![]() ![]() ![]() In terms of the “cultural” environments of the game, the presence of a coherent and extensive myth scheme is core to the way differences and conflicts between races are organized. ![]() It provides a rationale for players’ actions, as well as the logic that under- pins the stylistic profile of the game, its objects, tasks, and characters. The author shows that the mythic plays a primary role in making a consistent fantasy world in terms of game play, morality, culture, time, and environment. This article argues that to understand the game’s formal, aesthetic, and structural specificity, its pleasures and potential meanings, it is essential to investigate how the mythic functions. One of the pleasures of playing in the “World” of Warcraft is becoming part of its pervasive mythology. As such, they are symptomatic of a much broader problem of state-sanctioned racism in France that is denied through claims to colour-blindness. These narratives are not exceptional, but are part of a long-standing project to define national belonging in terms of a normative white identity. In marking out an ethnoracially segregated imaginary of swing-era Paris, the exhibition reproduced stereotyped ideas about Manouche exoticism and inadaptability to urban modernity. I argue that museum exhibitions generate and harness place-oriented narratives to reinforce hegemonic conceptions about ideal citizens. In this article, I explore how the exhibition performed a spatialized centre-periphery model of citizenship that both reflected and reinforced Manouche marginality in relation to broader French society. Django Reinhardt: Swing de Paris, an exhibition that took place at the Cité de la musique in Paris, depicted the life and environment of famed Manouche (French Romani/”Gypsy”) guitarist Django Reinhardt. ![]()
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