萨义德以其独特的双重身份,对西方中心权力话语做了分析,通过对文学作品、演讲演说等文本的解读,将O rie n ta lis m——"东方学",做了三重释义:一门学科、一种思维方式和一种权力话语系统,对东方学权力话语做了系统的批判,同时将东方学放入空间维度对东方学文本做了细致的解读。

萨义德的“Orientalism”释义

The term design thinking has gained attention over the past decade in a wide range of contexts beyond the traditional preoccupations of designers. The main idea is that the ways professional design...

Rethinking Design Thinking: Part I

There ain't no black in the Union Jack

Popular media present a vast array of stories about women and men. What impact do these images and ideas have on people’s identities?
The new edition of Media, Gender and Identity is a highly readable introduction to the relationship between media and gender identities today. Fully revised and updated, including new case studies and a new chapter, it considers a wide range of research and provides new ways for thinking about the media’s influence on gender and sexuality.
David Gauntlett discusses movies such as Knocked Up and Spiderman 3, men’s and women’s magazines, TV shows, self-help books, YouTube videos, and more, to show how the media play a role in the shaping of individual self-identities.
The book includes:

a comparison of gender representations in the past and today, from James Bond to Ugly Betty
an introduction to key theorists such as Judith Butler, Anthony Giddens and Michel Foucault 
an outline of creative approaches, where identities are explored with video, drawing, or Lego bricks
a Companion Website with extra articles, interviews and selected links, at: www.theoryhead.com.

Media, Gender and Identity: An Introduction

https://psycnet.apa.org/journals/men/5/1/40.pdf

Clothing and embodiment: men managing body image and appearance

Why start with this invocation of a 50-second television and cinema advertisement that ran in the UK from Boxing Day 1985 through until the Autumn of 1986? The advert is important to the story this book sets out to tell for a number of reasons. First, it brings together a particular and distinctive set of codings of masculinity that occupy a central place in the book as a whole. The foregrounding of the surface of the body is central to "Launderette's" representation of masculinity. Through the choice of camera shots, an intensity is produced in the framing of the masculine body in the advert. As Nick Kamen, the model, undresses a series of looks are formally established that bring the viewer's eye close up to his face, chest, arms, thighs and bottom. A fragmentation of his body is produced in these shots that undercuts the more established codes of aggression and power associated with masculine display. The revealed torso and Kamen's features combine to allow the display of both developed (but not too hard) muscularity and a marked softness and sensuality connoted through his soft lips, eyes and skin-tone.

Hard Looks: Masculinities, Spectatorship and Contemporary Consumption

Representation : cultural representation and signifying practices.

Galaxy (BBC Radio Four, 1978; and BBC TV, 1981), Arthur Dent, the tale’s hapless hero,  nds himself stranded towards the end of his epic adventure on a huge transporter space ship – an ‘ark’ – carrying a dormant human population towards a new brighter future on some unspeci ed planet. Dent and his companion, Ford Prefect, are puzzled by the odd array of social types residing within the ark; second-hand car salesmen, advertising account executives, television producers, insurance salesmen, personnel ofcers, public relations executives and management consultants. When they question the craft’s ineffectual captain about this odd collection of types, he reveals that they are on the ‘B’ ark, one of three launched from the planet of Golgafrincham because of fears that a great catastrophe was about to engulf the world. The captain explains that into the ‘A’ ark went all the ‘brilliant leaders, the scientists, the great artists, all the achievers’, while into the ‘C’ ship went all the people who ‘do the actual work, who make things and do things’. The ‘B’ ark contained, as they had discovered, the ‘middle men’. As the travellers pursue their questioning, it transpires that the ‘B’ ark’s unlikely human cargo have, in fact, been duped into embarking on their voyage and that the remaining population of Golgafrincham have never left their home planet. The tale of impending doom had been a spurious one concocted by the productive social groups of Golgafrincham in order to rid themselves of the ‘useless third of the population’. By means of this ruse, the Golgafrinchams had managed to create a world free from the unwarranted attention of management consultants, PR executives and advertising account executives and gone on to live full and prosperous lives. Douglas Adams’ satire upon the ‘useless’ middling sorts of Golgafrincham and its nightmare vision of a society entirely populated by the likes of management consultants and PR people (the society of the ‘B’ ark), belongs within a well established genre of writings about, and denigrations of, middling social groups Sean Nixon and Paul du Gay

Who needs cultural intermediaries

The “creative industries” and the dispositions of creative workers have acquired a new salience and significance within both sociological and business orientated commentaries in recent years. This has included an attention to the apparently hybrid character of “creative work” and the way this informs the ideal of the self‐expressive creative worker. Our paper takes these claims as its starting point and seeks to render more concrete discussions of these areas of work which have often been treated in an overly synthetic way. Drawing on our earlier research, we explore how two sets of creative workers in advertising and magazine publishing handled the ideal of the creative worker and the fun and funky image of these areas of work. Foregrounding questions of gender and, specifically, masculinity, we detail the subjective investment of these practitioners within particular forms of masculinity and consider the way, through this, gender was written into the creative cultures of advertising and magazine publish...

Pleasure at Work? Gender, Consumption and Work‐based Identities in the Creative Industries

‘Nixon’s study is a major contribution to the cultural sociology of the new service sector professionals and their gendered identities.It’s importance lies in it’s skilful synthesis of detailed ethnographic research and social theory. This is a genuinely innovative book which reopens cultural debate about advertising and society’ - Frank Mort, Professor of Cultural History, University of East London ‘Advertising Cultures is a lucid, thorough and highly engaging account of advertising creatives that unlocks two crucial issues for understanding the culture industries: creativity and gender. It marks a major new contribution to the cultural study of economic life’ - Don Slater, London School of Economics The economic and cultural role of the ‘creative industries’ has gained a new prominence and centrality in recent years. This new salience is explored here through the most emblematic creative industry: advertising. Advertising Cultures also marks a significant contribution to the study of gender and of commercial cultures through its detailing of the way gender is written into the creative cultures of advertising and into the subjective identities of its key practitioners.

Sean Nixon

Papers

Hard Looks: Masculinities, Spectatorship and Contemporary Consumption

Representation : cultural representation and signifying practices.

Who needs cultural intermediaries

Pleasure at Work? Gender, Consumption and Work‐based Identities in the Creative Industries

Advertising Cultures: Gender, Commerce, Creativity