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| Srl | Item |
| 1 |
ID:
080433
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2007.
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| Summary/Abstract |
This paper situates discussions about emerging African Criminal Networks (ACN) within Ghana specifically, and West Africa generally, and seeks to present the initial results of an empirically based study on the activities of transnational organised criminal (TOCs) groups in Ghana. The paper argues that the nature of state and statehood in Africa and its inability to establish effective regulatory mechanisms contributes to the rise of these particular types of criminal groups. It begins by conceptualising the place of Ghanaian and West African criminal groups within the framework of international crime. Furthermore, it undertakes an in-depth analysis of three types of crimes; namely computer and internet crime, drug trafficking and (artisanal) small arms manufacture and smuggling in Ghana. By applying a set of standard variables and criteria, the paper evaluates the growth of TNCs in these three issue-areas and how such activities potentially undermine public institutions like the Ghana Police Service (GPS), customs, excise and preventive services (CEPS), judiciary, banking and political parties and political institutions in Ghana. Finally, it seeks to offer an explanatory framework for the growth and acceptance by local communities of the activities of organised crime in Ghana by situating this within a cultural ethos and the social welfare roles played by those involved in such crimes
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| 2 |
ID:
097524
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2010.
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| Summary/Abstract |
Melodrama, the most popular genre of Yesilcam cinema (1960s Turkish popular cinema), provides a useful source for unravelling the social contradictions and anxieties caused by the Turkish modernization/westernization process, in that the films both construct modernity as a desired state and criticize it as cosmetic westernization. Against this background, this article considers the images of Yesilcam stars both as agents of the ambivalent discourse on modernity in films and as embodiments of truly modern/western lifestyles outside cinema. The article explores the social reception of the stars' off-screen images, based on letters published in two popular cinema magazines of the period. It is observed that rather than fully identifying with the stars' off-screen images and trying to escape to the 'modern' attractive world of the stars, many audience members attempted to bring stars to their own world and back into the traditionalistic and moralistic universe of melodrama. The article interprets these attempts as 'creative adaptations' through which audiences meet, negotiate, and appropriate modernity, of which the cinema and stars are part, in their own fashion.
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| 3 |
ID:
151654
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| Summary/Abstract |
This article uses the lens of alcohol as a means of exploring the experiences and anxieties of Vietnamese ‘colonial modernity’ and the way it was mutually constituted with ‘colonial tradition’. The production, consumption, and meaning of alcohol in Vietnam were all profoundly altered as the state's contested attempts to control the market for rice liquor interacted with the growing availability of imports like wine, champagne, and cognac. While these new products would become ideal symbols of modernity and markers of distinction, at the same time reinvented traditions surrounding what the French called ‘native’ and the Vietnamese called ‘our’ alcohol would become linked to evolving notions of community and nation.
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