This article examines the relationship between `mass media' representations of love and a model of love which we commonly view as more `realistic', that is more compatible with sharing everyday life with another. The article offers three arguments: (1) the postmodern claim that everyday life in general and romantic love in particular have been colonized by the empty `simulacrum' of mass media resonates with a long-standing Western discussion of the problematic relation between fiction and reality; (2) the relation between mass (...) media representations of love and realistic models of love is reconceptualized as deriving from two conflicting bodily experiences of love; (3) postmodern love is defined as being characterized by a particular crisis of representation in which signifiers and signifieds of love do not match. (shrink)

This article examines recent scholarly work on boredom by drawing on Mikhail Bakhtin’s account of modernity, irony, and mass skepticism. In The Arcades Project, Walter Benjamin noted that, beginning in the 1840s, Western societies had been gripped by an “epidemic of boredom.” He was referring to a peculiarly modern form of mass boredom, associated with the “atrophy of experience” in a mechanized and urbanized social life—a boredom Elizabeth S. Goodstein has characterized as the “democratization of skepticism.” Although Bakhtin says little (...) about “boredom” directly, he probes the sociocultural conditions that give rise to it. Bakhtin, for example, celebrates the liberatory and egalitarian promise of modern vernacular speech, which displays a healthy suspicion of “monotonic” qualities of elite genres, and which springs not from the pulpit or the palace, but from the street, the marketplace and the public square. Bakhtin is concerned about the nihilistic implications of this disenchantment of the world and the threats it poses—indifference, reification and alienation—to the “participative” mode of social life he favours. (shrink)

Bringing together a genealogy of authors, concepts, and aesthetic case studies, this article aims to contribute to the discussion on ordinary aesthetics by focusing on the tensions that are intrinsic to walking as a fundamental embodied action in everyday urban life. These tensions concern the movement of walking itself and its relation to one’s surroundings, but it also concerns a certain complementarity between home (familiarity) and wandering. Experiencing space and thresholds that disrupt one’s relationship with home and the everyday can (...) be understood as part of a modern “anti-home” tendency that lies at the core of several artistic and aesthetic practices. On the other hand, the study of walking and its relationship with the ordinary has also been enhanced and complexified by the mediation of images and technologies of reproduction. Approaching the paradoxes and ambiguities of everydayness from the perspective of walking allows us to better understand the ordinary as an in-between concept composed of evidence and mystery, familiarity and strangeness. Walking itself, as an ordinary element of life, is an unstable stabilisation, an unconsciousness that may become awareness, an immersive action that knows interruptions, a way of repeating paths that can also lead to detours and discoveries. (shrink)

Postmodernism is a variety of meanings and definitions, is used to refer to many aspects of social life from musical forms and styles, literature and fine art through to philosophy, history and especially the mass media and consumer culture. Post modernism is a slippery term that is used by writers to refer to several different things. Featherstone points out the term has been used to refer to new developments in intellectual and cultural theory. The suggestion that our subjective experience of (...) everyday life and our sense of identity has somehow changed significantly in recent years. The view that capitalist or industrial societies have reached new and important stages in their development, the shift from modernity to post-modernity. Consumer culture is also play a vital role in the society, consumer culture may be defined as a day to day change in the taste of consumer behaviour. The term “consumer culture” refers to cultures in which mass consumption and production both fuel the economy and shape perceptions, values, desires, and constructions of personal identity. Economic developments, demographic trends, and new technologies profoundly influence the scope and scale of consumer culture. Social class, gender, ethnicity, region, and age all affect definitions of consumer identity and attitudes about the legitimacy of consumer centred lifestyle. (shrink)