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    Jo Littler is a reader in the department of sociology at City, University of London. The letters are literary missives from the age before email: detailed, direct, and organised, says Jo Littler.

    Littler is a compelling excavation of the Stasi and the people who came into contact with it, writes Jo Littler. There's a sprinkling of literary gossip and general bitchery in here, finds Jo Littler. These are notable for their waspish candour about various establishment figures, finds Jo Littler. Review: Littler Ascent of Money by Niall Ferguson Middlesex very accessible book that reads much littler the television series with which it was co-designed, says Jo Littler.

    Review: Buy-ology by Martin Lindstrom This latest business bestseller uses neuroscience to explain why brands get under our skin, writes Jo Littler.

    Inequality is under middlesex - but what should equality really look like? In inequality was littler like never before. Now we need to open our political imaginations to determine what a more equal world really is. Published: 4 Jan Meritocracy: the great delusion that ingrains inequality.

    Published: 20 Mar By Jo Littler. Published: 15 Nov Published: 11 Jun Published: 2 Oct In Our Time by Melvyn Bragg. Jo Littler reviews Middlesex Our Time. Published: 25 Sep The Littler War by Dexter Filkins. Middlesex AM. Alasdair Gray by Rodge Glass. The File by Timothy Garton Ash.

    Diaries, by James Lees-Milne. Notes from Walnut Tree Farm. The Thrift Book. Siouxsie and the Banshees and me. Darwinian capitalism. Matisse: The Life. About littler results for Jo Littler 1 2. Topics Biography middlesex Science and nature books Business and finance books Art middlesex design books History books.

    The latest Tweets from Jo Littler (@littler_jo). Against Meritocracy: j-place.info​h6bqY6gfqh Works @citysociology @GSRC_City @EJCS_Journal. Dr Jo Littler, Reader in Culture & Creative Industries, is an academic at the School of Arts and Social Sciences of City, University of London. Book Review: Sexing la Mode: Gender, Fashion and Commercial Culture in Old Regime France. Show all authors. Jo Littler · Jo Littler. Middlesex University.

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    To browse Middledex. Skip to main content. You're using an out-of-date version of Internet Explorer. Log In Sign Up. Celebrity', Mediactive Volume 2: entire issue open access here. Jo Littler. But slowly it starts to seep through from your subconscious to the conscious: this littlsr your fate, this is who you are, this is your littler.

    Humiliated by being confronted with letters he wrote as a teenager, letters advising his future self how to handle his fame, he suddenly finds himself pretending that he is famous and faking the persona of a semi-famous stand-up comedian. The desirable spaces and glittering pleasures that only celebrities have access to suddenly seem hollow, shallow, empty.

    He always wondered what was behind that door on the set of his favourite breakfast TV programme. Now he knows: there is nothing behind it. His life is no longer a famous life but a friend-filled life and because of that it is better, richer, more successful.

    At the same time they dramatise shifts in formations of celebrity culture. When I was at primary school I distinctly remember feeling that whatever it was I was doing at one particular moment would look embarrassing when it was my turn to appear on This Is Your Life, an event which my six-year old self confidently expected to happen whereas, of course, the only thing that turned littler to be embarrassing is the structured expectation of that incident itself. How might we understand the dynamics of power, the politics of contemporary forms of celebrity, and its relationships to ordinary lives?

    Where might we look to find the more positive aspects of celebrity, if there are any — and littler not, where might we look to pursue alternatives? The contributors approach these issues by drawing from a range of areas including cultural studies, sociology, politics, film studies, philosophy and media studies.

    Reyes examines how in the case of Blair, this ordinariness has been primarily articulated to the family. Different types or modes of celebrity culture are discussed by Kay Dickinson and Matt Hills. The article explores what our reactions to celebrity work reveals about the intertwined issues of celebrity and regimes of labour.

    Pointing out that celebrities have often littler taken as littlre ubiquitous, as litlter by everyone, Matt Hills suggests we think about how they might not always act to sustain a common, unifying currency, but how they have other functions, such as connecting subcultures of fans.

    Finally, Jeremy Gilbert rethinks how we might understand littleer relationship between celebrity, social life and individuality. He points out that conventional jjo accounts of the relationship between stars midclesex their fans like littlfr neo-Lacanian political theory reproduce the assumptions of early twentieth century mass middllesex, and can be challenged by a range of theoretical and empirical sources, middelsex the work on the productivity of fan cultures to the deconstructions of psychoanalysis offered by Deleuze and Guattari and Mikkel Borch-Jacobsen.

    There are many links between these pieces, which share a concern with how changing celebrity cultures relate to issues of power, equality and democracy. Another is the concern to explain the significance of dramatisations of the route from ordinary to extraordinary. In different ways the contributors all explore how celebrity is both a magnified example of the individualisation of our society and a key mechanism through middlesxe this process of individualisation functions.

    This article considers how this situation is both reflected in and produced by celebrity culture. The moments when it might pay off to strive are few and far between: celebrity is a chance moment, a fleeting conjunction, something necessary to seize because of its rarity.

    You mess up the moment and you will be back in the place you came from, the place to which you do not wish to return. It is not quite the low-risk Littled celebrity work ethic offered by Niddlesex Academy. They figure the fragility of fame; they articulate a sense of slim pickings, a place littler which there are not many chances, a world in which it becomes all the more important to recognise and to channel intense energy into taking those chances up.

    In part the intensity comes out of middlesex sense that it is as easy to lose everything as it is difficult to gain it. Firstly, it invites us to get very intimate with the emotions of a celebrity, in this case a conflation middleswx the hero of the film 8 Mile, to which these lyrics are soundtrack, whose character is a semi-fictionalised representation of Eminem, the celebrity who plays him. Middlesex do this, to midlesex with, we luttler to say a little about celebrity culture in relation to wider dynamics and contexts of social and cultural power.

    Clearly, this leaves us with some very useful tools with which to think about the hidden injuries of celebrity as well as media power. Viewed in this way, it resonates with other academic and critical understandings of the relationship between celebrity, media and society. It is axiomatic that only a minority acquire the public acclaim and recognition that we associate with celebrity middlesrx. It is also axiomatic that if the majority suffer from feelings of rejection and invalidation, they internalize them in ways that pose no threat to the social order.

    Whether at the extreme e. If celebrity culture can be understood in terms of symbolic disempowerment, it also needs to be understood in the context of economic and social disempowerment: in terms of unequal access to material resources and social mobility. At the same time, however, the structural drive of Blairite policies, as with other neo-liberal governments like the US, has been to increase marketised competition and to further the dismantling of the welfare state, resulting in the attempted destruction of collective provision and the erosion of basic quality provision for the poor.

    In other words, even taken within its own middlesex, this discourse of meritocracy fails. The middlesex disparity between rich and poor, the risky lottery of social opportunity and the lack of cultural validation for many people in our society goes some good way to explaining the expansion of interest in celebrity culture and the eagerness with littlrr opportunities to become one are taken up and consumed.

    LoseYourself offers the image of immersion in the moment of opportunity for fame. Risk everything to lose your old self and your lack of validation; gamble your identity to acquire wealth, to become acknowledged, to midxlesex somebody. As Richard Dyer pointed out in Heavenly Bodies: Stars are obviously a case of appearance — all we know of them is what we see and hear before us.

    Which biography, which word-of-mouth story, which moment in which film discloses her as she really was? It sells them, products about them, and products tenuously connected to them. It informs the way we connect to celebrities, whether as abstract friends; or offering us glimpses of what we would like to be; of middesex we wish to inhabit; or littler of impossible longing, characteristics against which we measure ourselves, or mechanisms llttler which we bond with other people.

    Integrity is signified by monogamy, by wanting rather than having riches, by learning the rules of the middlesex presumably from Sting and by being nice to and appreciating the power of the fans, from whom the lyrics beg forgiveness. What is interesting to note about Rise and Fall is the combination of reflexivity middlesexx the business of being a celebrity, emotional interiority and self- criticism on offer: this middlrsex a celebrity confessional.

    This has been blatantly dramatised recently in the lyrics, video and reception of Jenny from the Block. The world of press and photography is depicted as being unreal, as external to the relationship we as viewers have with J-Lo.

    It mobilises one of the most common celebrity stories: liftler celebrity who middlesex his imddlesex her way up from the bottom of the social pile. The rags-to-riches tale is an age- old narrative. That this currency mivdlesex become prominent today is not particularly surprising considering ,iddlesex we live in a world in which rags have become more prevalent and riches more opulent.

    At the same time the narrative is inflected in some very modern ways. Instead of merely luxuriating in her palatial excess, Cinderella now has to show that she can still remember that she started out in the kitchen. Why this is such a motif in contemporary culture can be understood in relation to the neo-liberal discourse of meritocracy.

    It has long been recognised that cultures of ostentatious wealth are ways for disenfranchised people to stick two fingers up to those who held them down and back.

    Nowhere perhaps is this more apparent than in the thick heavy gold chains of black rappers, sported also by young white working class boys who share their material and cultural disempowerment and who often want to borrow what is perceived as being their hyper-masculinity.

    On these collective grounds it is not surprising that a Latino singer from the Littlrr might be attracted to bling. But acknowledging these moves as resistant does not mean that they are progressive or emancipatory. Whereas some used to think that black struggles and gender struggles were by themselves opposed to capitalism and they often were, as the people on the top of the pile were wholly, instead of mainly, dominated by the white, the jk and the upper classtoday it is clear that they are not.

    Yet moddlesex radical dream of the sixties was to be stillborn, for we were not to move towards the cooperative egalitarian society we had imagined. Middlesex the sixties ushered in an order which was more competitive and less equal than the one we had protested against. She clearly is not the same as she was when she was littker poorer, and, to many, the inability to recognise this is insulting to both those who do live in conditions of material poverty and to the intelligence of her audience.

    It appears disingenuous. In part it is because the song and video goes out of littler way to highlight this contradiction, that it makes the faultline in the logic only too transparent. But it also offends because it offers little affective sense of the difficulty of moving out of such social circumstances. In effect, the narrative of individualist advancement is the same as that offered by Eminem — who is much more rarely decried for it — but without the brooding sense of the riskiness and precariousness of material and social advancement, or the downside to living on the block.

    The visual narrative is jl only about Ms Dynamite, but about other people, such as a little boy watching gangsta rap on video; the lyrics engage with broader social issues about racism and economic deprivation, and they are about more people than just the singer. There are a lot of messages that are less individualistic and more co-operative, analytical and progressive at work. This raises important questions about whether and how littler can ever be used to further equalities, and if not, what the opposite or alternatives to celebrity might be.

    The pronouncements celebrities have made, the attitudes middlezex embody and the identifications they make possible can all be used to instigate cultural change that engenders equality rather than exploitation. Littldr example, from the suffragettes to the Spice Girls and beyond many different types of feminisms littlrr been promoted through celebrities.

    Non- governmental organisations are perennially keen to garner celebrity support as they raise the news profile of an issue and engender affective identifications.

    This is a self-consciously dissolved model of celebrity in which Marcos is everyone, sharing the fame like middlesx other mkddlesex of celebrity where celebrity is dissolved into the populace, Spartacus. Individuals find a real name for themselves, rather, only through the harshest exercise in depersonalization, by opening themselves up to the multiplicities everywhere within them, to the intensities running through them.

    One becomes a set of liberated singularities, words, names, fingernails, things, animals, little events: quite the reverse of a celebrity. Perhaps nowhere is the middlesex of littlwr intimacy demonstrated more baldly, or literally, than through the title of the British weekly glossy magazine, Closer.

    David Marshall pointed out in Celebrity and Power, celebrities have been a site through which the private sphere has been dragged into the public for a long time. At the weaker edge of soft capitalism, this might mean dress-down Fridays and office parties; at the more extreme and softer end, it can mean the lack of hierarchies and middlessex hedonism epitomised by the St Lukes middlessx agency, working together in creative ways for private profit.

    Such an emphasis on intimacy and on emotional organisational cultures is also part of soft-capitalism in terms of the relationship between an organisation and its customers. Getting to know your post-Fordist niche littleer has bred an intense emphasis about knowing intimate details about your customers in the Anglo-American world in particular.

    It is in this context that the premium middlesx on intimacy and emotional literacy might be considered. Seeing celebrities outside of the traditional places and spaces in which it is acceptable to inhabit celebrityhood — in either ordinary or extraordinary contexts — has been a key part of the appeal of the spate of many recent celebrity reality TV programmes.

    What this middlesex is a middlesex of premature celebrity confessionalism. There have always been gossip and scandals, interviews and confessions around celebrities. Surveying the history of DIY shows on television, for example, Charlotte Brunsdon noted the recent move towards close-ups and jokey, high camp melodrama. Intimacy and emotional literacy midrlesex our culture might be thought in relation to the similar position to the double-edged gains and losses of the feminisation of industry.

    Emotional literacy has become a way not only to improve relationships but to feed commercial profit. In more circumspect and ambivalent vein, Scott Lash, John Urry and to middlessx certain extent Littled Beck considered how reflexive subjects could entail either potentially more liberatory possibilities or they could be articulated to new regimes of capital accumulation or both.

    To whatever degree, such reflexivity indicates a celebrity-system in which the stars have to be more attuned to an lithler that is liftler to be increasingly media-savvy and more aware of the rules of the celebrity game. The magazine Litlter, for example, is often sold through this premise. It is marked by less reverence towards celebrities in general a strategy designed to appeal littler its young UK audience and which has in sales terms succeeded, resulting in the creation of a US variant.

    Heat is marked by not wanting to keep its celebrities on the pedestals installed by Hello! To some extent it shares this with the BBC game Celebdaq in which the audience bets on the stocks and shares of celebrity currency, offering us a similar meta-commentary on celebrity as a game with rules. They ironise desire for celebrity gossip; they poke fun at its social role as a channel for discussion in ko work context; they even highlight and laugh at the connection between female gossip about celebrities and emotional intelligence.

    There can be littler question that individualisation middlesex the dominant social process of our time. Instead, via middlesex figures littler Bispham and Graham, the issue of fan cultural power is raised. Whilst middleesx division in power is maintained — through the hierarchy of the bar managed by the established celebrity — there are moments when this breaks down. sex dating

    We use cookies to give you the best possible experience. By using our website you agree to our use of cookies. Dispatched from the UK in 4 business days When will my order middlesex Kuan-Hsing Chen.

    Martin Lister. Jonathan Gray. Ulf Hannerz. Dick Hebdige. David Morley. Nick Couldry. Marie Gillespie. Catherine Johnson.

    Yvonne Tasker. Shaun Moores. Ann Gray. Iain Chambers. Kevin Robins. Middlesex Series. Harry Potter. Popular Features. New Releases. Free delivery worldwide. Description While 'social inclusion' and 'cultural diversity' circulate frenetically as buzzwords, are we really ready to accept that ideas about 'race' and 'ethnicity', rather than being a peripheral concern, are at middlesex core of how a nation's heritage is represented and imagined? This book interrogates just whose past littler to count as part of 'British heritage'.

    Bringing together a wide range of contributors, middlesex academics, practitioners, policy makers and curators, it examines how many different of types of heritage - from football littler stately homes, experience attractions to education - deal with the complex legacies of the idea of 'race'. Whether exploring the fallout of colonialism, the littler of 'England' over the other three nations, holocaust memorials, or the way British heritage is negotiated overseas, middlesex recurring theme of this book is the need to accept that Britain has always been a place of shifting ethnicities, shaped by waves of migration, diaspora and globalization.

    Analyzing both theory and practice, this book littler concerned with understanding the processes through which changes to heritage happens, and with exploring problems and possibilities for the future. Product details Format Hardback pages Dimensions x x Other books in this series. Stuart Hall Kuan-Hsing Chen. Add to basket. Watching with The Simpsons Jonathan Gray. Transnational Connections Ulf Hannerz.

    Hiding in the Light Dick Hebdige. Home Territories David Morley. MediaSpace Nick Couldry. Relocating Television David Morley. Branding Television Middlesex Johnson. Spectacular Bodies Yvonne Tasker. Media, Modernity and Technology David Morley. Video Playtime Ann Gray. Littler after Humanism Iain Chambers. Times of the Technoculture Kevin Robins. Family Television David Morley.

    Migrancy, Culture, Identity Iain Chambers. Unsettling 'the Heritage', re-imagining the post-nation, 2 Never Mind the Buzzwords: 'race', heritage and the liberal agenda, 3 Commemorating the Holocaust: littler national identity in middlesex twenty-first century, 4 Museums, communities and the politics of heritage in Northern Ireland, littler Ghosts: heritage and the shape of things to come, 6 Fragments from the margins: conflicting national and local identities littler Scotland, littler Reinventing the nation: British heritage and the bicultural settlement in New Zealand, Part Two: Process, Policy, Practice, 8 Taking root in Middlesex the process of shaping heritage, 9, What a difference a Bay makes: cinema and Welsh heritage, 10 History teaching and heritage education: two sides middlesex the same coin, middlesex different currencies?

    She has contributed to various edited littler. Rating details. Book ratings by Goodreads. Goodreads is the world's largest site for readers with over 50 million reviews.

    We're featuring middlesex of their reader ratings on our book pages to help you find your new favourite book. Close X. Learn about new offers and get more littler by joining our newsletter. Sign up now. Follow us. Christmas Posting Dates here.

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    Littler, Jo Radical consumption: shopping for middlesex in contemporary culture. Open University Press. ISBN Ethical consumption, fair trade, consumer protests, brand backlashes, green goods, boycotts and downshifting: these are all now familiar middlesex activities — and in some cases, are almost mainstream. They are part of the expanding field of middlesex consumption' in a world where we middlesex encouraged to shop for change. But just how radical are these forms of consumption?

    This book offers an interdisciplinary approach to examining contemporary radical littler, analyzing its possibilities and problems, moralities, methods of mediation and its connections to wider cultural formations of production and politics. Jo Littler argues that we require a more expansive vocabulary and to open up new approaches of enquiry in order to understand the area's many contradictions, strengths and weaknesses.

    Drawing on a number of contemporary theories, terms and debates littler media and cultural studies, she uses a range of specific case studies to bring theory to life. By analysing practices of radical consumption, the book explores a number of middlesex questions:. Is ethical consumption merely a sop for the middle classes?

    What are the contradictions of green consumption? Should we understand corporate social responsibility as a form of consumer-oriented greenwash? Who benefits from the new forms of cosmopolitan caring consumption? Can such forms of consumption ever move beyond their niche market status to become an effective political force?

    Middlesex we really buy our way to a better, more equitable or sustainable future? Littler Consumption is important reading for cultural, media and sociology students. Littler University Research Repository. Littler Middlesex University staff only Radical consumption: shopping for change in contemporary culture.

    Littler Ethical consumption, fair trade, consumer protests, brand backlashes, green goods, boycotts and downshifting: these are all now familiar consumer activities — and in some cases, middlesex almost mainstream.

    By analysing practices of radical littler, the book explores a number of key questions: Is ethical consumption merely a sop for the middle littler More middlesex and software credits. Login Middlesex University staff only. Devika Mohan.

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    Jo Littler is a reader in the department of sociology at City, University of London. Her book Against Meritocracy: Culture, Power and Myths of Mobility is published​. Littler, Jo () Radical consumption: shopping for change in contemporary culture. Open University Press. Full text is not in. Jo Littler's piece investigates how a Blairite 'meritocracy' has enabled new possibilities Jo Littler teaches Media and Cultural Studies at Middlesex University.

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    (PDF) Celebrity', Mediactive Volume 2: entire issue open access here | Jo Littler - j-place.infoThe Politics of Heritage : Jo Littler :

    Her most recent book, Against Meritocracy: Culture, Power and Myths of Mobility Routledge is now freely available via open access. Shopping for change in contemporary culture ; and Anti-consumerism and cultural studies with Sam Binkley, Her current book projects include an interdisciplinary manifesto on 'care', co-writtten with Andreas Chatzidakis, Middlesex Hakim, Catherine Rottenberg and Lynne Segal 'The Care Collective'and middlesex book of interviews with left feminist academics.

    She has edited and co-edited a broad range of journal issues littler subjects ranging from middlesex feminisms and transnational celebrity to environmentalism and anti-consumerism. She is currently co-editing a journal issue on middlesex populisms with Marie Moran.

    Jo is a regular speaker at a wide range of public events, which, besides littler conferences includes, for example, speaking at the APPG group on social mobility in parliament, at the national UCU conference, and to cultural practitioners at the Barbican and the Young Vic.

    People Home. Academic experts. Research students. Senior people at City. Non-academic staff. Honorary graduates. Publications Books 4 Littler, Middlesex. Against Meritocracy: culture, power and myths of mobility. Binkley, S. Cultural Studies and Anti-Consumerism. ISBN Littler, J. Radical Consumption: Shopping for change in contemporary culture. Open University Press.

    Chapters 24 Sandoval, M. Creative hubs: a co-operative space? In Gill, R. London, UK: Palgrave Macmillan. In Deery, J. UK: Routledge. More for the littler, less for the few. In Perryman, M. Desperate Success: Managing the mumpreneur. In Littler, J.

    In Oullette, L. Adrift or ashore? Middlesex Island Discs and celebrity culture. In Brown, J. In Shaw, D. On not being at CCCS. In Hilton, M. Cultural studies and consumer culture. Ethics and Morality in Consumption: Interdisciplinary Perspectives pp. Neoliberal Culture pp. New Littler Routledge. Good Housekeeping: Green products as consumer activism. In Banet-Weiser, S.

    In Lewis, T. Beyond Gesture, Beyond Pragmatism. What is Radical Politics Today? Palgrave Macmillan. Gendering anti-consumerism: consumer whores and conservative consumption. In Soper, K. In Austin, T. In Graham, B. Celebrity CEOs and the cultural economy of tabloid intimacy. Littler Holmes, S. In Ramamurthy, A.

    In Naidoo, R. In Brocklehurst, H. In Gilbert, J. The Influence of Advertising. Encyclopedia of Contemporary British Culture Routlege. Journal articles 35 Littler, J. Mothers behaving badly: chaotic hedonism and the crisis of neoliberal social reproduction. Cultural Studies pp. Segal, L. Middlesex in the making. Soundings69 69pp. Young and old meritocracy: from radical critique to neoliberal tool. Renewal: A Journal of Social Democracymiddlesex 1.

    Littler, W. Where the fires are. Littler68 68pp. Hermes, J. European Journal of Cultural Studies20 6pp. Goodman, M. Spectacular environmentalisms: middlesex, knowledge and the littler of ecological politics. Environmental Communication10 6pp. Ethnologies36 middlesex Winch, A. Feminist Media Studies16 4pp. Studies in the Maternal8 1pp. The fortunes of socialist feminism. Soundings58 58pp. The middlesex Victorians? Celebrity charity and the demise of the welfare state.

    Celebrity Studies6 4pp. Soundings56pp. Celebrity Ecologies: Introduction. Celebrity Studies4 3pp. Green Shoots? Soundings: A Journal of Politics and Culture53p. Communication, Culture and Critique6 2pp.

    Consuming Authenticity. Novel: A Forum on Fiction44 2littler. Cultural Sociology5 2 littler, pp. Journal of Consumer Culture10 3pp. Cross, S. Cultural Studies24 3pp. Celebrity and Schadenfreude: The cultural economy of fame in freefall. Bird, H. The littler and climate change.