Über das Atomreaktor-Projekt in Kudankulam im südindischen Bundesstaat Tamil Nadu – wie auch über die Protestbewegung gegen den Reaktor – wurde in den deutschsprachigen Medien vergleichsweise wenig berichtet. Eigentlich war die Inbetriebnahme für dieses Frühjahr angekündigt, doch scheint es nicht ausgeschlossen, dass es zu zeitlichen Verzögerungen kommt – nicht zum ersten Mal, wie Krithika Ramalingam in einem sehr informativen Artikel für India Together berichtet (Erscheinungsdatum: 4. April 2013). Link zum Artikel: http://www.indiatogether.org/2013/apr/env-kudankula.htm.
Einen sehr lesenswerten Essay zum Thema „Der Widerstand gegen das Atomkraftwerk Kudankulam in Indien. Mediendynamiken und Repräsentation der Bewegung“ hat Silvan Heinze im Rahmen eines B.A.-Seminars zur Frage der „‚Zivilen‘ Nuklearenergie nach Fukushima: Indien und Deutschland im
Vergleich“ (WiSe 2012/13) verfasst. Den vollständigen Essay finden Sie hier: https://blogs.hu-berlin.de/mediaiaaw/wp-content/uploads/sites/24/2013/04/Silvan-Heinze_2013_Der-Widerstand-gegen-das-Atomkraftwerk-Kudankulam-in-Indien.pdf.
Ein weiterer Artikel zum Thema „‚Zivile‘ Nuklearenergie nach Fukushima: Die aktuelle Debatte in Indien“ von Nadja-Christina Schneider ist neu erschienen in:Südasien-Chronik/South Asia Chronicle, No. 2, 2012 (Online-Publikation der HU: edoc). (Den vollständigen Artikel finden Sie unter: http://edoc.hu-berlin.de/suedasien/band-2/8/PDF/8.pdf.)
Evidence from the Tunisian Revolution
von Anita Breuer, Todd Landman & Dorothea Farquhar
Das komplette Konferenzpapier finden Sie hier.
Dies ist ein Konferenzpapier zum Thema: „Soziale Medien als Ressource zur Protestmobilisierung in der tunesischen Revolution“, welches Anita Breuer und Kollegen vom Institute for Democracy and Conflict Resolution (IDCR) in Essex für die Fachtagung der europäische Medien- und Kommunikationswissenschaftler (ECREA) in Istanbul vorbereitet haben. Kernstück des Papiers ist die statistische Analyse einer Online-Befragung von 450 tunesischen Facebook-Nutzern, die im Frühjahr diesen Jahres durchgeführt wurde.
„One of the hallmarks of the Arab Spring uprisings has been the role of social media in articulating demands of the popular protesters and broadcasting dramatic events as they unfolded, but it is less clear whether social media acted as a catalyst for many of the movements in the region. Using evidence from the popular protests in Tunisia between December 2010 and January 2011, this paper argues that social media acted as an important resource for popular mobilization against the regime of President Zine El Abidine Ben Ali. Drawing on the insights from ‘resource mobilization theory’ (RMT), we show that social media (1) allowed a ‘digital elite’ to break the national media blackout through brokering information for mainstream media; (2) provided the basis for intergroup collaboration that facilitated a large ‘cycle of protest’ to develop; (3) overcame the collective action problem through reporting event magnitudes that raised the perception of success for potential free riders, and (4) led to an additional element of ‘emotional mobilization’ through depicting the worst atrocities associated with the regime’s response to the protests. These findings are based on expert interviews with Tunisian bloggers and digital activists conducted in October 2011 and a revealed preference survey conducted among a sample of Tunisian internet users between February and May 2012.“
Valentine’s Day Greeting Cards in Urban India
von Christiane Brosius
Den kompletten Essay finden Sie unter:
http://www.tasveergharindia.net/cmsdesk/essay/123/index.html
In diesem Essay beschäftigt sich Brosius mit Grusskarten als Genre der populären visuellen Kommunikation und im Kontext Indiens. Durch den Vertrieb von Valentinstagskarten durch Archies (dem führenden Vertreiber von Geschenken und Grusskarten in Indien) wird die romantische Liebe ein zentraler Teil der materiellen Kultur der Mittelklassen in Indien. Die dabei transportierten emotionalen Darstellungen werden in der Symbolik und Sprache einer vordergründig urbanen (emotionellen, selbstbewussten und kosmopoliten) „neuen“ Indischen Jugend dargeboten.
„Today, when sex scandals regularly hit the TV and printmedia news in urbanised India, and when home-made ‘porn’-videos are leaked to the public, with the most unexpected protagonists (students, housewives, businessmen, holy men), populating not parks but television and computer screens, encroaching and enraging the public imagination, the protests against V-cards seem almost naïve. Nevertheless, Valentine’s Day, whether or not one is critical of its alliance with conspicuous consumption and commercialization of feelings, and its material culture, of which the cards are an important part, continues to engage us with the complex fabric of India today, with the riddle of public and private space, with consumer brands and personal sentiments, and with the movement of social borders, as they are contested by such a diverse range of social agents, and media. Like all languages, the language of love, too, is constantly undergoing transformation and subject to appropriation and translation, always operating under the shadow of individual liberation and empowerment as well as moral panic and restriction.“
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Bibliography
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- Archies Annual Report. 2009-10. See http://www.archiesonline.com/gateway/Annual-Report-2009-10.php (accessed on 5.2.2012)
- Brosius, Christiane. 2007. “Celebrating more then the New Year. The Hindu nationalist greeting cards.” See http://www.tasveerghar.net/cmsdesk/essay/57/index.html, see also “I am a National Artist”. In Richard Davis (ed.). Picturing the Nation. Iconographies of Modern India. Hyderabad: Orient Longman: 171-205
- Brosius, Christiane. 2010. India’s Middle Class. New Forms of Urban Leisure, Consumption and Prosperity. New Delhi: Routledge
- Brosius, Christiane. 2011.„Love in the Age of Valentine and Pink Underwear: Media and Politics of Intimacy in South Asia“. In Brosius, Christiane and Roland Wenzlhuemer (eds.). Transcultural Turbulences. Interdisciplinary Explorations of Flows of Images and Media. Wien, Heidelberg: Springer Verlag: 27-66 Deshpande, Satish. 2003. “The Centrality of the Middle Class”. In Contemporary India. A Sociological View. New Delhi: Penguin: 125-150
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Leisure, Autonomy and the New Woman in India
von Abigail McGowan
Den kompletten Essay finden Sie unter:
http://www.tasveergharindia.net/cmsdesk/essay/95/index.html
In ihrem Essay untersucht McGowan das alltägliche Leben und die eintretenden Veränderungen in anhand der durchschnittlichen Mittelklassefrau im spätkolonialen Indien. Dabei zeigt sie anhand von Postern und Kalender den Wandel der im Haushalt in dieser Zeit stattgefunden haben (Techniken, Modernität, Entspannung, Rollenverständnis).
“ It is in that promise of sanctuary for women that visual culture sources suggest a different answer to the appeal of home reform as compared to what is offered in written sources. Texts like The Bride’s Mirror emphasize the importance of womanly success in the home for others: Asghari’s achievements are her husband’s job, her father-in-law’s retirement, and her sister-in-law’s marriage. We never glimpse her savoring a cup of tea on her own or amusing herself at the sitar; instead she is always busily securing the comforts of others. Such an emphasis reflects, in part, the uncertain reception late nineteenth century reform efforts met among men, who worried that change would disrupt their comfort and power in the home. For all that The Bride’s Mirror had to convince women of the need for change, it also set out to assure men that change would benefit them as well. By the mid-twentieth century, reform might still be controversial, but it had won wider acceptance. Thus, in mid-century calendar art, women reap the fruits of proper home management: when everything is done right, and the home is run on modern lines, women get to relax and enjoy themselves. To women like Lilabai Patwardhan struggling to manage the competing demands of house cleaning, child care, and husbandly instruction, such a vision would provide a compelling incentive to modernize the home.“
Imagining ‘Everyday Life’ Through Popular Visual Culture
von Sandria B. Freitag
Den kompletten Essay finden Sie unter:
http://www.tasveergharindia.net/cmsdesk/essay/96/index.html
Freitags Thema für ihren Essay ist das Alltägliche im Bild und in der Imagination. Der „visuelle turn“ in der Geschichte hat es uns ermöglicht, die Geschichte besser zu verstehen, da sie losgelöst von der elitebasierten Geschichtserzählungen den Fokus auf das alltägliche Leben von durchschnittlichen Bürgern legt. Die Autorin untersucht die Priya Paul Kollektion und geht von folgenden theoretischen Grundannahmen aus: 1. Der Konsum ist eine selbstbezogene Kommunikation bei der man durch (Aus)Wahl Informationen über die eigene Identität aussendet. 2. Identität sollte als eine im werden/wünschen verstanden werden. 3. Der aktive, produzierende Kulturarbeiter ist einer der Narrative, Geschichten, Objekte und Praktiken aus unzähligen Stücken zusammensetzt.
„This interactive meaning-making illuminates much about the processes of visually informed narrative-building. Old stories gained new depth with each iteration around a visual object; experience with this performative productivity, in turn, enabled viewers/ consumers to construct new stories that drew on familiar values, reinterpreted. From mythological stories to narratives describing a modern (Indian) life; from ethnographic collectibles to imagined domesticity of the new nuclear family; from the everyday routine of labor and occupation to an imagined everyday of identities linked to an expanded sense of place (reflecting India’s location within the world) and new ways of life: these are the identity narratives conveyed by interaction with visual artifacts in 20th century India.“
Shifting Urban Landscapes and the Politics of Spectacle
von Roos Gerritsen
Den kompletten Essay finden Sie unter:
http://www.tasveergharindia.net/cmsdesk/essay/115/index.html
In seinem Essay untersucht Gerritsen die Entwicklungen in der Stadt Chennai (im Bundesstaat Tamil Nadu). Hier geht die lokale Administration seit 2009 gegen die auswuchernde politische und ökonomische Plakatwerbung vor. Anstatt dieser Plakate und Fassadenbemalungen kann man nun an den Wänden und Häuser entlang der Hauptstraßen Kunstwerke mit Bezug auf die tamilische Kultur und Natur bestaunen. Heute gibt es an über 3.000 Stellen ein Verbot öffentlicher Werbung und immer mehr lokale Motive anstatt der nervigen politischen und ökonomischen Plakate zieren viele andere Wände in Chennai.
„As postcard images the new murals have contributed to the reinforcement of the iconic, standardized status of history, tradition, and the beauty of the State, but is not their repetition again creating indifference? I think we can be almost sure that after the newness of the mural form has worn off, the depicted scenes will return from their short-lived presence in hyperreality into the sphere of clichéd, everyday manifestations that are largely unnoticed. For the moment, the city authorities steadily continue to embellish even more public walls.“
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Stereotypes of Muslim Piety in Calendar Art and Hindi Cinema
von Yousuf Saeed
Den kompletten Essay finden Sie unter:
http://www.tasveerghar.net/cmsdesk/essay/78/index.html
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In seinem Essay geht Saeed auf Vorurteile und Stereotypen gegenüber gewissen Gemeinschaften/Gruppen ein, die sich seiner Meinung nach aus der Repräsentation dieser in den täglichen populären Medien und der Massenvisuellen Kultur speisen. Anhand von religiösen Postern und Kalender in Indien zeigt er wie ein Bild des frommen Muslims entsteht.
“ Indian cinema and television continue to strengthen the community stereotypes that prevail in popular culture. Many film producers wait for Eid or Diwali to release their blockbusters, not so much for the auspicious day, but for the holiday and the savings the working class would spend on cinema. On last Eid in a Muslim locality in Delhi, one found a surprise at a poster shop – a colour photograph of the film star Salman Khan in typical Muslim attire, doing a courteous aadab (Muslim salutation) with his naughty smile.“
Also the author’s new book: Muslim Devotional Art in India, Routledge, New Delhi, 2011.