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| Srl | Item |
| 1 |
ID:
121578
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2013.
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| Summary/Abstract |
Using the concepts of auto-communication and micro-Orientalism, this article argues that nation branding at World Expos produces and propagates notions of difference and Otherness. We examine how Denmark presents itself in China, and how the message inevitably tells how the Danish authorities view the Chinese. Using the Danish 'Welfairytales' pavilion at the 2010 World Expo in Shanghai, we show how the national self is performed in two versions. One attempts to communicate 'the good Danish life' to the Danes themselves, while the other claims Occidental superiority. The case shows how the Danish exhibition is performed and regulated as sustainable and authentic and how in spite of its seemingly dialogical and interactive layout, a number of auto-communicative and micro-Orientalist practices are enacted. This study is based on field participation, observations and interviews. Public sources of information are also used.
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| 2 |
ID:
190925
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In 2011, the Swedish national tourism organisation, Visit Sweden, together with the Swedish Institute, launched a campaign – Curators of Sweden (CoS) – on Twitter, which ended in 2018. Each week a ‘Swedish’ person was chosen as a curator to tweet whatever they liked through the @Sweden account. All the curators were chosen because they represented ‘values, skills, and ideas’ which, according to the campaign, ‘all combined, makes up Sweden’. In this article, we try to understand the contradiction of CoS offering a cacophony of ‘diverse’ voices from Swedes but, at the same time, speaking with the ‘same’ voice. Through dialogism, we locate the different voices, agendas and diverse contexts in reality, and examine how the values, skills and ideas were managed and engineered through the CoS, in a bid to imagine Sweden and Swedish identity.
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| 3 |
ID:
078522
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2007.
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| Summary/Abstract |
This paper focuses on how the Chinese are represented in the international business literature. Chinese cultures are packaged to make knowledge about the Middle Kingdom more accessible to a general audience. The ways in which these packaged cultures are framed and constructed will be questioned here. Drawing inspiration from Foucault, this article identifies four traits of a packaged culture - it mediates, it asserts the uniqueness of the culture, it selectively packages the culture and it claims that cultural differences matter in business. These traits will form the basis for comparing and examining three methods of packaging a culture, namely the general-macroscopic, ethnographic present and critical emergence approaches. This paper concludes that researchers should reflect on the power they yield when they represent another culture, and that the general public may privilege theories that are accessible rather than sound.
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