtain represented. Dickens gestures to, but occludes, the curtain and displaces it with his own representation of the Victoria’s audience and his mediation on their behalf. Ultimately, the challenge posed by the looking-glass curtain to the social and aesthetic order is too great to be fully acknowledged.     

Country Music and the South: A Cultural Geography Perspective

Cultural geographers have failed to examine one of the most significant culture items unique to the American South— country music. Examination of the history, folklore, and sociology literature provides data on the area of origin and diffusion routes of the vocal and instrumental characteristics of early country music. The mixing of musical cultures in the South led to the origin and evolution of seven substyles of country music during the twentieth century: traditional, singing cowboy, western swing, honky tonk, bluegrass, country pop, and country rock. Despite recent cultural homogenization in the United States, country music continues to maintain its regional association with the American South.     

Western North Carolina: Culture Hearth of Bluegrass Music

This study explores the long-debated question concerning the geographic origins of bluegrass music. Using the Sauerian culture hearth concept, western North Carolina is identified as the source area for the distinguishing elements of the bluegrass sound. Western North Carolinians pioneered the innovative instrumental sounds of bluegrass on the five-string banjo, fiddle, and guitar as well as the harmonies and repertoire of bluegrass vocals. A music culture infrastructure emerged in western North Carolina based on a network of local musicians and social institutions, including fiddle contests, music festivals, radio stations, and recording studios.     

Commercializing Nature: Mangrove Conservation and Female Oyster Collectors in The Gambia

Abstract: Taking a political ecology approach, this paper offers a critical evaluation of conservation efforts undertaken in Gambia's Tanbi Wetland National Park (TWNP), a “wetland of international importance” as designated by the Ramsar Convention. Focusing on the oyster commercialization component of the World Wildlife Fund's Gambia–Senegal Sustainable Fisheries Program (GSFP) in the TWNP mangrove forests, we identify oystering practices that promote mangrove conservation and others that conflict with sustainable management. The project, which aims to commercialize oyster culture through local women, is entirely production oriented, ignoring the ways in which oysters are prepared for market. As a result, degradation of the very mangrove forests the GSFP aims to conserve may be accelerated. The project selectively engages with local environmental knowledge and fails to consider the implications of expanding the value chains for oysters and their shells. Unless the World Wildlife Fund addresses these issues, its conservation objectives and potential socioeconomic benefits may be compromised.