PageD7/3 Archives - Page 5 of 6 - Standards Michigan

Cultural Geography

University of Nebraska-Lincoln

Cultural Geographies + Rewriting the Earth

Paul Kingsbury (Simon Fraser University)

Arun Saldanha University of Minnesota

Acquiring Editor

Bridget Barry

Cultural geography has witnessed profound changes in recent years on three interrelated levels: theoretical, methodological, and sociopolitical. In terms of theory, new conceptions of culture have emerged that examine social and geographical differentiation as involving objects, affect, nonhumans, mobility, emotion, queerness, assemblage, materiality, the unconscious, biopolitics, relationality, and intersectionality.

At the level of methodology, experiments with fieldwork and writing practices demonstrate the extent to which cultural geography has learned from and contributes to many areas of policy, science, therapy, ethics, aesthetics, and activism. Finally, in terms of the sociopolitical engagements with the world outside of academia, cultural geographers are exploring the multiple crises of energy, climate change, nationalism, (sub)urban expansion, loss of biodiversity, inequality, and fragmentation of social life under the spell of digital technologies and consumerism.

Contemporary cultural geography, a distinctive and dynamic subdiscipline in geography, is an efflorescence of many strands of research exploring cultural phenomena with the shared commitment to spatiality. Arguably, the new hopes, dangers, and intensities that are rewriting the earth are best addressed through the unique perspectives of cultural geography.

This series, Cultural Geographies + Rewriting the Earth, provides a forum for cutting-edge research that embraces theoretical creativity, methodological experimentation, and ethico-political urgency. It provides a forum for a wide readership who desire to keep up with the innovations, debates, and agendas that define the humanities and social sciences today.

“How to Escape the Woke Matrix”

“Wokeism” is a term that has been used to describe a cultural and political movement characterized by a heightened awareness of social and political issues related to race, gender, and various forms of discrimination and inequality. The term is often used in a pejorative or critical manner by those who view it as excessive or overly focused on identity politics.

The concept of being “woke” originally comes from African American Vernacular English and referred to being socially and politically aware, especially in the context of racial injustice and inequality. It has since evolved into a broader movement that advocates for social justice and equality across various marginalized groups, including racial, gender, sexual, and socioeconomic minorities.

Supporters of wokeism argue that it is important to address systemic discrimination and promote inclusivity and equity in society. Critics, on the other hand, may use the term “wokeism” to criticize what they see as an excessive or dogmatic approach to social justice issues, often accusing it of being overly politically correct or censorious of dissenting opinions. — (ChatGPT)

Evensong “Rud videregående skole”

This content is accessible to paid subscribers. To view it please enter your password below or send [email protected] a request for subscription details.

Eine kleine Nachtmusik

This content is accessible to paid subscribers. To view it please enter your password below or send [email protected] a request for subscription details.

Evensong “My Life Flows On in Endless Song”

This content is accessible to paid subscribers. To view it please enter your password below or send [email protected] a request for subscription details.

Evensong “And So It Goes”

The Ballad of Barbara Allen

In every heart there is a room
A sanctuary safe and strong
To heal the wounds from lovers past
Until a new one comes along

[Verse 2]

I spoke to you in cautious tones
You answered me with no pretense
And still I feel I said too much
My silence is my self defense

[Chorus]

And every time I’ve held a rose
It seems I only felt the thorns
And so it goes, and so it goes
And so will you soon I suppose

[Verse 3]

But if my silence made you leave
Then that would be my worst mistake
So I will share this room with you
And you can have this heart to break

[Chorus]

And this is why my eyes are closed
It’s just as well for all I’ve seen
And so it goes, and so it goes
And you’re the only one who knows

[Verse 4]

So I would choose to be with you
That’s if the choice were mine to make
But you can make decisions too
And you can have this heart to break

[Outro]

And so it goes, and so it goes
And you’re the only one who knows

Gershwin Concerto in F

George Gershwin’s “Concerto in F” holds immense significance in American culture. Composed in 1925, it bridged the gap between classical and popular music, epitomizing the spirit of the Jazz Age.

The concerto showcased Gershwin’s unique ability to blend classical orchestration with jazz-infused rhythms and melodies, captivating audiences and critics alike. It became a symbol of American innovation, reflecting the energy and vitality of a rapidly evolving society. Gershwin’s work not only influenced subsequent American composers but also helped legitimize jazz as a sophisticated art form.