Whittier College Wiki - User contributions [en]

Myth

2017-03-28T21:04:28Z

Leimanah:

Sacred story or "type of speech" that reaffirms and reproduces ideology in relation to an object.

Introductory paragraph to the term. Brief definition

==Background==
A myth is any traditional story consisting of events that are ostensibly historical, though often supernatural, explaining the origins of a cultural practice or natural phenomenon.[3] The word "myth" is derived from the Greek word mythos (μῦθος), which simply means "story". Mythology can refer either to the study of myths, or to a body or collection of myths.[4] Myth can mean 'sacred story', 'traditional narrative' or 'tale of the gods'. A myth can also be a story to explain why something exists.

Human cultures usually include a cosmogonical or creation myth, concerning the origins of the world, or how the world came to exist. The active beings in myths are generally gods and goddesses, heroes and heroines, or animals and plants. Most myths are set in a timeless past before recorded time or beginning of the critical history. A myth can be a story involving symbols that are capable of multiple meanings.

A myth is a sacred narrative because it holds religious or spiritual significance for those who tell it. Myths also contribute to and express a culture's systems of thought and values, such as the myth of gremlins invented by aircraft technicians during World War II to avoid apportioning blame. Myths are often therefore stories that are currently understood as being exaggerated or fictitious.[5]

According to Albert A. Anderson, a professor of philosophy, the term mythos appears in the works of Homer and other poets of Homer's era.[6] In these works, the term had several meanings: conversation, narrative, speech, story, tale, and word. Like the related term logos, mythos expresses whatever can be delivered in the form of words.[6] Anderson contrasts the two terms with ergon, a Greek term for action, deed, and work.[6]

The term mythos lacks an explicit distinction between true or false narratives.[6]

In the context of the Theatre of ancient Greece, the term mythos referred to the myth, the narrative, the plot, and the story of a theatrical play.[7] According to David Wiles, the Greek term mythos in this era covered an entire spectrum of different meanings, from undeniable falsehoods to stories with religious and symbolic significance.[7]

According to philosopher Aristotle (384-322 BC), the spirit of a theatrical play was its mythos.[7] The term mythos was also used for the source material of Greek tragedy. The tragedians of the era could draw inspiration from Greek mythology, a body of "traditional storylines" which concerned gods and heroes.[7] David Wiles observes that modern conceptions about Greek tragedy can be misleading. It is commonly thought that the ancient audience members were already familiar with the mythos behind a play, and could predict the outcome of the play. However, the Greek dramatists were not expected to faithfully reproduce traditional myths when adapting them for the stage. They were instead recreating the myths and producing new versions.[7] Storytellers like Euripides (c. 480-406 BC) relied on suspense to excite their audiences. In one of his works, Merope attempts to kill her son's murderer with an axe, unaware that the man in question is actually her son. According to an ancient description of audience reactions to this work, the audience members were genuinely unsure of whether she would commit filicide or she will be stopped in time. They rose to their feet in terror and caused an uproar.[7]

David Wiles points that the traditional mythos of Ancient Greece, was primarily a part of its oral tradition. The Greeks of this era were a literate culture, but produced no sacred texts. There were no definitive or authoritative versions of myths recorded in texts and preserved forever in an unchanging form.[8] Instead multiple variants of myths were in circulation. These variants were adapted into songs, dances, poetry, and visual art. Performers of myths could freely reshape their source material for a new work, adapting it to the needs of a new audience or in response to a new situation.[8]

Children in Ancient Greece were familiar with traditional myths from an early age. Based on the writings of philosopher Plato (c. 428-347 BC), mothers and nursemaids narrated myths and stories to the children in their charge.[8] These women were tasked with rearing children. Apparently they had to find ways to stimulate the children's language skills and imaginations. They lacked access to children's literature or television, so the solution was to turn to storytelling. David Wiles describes them as a repository of mythological lore.[8]

Bruce Lincoln has called attention to the apparent meaning of the terms mythos and logos in the works of Hesiod. In Theogony, Hesiod attributes to the Muses the ability to both proclaim truths and narrate plausible falsehoods (falsehoods which seem like real things).[9] The verb used for narrating the falsehoods in the text is legein, which is etymologically associated with logos. There are two variants in the manuscript tradition for the verb used to proclaim truths. One variant uses gerusasthai, the other mythesasthai. The latter is a form of the verb mytheomai (to speak, to tell), which is etymologically associated with mythos.[9] In the Works and Days, Hesiod describes his dispute with his brother Perses. He also announces to his readers his intention to tell true things to his brother. The verb he uses for telling the truth is mythesaimen, another form of mytheomai.[9]

Lincoln draws the conclusion that Hesiod associated the "speech of mythos" (as Lincoln calls it) with telling the truth. While he associated the "speech of logos" with telling lies, and hiding one's true thoughts (dissimulation).[9] This conclusion is strengthened by the use of the plural term logoi (the plural form of logos) elsewhere in Hesiod's works. Three times the term is associated with the term "seductive" and three times with the term "falsehoods".[9] In his genealogy of the gods, Hesiod lists logoi among the children of Eris, the goddess personifying strife. Eris' children are ominous figures, which personify various physical and verbal forms of conflict.[9]

==Uses in other disciplines==
The term is common in the academic fields of mythology, mythography.[10] or folkloristics. Use of the term by scholars has no implication for the truth or falsity of the myth. While popular usage interchangeably employs the terms legend, fiction, fairy tale, folklore, fable and urban legend, each has a distinct meaning in academia.

A myth can be a collectively held belief that has no basis in fact. This usage, which is often pejorative,[11] arose from labeling the religious myths and beliefs of other cultures as incorrect, but it has spread to cover non-religious beliefs as well.[12] Because of this popular and subjective word usage, many people take offense when the narratives they believe to be true are called myths.

To the source culture a myth by definition is "true", in that it embodies beliefs, concepts and ways of questioning to make sense of the world.

==See also==
Tale
Epic

==References==
"Myth." Dictionary.com. Dictionary.com, Web. 18 Mar. 2017.

==External links==
https://en.wikipedia.org/wiki/Myth

[[Category:Critical Theory]]

Interpellation

2017-03-28T21:01:53Z

Leimanah:

Marxist theory by Althusser with the ideology of giving identity to something.

==Background==
Interpellation is associated in particular with the work of French philosopher Louis Althusser.[1] In Marxist theory, interpellation is an important concept regarding the notion of ideology. According to Althusser, every society is made up of Ideological State Apparatuses (ISAs) and Repressive State Apparatuses (RSAs) which are instrumental to spread the dominant ideology of that given society. While ISAs belong to the private domain and refer to private institutions (family, church but also the media and politics), the RSA is one public institution (police/military) controlled by the government. Consequently, 'interpellation' describes the process by which ideology, embodied in major social and political institutions (ISAs and RSAs), constitutes the very nature of individual subjects' identities through the process of "hailing" them in social interactions.

Althusser’s thought has made significant contributions to other French philosophers,[2] notably Derrida, Kristeva, Barthes, Foucault, and Deleuze.

In “Ideology and Ideological State Apparatuses (Notes Towards an Investigation),”[1] Althusser introduces the concepts of Ideological State Apparatuses (ISA), Repressive State Apparatuses (RSAs), ideology, and interpellation. In his writing, Althusser argues that “there is no ideology except by the subject and for the subject”.[1] This notion of subjectivity becomes central to his writings.

To illustrate this concept, Althusser gives the example of a friend who knocks on a door. The person inside asks “Who is there?” and only opens the door once the “It’s me” from the outside sounds familiar. By doing so, the person inside partakes in “a material ritual practice of ideological recognition in everyday life”.[1] In other words, Althusser’s central thesis is that “you and I are always already subjects” and are constantly engaging in everyday rituals, like greeting someone or shaking hands, which makes us subjected to ideology.

Althusser goes further to argue that “all ideology hails or interpellates concrete individuals as concrete subjects” and emphasizes that “ideology ‘acts’ or ‘functions’ in such a way that it ... ‘transforms’ the individual into subjects”.[1] This is made possible through Althusser’s notion of interpellation or hailing which is a non-specific and unconscious process. For example, when a police officer shouts (or hails) “Hey, you there!” and an individual turns around and so-to-speak ‘answers’ the call, he becomes a subject. Althusser argues that this is because the individual has realized that the hailing was addressed at him which makes him subjective to the ideology of democracy and law.

Consequently, individual subjects are presented principally as produced by social forces, rather than acting as powerful independent agents with self-produced identities.

Althusser's argument here strongly draws from Jacques Lacan's concept of the mirror stage. However, unlike Lacan who distinguishes between the “I” and the “subject”, Althusser collapses both concepts into one, reducing the individuals to a mere subject.[3]

==Uses in other disciplines==
German philosophers Theodor Adorno and Max Horkheimer employ a method of analysis similar to Althusser's notion of interpellation in their text Dialectic of Enlightenment, although they do so 26 years before "Ideology and Ideological State Apparatuses" was released. Rather than situating their analysis on the State, Adorno and Horkheimer argue that the mass media is responsible for the construction of passive subjects.[4] So unlike the police officer in Althusser’s example who reinforces the ideology of democracy and law, the mass media has now taken over this role and interpellates, or hails at, the passive consumer.

Feminist scholar and queer theorist Judith Butler has critically applied a framework based on interpellation to highlight the social construction of gender identities. She argues that by hailing “It’s a boy/girl,” the newborn baby is ultimately positioned as subject.[5]

==See also==
Althusser

==References==
"Interpellation (philosophy)." Dictionary.com. Dictionary.com, Web. 07 Feb. 2017.

==External links==
https://en.wikipedia.org/wiki/Interpellation_(philosophy)

[[Category:Critical Theory]]

Culture

2017-03-28T20:52:20Z

Leimanah:

"...What human beings produce and the means by which we preserve what we have produced." All of which can be categorized into physical, social, and attitudinal forms.

==Background==
The modern term "culture" is based on a term used by the Ancient Roman orator Cicero in his Tusculanae Disputationes, where he wrote of a cultivation of the soul or "cultura animi,"[7] using an agricultural metaphor for the development of a philosophical soul, understood teleologically as the highest possible ideal for human development. Samuel Pufendorf took over this metaphor in a modern context, meaning something similar, but no longer assuming that philosophy was man's natural perfection. His use, and that of many writers after him, "refers to all the ways in which human beings overcome their original barbarism, and through artifice, become fully human."[8]

Philosopher Edward S. Casey (1996) describes: "The very word culture meant 'place tilled' in Middle English, and the same word goes back to Latin colere, 'to inhabit, care for, till, worship' and cultus, 'A cult, especially a religious one.' To be cultural, to have a culture, is to inhabit a place sufficiently intensive to cultivate it—to be responsible for it, to respond to it, to attend to it caringly."[9]

Culture described by Velkley:[8]

... originally meant the cultivation of the soul or mind, acquires most of its later modern meaning in the writings of the 18th-century German thinkers, who were on various levels developing Rousseau's criticism of "modern liberalism and Enlightenment". Thus a contrast between "culture" and "civilization" is usually implied in these authors, even when not expressed as such.

In the United Kingdom, sociologists and other scholars influenced by Marxism such as Stuart Hall (1932–2014) and Raymond Williams (1921–1988) developed cultural studies. Following nineteenth-century Romantics, they identified "culture" with consumption goods and leisure activities (such as art, music, film, food, sports, and clothing). Nevertheless, they saw patterns of consumption and leisure as determined by relations of production, which led them to focus on class relations and the organization of production.[32][33]

German Romanticism[edit]

Johann Herder called attention to national cultures.
Immanuel Kant (1724–1804) formulated an individualist definition of "enlightenment" similar to the concept of bildung: "Enlightenment is man's emergence from his self-incurred immaturity."[13] He argued that this immaturity comes not from a lack of understanding, but from a lack of courage to think independently. Against this intellectual cowardice, Kant urged: Sapere aude, "Dare to be wise!" In reaction to Kant, German scholars such as Johann Gottfried Herder (1744–1803) argued that human creativity, which necessarily takes unpredictable and highly diverse forms, is as important as human rationality. Moreover, Herder proposed a collective form of bildung: "For Herder, Bildung was the totality of experiences that provide a coherent identity, and sense of common destiny, to a people."[14]

Adolf Bastian developed a universal model of culture.
In 1795, the Prussian linguist and philosopher Wilhelm von Humboldt (1767–1835) called for an anthropology that would synthesize Kant's and Herder's interests. During the Romantic era, scholars in Germany, especially those concerned with nationalist movements—such as the nationalist struggle to create a "Germany" out of diverse principalities, and the nationalist struggles by ethnic minorities against the Austro-Hungarian Empire—developed a more inclusive notion of culture as "worldview" (Weltanschauung).[15] According to this school of thought, each ethnic group has a distinct worldview that is incommensurable with the worldviews of other groups. Although more inclusive than earlier views, this approach to culture still allowed for distinctions between "civilized" and "primitive" or "tribal" cultures.

In 1860, Adolf Bastian (1826–1905) argued for "the psychic unity of mankind."[16] He proposed that a scientific comparison of all human societies would reveal that distinct worldviews consisted of the same basic elements. According to Bastian, all human societies share a set of "elementary ideas" (Elementargedanken); different cultures, or different "folk ideas" (Völkergedanken), are local modifications of the elementary ideas.[17] This view paved the way for the modern understanding of culture. Franz Boas (1858–1942) was trained in this tradition, and he brought it with him when he left Germany for the United States.[18]

English Romanticism[edit]

British poet and critic Matthew Arnold viewed "culture" as the cultivation of the humanist ideal.
In the 19th century, humanists such as English poet and essayist Matthew Arnold (1822–1888) used the word "culture" to refer to an ideal of individual human refinement, of "the best that has been thought and said in the world."[19] This concept of culture is also comparable to the German concept of bildung: "...culture being a pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world."[19]

In practice, culture referred to an elite ideal and was associated with such activities as art, classical music, and haute cuisine.[20] As these forms were associated with urban life, "culture" was identified with "civilization" (from lat. civitas, city). Another facet of the Romantic movement was an interest in folklore, which led to identifying a "culture" among non-elites. This distinction is often characterized as that between high culture, namely that of the ruling social group, and low culture. In other words, the idea of "culture" that developed in Europe during the 18th and early 19th centuries reflected inequalities within European societies.[21]

British anthropologist Edward Tylor was one of the first English-speaking scholars to use the term culture in an inclusive and universal sense.
Matthew Arnold contrasted "culture" with anarchy; other Europeans, following philosophers Thomas Hobbes and Jean-Jacques Rousseau, contrasted "culture" with "the state of nature." According to Hobbes and Rousseau, the Native Americans who were being conquered by Europeans from the 16th centuries on were living in a state of nature[citation needed]; this opposition was expressed through the contrast between "civilized" and "uncivilized." According to this way of thinking, one could classify some countries and nations as more civilized than others and some people as more cultured than others. This contrast led to Herbert Spencer's theory of Social Darwinism and Lewis Henry Morgan's theory of cultural evolution. Just as some critics have argued that the distinction between high and low cultures is really an expression of the conflict between European elites and non-elites, other critics have argued that the distinction between civilized and uncivilized people is really an expression of the conflict between European colonial powers and their colonial subjects.

Other 19th-century critics, following Rousseau, have accepted this differentiation between higher and lower culture, but have seen the refinement and sophistication of high culture as corrupting and unnatural developments that obscure and distort people's essential nature. These critics considered folk music (as produced by "the folk," i.e., rural, illiterate, peasants) to honestly express a natural way of life, while classical music seemed superficial and decadent. Equally, this view often portrayed indigenous peoples as "noble savages" living authentic and unblemished lives, uncomplicated and uncorrupted by the highly stratified capitalist systems of the West.

In 1870 the anthropologist Edward Tylor (1832–1917) applied these ideas of higher versus lower culture to propose a theory of the evolution of religion. According to this theory, religion evolves from more polytheistic to more monotheistic forms.[22] In the process, he redefined culture as a diverse set of activities characteristic of all human societies. This view paved the way for the modern understanding of culture.

==Uses in other disciplines==
Culture (/ˈkʌltʃər/) can be defined in numerous ways. In the words of anthropologist E.B. Tylor, it is "that complex whole which includes knowledge, belief, art, morals, law, custom and any other capabilities and habits acquired by man as a member of society."[1] Alternatively, in a contemporary variant, "Culture is defined as a social domain that emphasizes the practices, discourses and material expressions, which, over time, express the continuities and discontinuities of social meaning of a life held in common."[2]

The Cambridge English Dictionary states that culture is "the way of life, especially the general customs and beliefs, of a particular group of people at a particular time."[3] Terror management theory posits that culture is a series of activities and worldviews that provide humans with the basis for perceiving themselves as "person[s] of worth within the world of meaning"—raising themselves above the merely physical aspects of existence, in order to deny the animal insignificance and death that Homo sapiens became aware of when they acquired a larger brain.[4][5]

As a defining aspect of what it means to be human, culture is a central concept in anthropology, encompassing the range of phenomena that are transmitted through social learning in human societies. The word is used in a general sense as the evolved ability to categorize and represent experiences with symbols and to act imaginatively and creatively. This ability arose with the evolution of behavioral modernity in humans around 50,000 years ago, and is often thought to be unique to humans, although some other species have demonstrated similar, though much less complex, abilities for social learning. It is also used to denote the complex networks of practices and accumulated knowledge and ideas that is transmitted through social interaction and exist in specific human groups, or cultures, using the plural form. Some aspects of human behavior, such as language, social practices such as kinship, gender and marriage, expressive forms such as art, music, dance, ritual, and religion, and technologies such as cooking, shelter, and clothing are said to be cultural universals, found in all human societies. The concept of material culture covers the physical expressions of culture, such as technology, architecture and art, whereas the immaterial aspects of culture such as principles of social organization (including practices of political organization and social institutions), mythology, philosophy, literature (both written and oral), and science make up the intangible cultural heritage of a society.[6]

In the humanities, one sense of culture as an attribute of the individual has been the degree to which they have cultivated a particular level of sophistication in the arts, sciences, education, or manners. The level of cultural sophistication has also sometimes been seen to distinguish civilizations from less complex societies. Such hierarchical perspectives on culture are also found in class-based distinctions between a high culture of the social elite and a low culture, popular culture, or folk culture of the lower classes, distinguished by the stratified access to cultural capital. In common parlance, culture is often used to refer specifically to the symbolic markers used by ethnic groups to distinguish themselves visibly from each other such as body modification, clothing or jewelry. Mass culture refers to the mass-produced and mass mediated forms of consumer culture that emerged in the 20th century. Some schools of philosophy, such as Marxism and critical theory, have argued that culture is often used politically as a tool of the elites to manipulate the lower classes and create a false consciousness, and such perspectives are common in the discipline of cultural studies. In the wider social sciences, the theoretical perspective of cultural materialism holds that human symbolic culture arises from the material conditions of human life, as humans create the conditions for physical survival, and that the basis of culture is found in evolved biological dispositions.

When used as a count noun, "a culture" is the set of customs, traditions, and values of a society or community, such as an ethnic group or nation. In this sense, multiculturalism is a concept that values the peaceful coexistence and mutual respect between different cultures inhabiting the same planet. Sometimes "culture" is also used to describe specific practices within a subgroup of a society, a subculture (e.g. "bro culture"), or a counterculture. Within cultural anthropology, the ideology and analytical stance of cultural relativism holds that cultures cannot easily be objectively ranked or evaluated because any evaluation is necessarily situated within the value system of a given culture.

==See also==
Anthropology

==References==
"Culture." Dictionary.com. Dictionary.com, Web. 18 Mar. 2017.

==External links==
https://en.wikipedia.org/wiki/Culture#See_also

[[Category:Critical Theory]]

Cultural Appropriation

2017-03-28T20:46:33Z

Leimanah:

The adoption of elements of a culture done by those of another culture and in doing do, the meaning of these cultural elements are often lost or altered. Because of this, the exhibits of these elements are seen as disrespectful or a desecration of the culture by those of the original culture.

Cultural appropriation is sometimes portrayed as harmful, framed as cultural misappropriation, and claimed to be a violation of the intellectual property rights of the originating culture.[2][3][4][5] Often unavoidable when multiple cultures come together, cultural appropriation can include using other cultures' traditions, fashion, symbols, language, and cultural songs without permission.[6] According to critics of the practice, cultural (mis)appropriation differs from acculturation, assimilation, or cultural exchange in that the "appropriation" or "misappropriation" refers to the adoption of these cultural elements in a colonial manner: elements are copied from a minority culture by members of a dominant culture, and these elements are used outside of their original cultural context—sometimes even against the expressly stated wishes of representatives of the originating culture.[5][7][8][9]

Often, the original meaning of these cultural elements is lost or distorted, and such displays are often viewed as disrespectful by members of the originating culture, or even as a form of desecration.[7][10][11][12] Cultural elements which may have deep meaning to the original culture may be reduced to "exotic" fashion by those from the dominant culture.[7][8][13] Kjerstin Johnson has written that, when this is done, the imitator, "who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experiencing any of the daily discriminations faced by other cultures."[13]

Conversely, cultural appropriation or borrowing can be viewed as inevitable and a contribution to diversity and free expression.[14] This view distinguishes outright theft of cultural artifacts or exotic stereotyping from more benign borrowing or appreciation. Cultural borrowing and cross-fertilization is seen by proponents as a generally positive thing, and as something which is usually done out of admiration of the cultures being imitated, with no intent to harm them.[15][16]

==Background==
Extended definition of the term.
Who coined the term?
Disciplinary history?
Significant figures, theorists, etc.?

==Uses in other disciplines==
Art
Costumes
Religion & Spirituality
Sports
Language
African-American Culture
Fashion

==See also==
Cultural Misappropriation,
Appropriation (music),
Civilizing mission,
Constantinian shift,
Crossover music,
Cultural appropriation in the fashion industry,
Cultural diffusion,
Enculturation,
Fusion cuisine,
Half-breed,
Isolationism,
Native Americans in German popular culture,
Native American hobbyism in Germany,
Noble savage,
Post-colonial copyright crisis,
Recuperation (sociology),
Syncretism,
Westernization,
Xenocentrism,

==References==
"Cultural Appropriation." Dictionary.com. Dictionary.com, Web. 18 Mar. 2017.

==External links==
https://en.wikipedia.org/wiki/Cultural_appropriation

[[Category:Critical Theory]]

Cultural Appropriation

2017-03-28T20:45:19Z

Leimanah:

The adoption of elements of a culture done by those of another culture and in doing do, the meaning of these cultural elements are often lost or altered. Because of this, the exhibits of these elements are seen as disrespectful or a desecration of the culture by those of the original culture.

Cultural appropriation is sometimes portrayed as harmful, framed as cultural misappropriation, and claimed to be a violation of the intellectual property rights of the originating culture.[2][3][4][5] Often unavoidable when multiple cultures come together, cultural appropriation can include using other cultures' traditions, fashion, symbols, language, and cultural songs without permission.[6] According to critics of the practice, cultural (mis)appropriation differs from acculturation, assimilation, or cultural exchange in that the "appropriation" or "misappropriation" refers to the adoption of these cultural elements in a colonial manner: elements are copied from a minority culture by members of a dominant culture, and these elements are used outside of their original cultural context—sometimes even against the expressly stated wishes of representatives of the originating culture.[5][7][8][9]

Often, the original meaning of these cultural elements is lost or distorted, and such displays are often viewed as disrespectful by members of the originating culture, or even as a form of desecration.[7][10][11][12] Cultural elements which may have deep meaning to the original culture may be reduced to "exotic" fashion by those from the dominant culture.[7][8][13] Kjerstin Johnson has written that, when this is done, the imitator, "who does not experience that oppression is able to 'play', temporarily, an 'exotic' other, without experiencing any of the daily discriminations faced by other cultures."[13]

Conversely, cultural appropriation or borrowing can be viewed as inevitable and a contribution to diversity and free expression.[14] This view distinguishes outright theft of cultural artifacts or exotic stereotyping from more benign borrowing or appreciation. Cultural borrowing and cross-fertilization is seen by proponents as a generally positive thing, and as something which is usually done out of admiration of the cultures being imitated, with no intent to harm them.[15][16]

==Background==
Extended definition of the term.
Who coined the term?
Disciplinary history?
Significant figures, theorists, etc.?

==Uses in other disciplines==
Art
Costumes
Religion & Spirituality
Sports
Language
African-American Culture
Fashion

==See also==
Cultural Misappropriation
Appropriation (music)
Civilizing mission
Constantinian shift
Crossover music
Cultural appropriation in the fashion industry
Cultural diffusion
Enculturation
Fusion cuisine
Half-breed
Isolationism
Native Americans in German popular culture
Native American hobbyism in Germany
Noble savage
Post-colonial copyright crisis
Recuperation (sociology)
Syncretism
Westernisation
Xenocentrism

==References==
"Cultural Misappropriation." Dictionary.com. Dictionary.com, Web. 18 Mar. 2017.

==External links==
https://en.wikipedia.org/wiki/Cultural_appropriation

[[Category:Critical Theory]]

Myth

2017-03-23T22:32:03Z

Leimanah:

Sacred story or "type of speech" that reaffirms and reproduces ideology in relation to an object.

Introductory paragraph to the term. Brief definition

==Background==
Extended definition of the term.
Who coined the term?
Disciplinary history?
Significant figures, theorists, etc.?

==Uses in other disciplines==
Many terms are used beyond Media Studies or come from other fields, mention those here.

==See also==
Make connections and links to connected keyterms and articles. Remember to consult the guide for [[links]].

==References==
"Advertising." Dictionary.com. Dictionary.com, Web. 07 Feb. 2017.

==External links==
Additional online resources for this keyterm.

[[Category:Critical Theory]]

Cultural Appropriation

2017-03-23T22:31:09Z

Leimanah:

Culture

2017-03-23T22:30:41Z

Leimanah:

"...What human beings produce and the means by which we preserve what we have produced." All of which can be categorized into physical, social, and attitudinal forms.

Introductory paragraph to the term. Brief definition

==Background==
Extended definition of the term.
Who coined the term?
Disciplinary history?
Significant figures, theorists, etc.?

==Uses in other disciplines==
Many terms are used beyond Media Studies or come from other fields, mention those here.

==See also==
Make connections and links to connected keyterms and articles. Remember to consult the guide for [[links]].

==References==
"Advertising." Dictionary.com. Dictionary.com, Web. 07 Feb. 2017.

==External links==
Additional online resources for this keyterm.

[[Category:Critical Theory]]

Cultural Appropriation

2017-03-23T21:16:47Z

Leimanah: Created page with "The adoption of elements of a culture done by those of another culture and in doing do, the meaning of these cultural elements are often lost or altered. Because of this, the..."

Myth

2017-03-23T21:09:03Z

Leimanah: Created page with "Sacred story or "type of speech" that reaffirms and reproduces ideology in relation to an object."

Sacred story or "type of speech" that reaffirms and reproduces ideology in relation to an object.

Interpellation

2017-03-23T21:07:37Z

Leimanah: Created page with "Marxist theory by Althusser with the ideology of giving identity to something."

Marxist theory by Althusser with the ideology of giving identity to something.

Culture

2017-03-23T21:05:13Z

Leimanah: Created page with ""...What human beings produce and the means by which we preserve what we have produced." All of which can be categorized into physical, social, and attitudinal forms."

"...What human beings produce and the means by which we preserve what we have produced." All of which can be categorized into physical, social, and attitudinal forms.

User:Leimanah

2017-02-01T00:03:45Z

Leimanah: Created page with " I am a Kinesiology major, I swim and play water polo. I also work for a film company and I help with their social media(s)."

I am a Kinesiology major, I swim and play water polo. I also work for a film company and I help with their social media(s).