Relationship between global culture and local starkville

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relationship between global culture and local starkville

1-Click Apply (CCI GREENHEART, A DIVISION OF GREENHEART INTERNATIONAL) EXPERIENCED Local Coordinator - Student Exchange job in Starkville. Aug 27, “The culinary culture in Starkville is uniquely vibrant,” said Jennifer It has also helped to facilitate expanded relationships between local. The relationship between the individual and the group is dynamic in that The cultural context in which this occurs is what distinguished societies from one another. Global - "Globalisation is the process whereby individual lives and local.

Thesis writing on the topic researched in PS Philosophical and historical foundations of political analysis; constructing and executing research designs; measuring political phenomena; elementary methods of data analysis; games, models, and simulations.

American Politics PS Examines gender differences in law, the courts, voting, political involvement, approaches to political power, and violence. PS Constitutional Powers. Junior standing or consent of instructor. A study of the constitutional system; constitutional modification, federal courts and judicial review, separation of the powers, federalism, congressional and presidential powers, and contact clause.

Global vs Local: Globalisation - Navigating the Global

Political and civil rights; individual rights, national security and individual freedom; war and the Constitution; equal protection, criminal procedure; administrative process. Sophomore standing or consent of instructor. Study of the politics of selected features of the legal system and the political usages of law as a tool for social control. Historical, prescriptive, and empirical studies of federalism with emphasis upon recent development in federal-state-local relationships.

PS and junior standing. Comparative study of the structures, functions, and policies of the various American states. Historical and comparative study of chief executives, including governors and mayors, with special emphasis on the Presidency. Organizationwork, and procedure of legislative bodies and other law-making authorities. Process and structure of the American legal system and the role of the judiciary. A study of the interrelationship of the actors within Mississippi's judicial system.

Emphasis is placed on judicial decision-making, selection process, and resource allocation. Political Parties and Electoral Problems.

Survey of the theory of political campaigns, the resources and techniques they employ, and their effects on voters. The Dynamics of American Democracy. Analysis of factors affecting the translation of public opinion into public policy within a national institutional context.

Political Science and Public Administration Courses

Survey of the politics of the Confederate and border states, examination of party development, leadership, and impact of the South in national politics. Mississippi Government and Politics. A study of the organization, powers, processes and politics of state government in Mississippi. The nature, processes, structures, and functions of African American politics in the domestic arena and international arena.

The nature of public opinion; the influence of the press; pressure groups and propaganda techniques; the means of political communication. Examination of the foundations and types of individual political activity; emphasis on psychological, social and cultural factors influencing personal political behavior.

Principles of Public Administration. Bureaucratic politics and power; administrative responsibility in a pluralist democracy; public administrative organization; public personnel administration; and public budgeting.

An examination of the decision-making processes, institutions and structures that influence the formulation and execution of past and current U. Principles of International Law. The nature, sources and scope of international law as found in custom, international convention, the teachings of authoritative writers, and judicial decisions. A study of the development of international organization and a concentration on the structure, processes and functions of the United Nations and its specialized agencies.

Theories of International Relations.

Globalization vs. Local Cultures | Globalization

This course critically examines traditional and contemporary, normative and behavioral, qualitative and quantitative theories of international relations. International Conflict and Security. Study of the patterns, causes, and consequences of armed conflict between nations. An examination of those policies and issues affecting American national security with attention to the institutions, organizations and processes which shape them. Examination of selected issues of current importance to international relations.

Ancient and Medieval Political Theory. Political philosophy from Plato and Aristotle through the Middle Ages.

Foundations of Modern Political Theory. Theories of Luther, Calvin, Machiavelli, Locke, and Rousseau; the rise of the idea of the national state.

relationship between global culture and local starkville

An examination of selected thinkers, text, and ideas in the history of political thought from the late 19th Century to the present. Major schools of political thought in America from the colonial to the contemporary period.

Contemporary sub-Saharan Black Africa; prospects for political development or decay. Role of parties, bureaucracy and military and their relation to elite formation and political integration. South and Southeast Asian Politics. An evaluation of the traditional and contemporary political institutions, behavior and ideas of the countries of South and Southeast Asia. Political institutions and behavior in East Asia, particularly China and Japan.

Background, organization, and structure of the governments of the various Latin American countries. Politics of the Third World.

Political processes of developing nations. Prospects for development and decline considered. Relationship between political, economic and cultural dimension during the process of social change. History, development, and practice of environmental policy in the United States. Seminar in State Government and Politics. PS and nine hours of related courses, or consent of instructor.

Seminar in Campaign Politics. Analysis of conduct and phases of political campaigns; and their effect on voters and the political system generally. Seminar in Comparative Government. Special research problems dealing with governmental organization and administration in the major nations of the modern world. Seminar in International Relations. Special research dealing with major international problems. Seminar in Political Theory. Seminar on selected aspects of political theory from the ancient to the modern period.

Readings in Local Government and Politics. Reading assigned material in local government and politics and making reports thereon under the supervision of a member of the graduate faculty. Readings in State Government and Politics. Reading assigned material in state government and politics and making reports thereon under the supervision of a member of the graduate faculty. Readings in National Government and Politics. Reading assigned material in an appropriate subfield of national government and making reports thereon under the supervision of a member of the graduate faculty.

Readings in Comparative Government and Politics.

relationship between global culture and local starkville

Reading assigned material in an appropriate subfield of comparative government and making reports thereon under the supervision of a member of the graduate faculty. Readings in International Relations. Reading assigned material in an appropriate subfield of international relations and making reports thereon under the supervision of a member of the graduate faculty.

Research Methods for Public Affairs. Same as PPA Quantitative Methods for Public Affairs. PS or PPA What Baker defines as SJR's core idea, is in the end nothing more than a liberal open-minded attitude towards music imports from all over the world. To put this idea into practice, the label seems to paradoxically capitalize on the youth's appeal to the idealized notion of living in a borderless, connected world, while at the same time acknowledging the importance of the concept of nation-state and the idea that cultural expressions nowadays are still in great part restricted by political borders.

Deterritorialization therefore, defines and is defined by a globalizing world characterized by an increasingly complex circulation of people, money, media and ideologies of cultural flows of imagination Parker, According to cultural anthropologist James Clifford, who claims that deterritorialization is a cultural condition of globalization, local communities depending on their relation and how they perceive their relation to be with the global influx of cultural products will either embrace a 'new world of hybrid forms' or resist and keep assure the survival of their tradition Kalra et al, Appadurai argues that regardless of the 3 exaggerated and intensified sense of criticism or attachment to politics in the home state that deterritorialization may create, it will always simultaneously promote progressive cultural homogenization and heterogenization Appadurai, One widespread theory that intends to point out the harmful affects of cultural homogenization asserts that the 'desire of the U.

The methods through which such desires actually lead to actions are of such complexity that it is required an investigation that provides more than a simple exploration of how Western pop music is dumped in other countries. It is in relation to this hypothesis that some have regarded 'world music' as a music genre that has initially been advocated as a counter to cultural imperialism and associated homogeneity, but has instead at least partially succumbed into being a product of the ideology it wished to oppose Taylor, An understanding of 'world music' as a tool of oppression There are two dominant and interrelated phenomena within 'world music' that are worthy of exploration so to better understand what some see as the true implications of this seemingly neutral and harmless concept: Musician David Byrne who has founded a music record label, Luaka Bop critically pointed out in his very influential article in The New York Times' I Hate World Music, that Westerners are seemingly obsessed with searching for authentic musical expressions.

In it, he argues that this pursuit for authenticities other than theirs justifies the commercial success of 'world music' records and more importantly, the need for Westerners to identify themselves in opposition to others in a period of post- colonial identity crisis. Byrne claims this search for authenticity to have a foolish and factually erroneous motivation considering how 'what is considered authentic today 4 was probably some kind of bastard fusion a few years ago', a mix of influences from all around the globe Byrne, Consciously or not, Byrne is integrating in his critique Iain Chambers interest for discovering to what degree the 'assertion of hybridity rely on the positing of an anterior 'pure' that precedes mixtures' Kalra et al, Some authors such as Paul Gilroy in his late works, moved away from an allegiance to Homi K.

Bhabha's concept of hybridity precisely because they were not convinced by its intrinsic assumption that there is such a thing as purity since 'cultural production is not like mixing cocktails' Gilroy, For Marwan Kraidy, hybridity is then the cultural logic of globalization seeing that it: It could be argued then, that the West's quest for authenticity is a method of rejecting its culturally harmful legacy in foreign localities.

By doing so however, they impose once again their civilizational ideology since they ignore the attempts of the victims of imperialism to 'subvert dominant discourses' and reappropriate them to create what Kraidy calls 'cultures of postcolonial contra- modernity' Kraidy, Westerners are consequently, looking for music that corroborates their pre-accepted ideas that there are localities and cultures in the world that have not been affected by intercultural exchange.

Most common then not 5 nevertheless, only music forms from other parts of the world that 'take on a touch, but not too much, of the West' actually succeed at alluring Western audiences; world musicians' very hybridity is what have allowed them to be constructed as authentic Taylor, Silver's incorporation of Cape Verdean musical forms into the global discourses of 'world music' can therefore be seen as an illustration of what the Turkish ethnomusicologist Koray Degirmenci described as being: This musical category is broad to such an extent that rai folk from Algeria can be seen in a music shop shelf next to Paul Simon's South Africa inspired album Graceland.

Convinced that 'world music' is a pseudomusical genre that is in its very core a Western imperialistic creation, Byrne criticises it for: It's a none too subtle way of reasserting the hegemony of Western pop culture. It ghettoizes most of the world's music.

A bold and audacious move, White Man! In his view, the romantic depiction of other cultures is often expressed through an ideological system, an often-prejudiced discourse that devalues unfamiliar societies.

relationship between global culture and local starkville

By applying this theoretical knowledge, it could be contested that even though the SJR owners clearly reveal an insight of these criticisms in their methodological approach to album conceptualization an evidence of such will be provided further on the essaythere are few cases that 6 demonstrate that even in the most competent and acclaimed contemporary musical labels of 'world music', the presence of a biased occidental narrative is very explicit. Said claims that for Westerners, other cultural artefacts besides their own were attractive due to the manifestation of irrationality, weakness, tradition and general backwardness of their alien societies.

This appears to be a model that can in fact be applied to this SJR record since prior to actually listening to it, the consumer is already promised by the colourful packaging, controversial title and foreign sounding band names, to have a fierce, primitive and unconventional experience.

Overwhelmed by the whole visual apparatus of this constructed reality, the consumer neglects that the songs in the compilation are actually heavily influenced by Anglo-Saxonic pop music and follow a very familiar formula to the one Western listeners are used to.

This discourse results in the commodification of other cultures and sets aside its processes 'it produces a distortion of the experience of art' ; local musicians become powerless when it comes to how they want their music to be marketed because the middle-man, in this case the 'world music' label, is not interested in genuinely presenting their artistic inputs Daniele Goldoni in Ubertazzi, Sociologist Immanuel Wallerstein considered crucial, to identify within the capitalist world-economy, the existence of three hierarchically structured positions: The core are traditionally cultural 'transmitters' while the periphery are 'receivers'.

Even within Western nations for instance, it is possible to find attempts of cultural resistance towards cultural monopoly. These procedures institute that the will of the markets should not prevail over the necessity of protecting national heritage.

Supportive of these measures is author John Kim who defends that culture should always be exempted from free trade in response to the 'imbalanced flow of the media from one country to another [that] resulted in the dilution of the culture of the importing country' Kim, Once again, this reading, however, assumes that the West is always a key player in cultural transaction, which is, as it shall be demonstrated, not the reality.

Some semi-peripheric nations such as Brazil and South Korea, while not being as prominent in worldwide exchange as core countries, have a significant export industry, mostly due to the international appeal of bossa nova and K-pop.

Others have in certain regions of the globe a bigger influence in the music consumed than any Western country does. To exemplify, we have Indian music in vogue among northern African Muslims, Brazilian tunes being played in trendy Japanese cafes and perhaps most impressively, Jamaican Reggae cover bands performing in Italy.

That is not to say that they can have the same role as cultural paragons as the West in general does, but it does show the emergence of the self-explaining Appadurai concept of 'dispersed hegemonies'. This concept can be linked to Wallerstein's outlook referred to earlier on, seeing that it considers that despite the concentration of economic exchange in particular areas North America, EU and Asia Pacificwe live in a pluricentric world 8 that is leading to an increasingly bigger feeling of belonging to many cultures or as Stuart Hall calls it, 'multiple culture identities' Wallerstein, In this modern capitalist system that Wallerstein describes, there is no such thing as homogeneity, be it in cultural, political or economic terms Wallerstein, The global standardisation of goods as observed in the manufacturing of albums, fits with Wallerstein's view that products in the global economy often are assembled in different locations in such a way to succeed in specific markets.

In other words one afro-beat album performed by Nigerian artists can hypothetically be recorded in a studio in London and have its artwork designed by an Argentinian painter in order to appeal to the music-addict suburban youth of Los Angeles; locals from different parts of the world are involved in the formation of a global product. What the accusers of cultural imperialism and Americanization in particular neglect is that the variety of instruments of homogenization used by the globalization of culture 'world music' included are, when absorbed into local political and cultural economies, 'repatriated as heterogeneous dialogues of national sovereignty' Appadurai, Ethnomusicologist Timothy Taylor pointed out that notwithstanding the 'people around the world that have complained that their cultures were being diluted by the importation of Western cultural forms', there are 'as many scholars who claim that the forces of globalization are creating more diversity of cultural forms and practices' Taylor, This can exemplified by D.

Congo's hip-hop, which unlike the name indicates, has little in common with its North American roots. In reaction to the popularity of North American hip-hop imports, a mixing of rap with vintage Congolese soukous and idiosyncratic lyrics opened the doors to the formation of a genre that furthers the heterogeneity of an already extremely culturally diverse nation.

In spite of the previous example given of the SJR compilation that came across as endorsing the typical Western-centric view of 'world music' labels, SJR has in general been praised for providing comprehensive and compelling compilations of local music genres Soul Jazz Records,