Search results for: the spectacle

Authors: Lai-Fen Yang

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In this increasingly visual world, how can we best decipher and understand the many ways that our everyday lives are organized around looking practices and the many images we encounter each day? Indeed, how we interact with and interpret visual images is a basic component of human life. Today, however, we are living in one of the most artificial visual and image-saturated cultures in human history, which makes understanding the complex construction and multiple social functions of visual imagery more important than ever before. Themes regarding our experience of a visually pervasive mediated culture, here, termed visual spectacle.

Keywords: visual culture, contemporary, images, literacy

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Authors: Sahand Hamed Moeel Ardebil, Zohreh Taebi Noghondari, Mahmood Reza Ghorban Sabbagh

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Gillian Flynn’s Gone Girl, depicts a society in which, as a result of media dominance, the reality is very precarious and difficult to grasp. In Gone Girl, reality and image of reality represented on TV, are challenging to differentiate. Along with reality, individuals’ agency and independence before media and the capitalist rule are called in to question in the novel. In order to expose the unstable nature of reality and an individual’s complicated relationship with media, this study has deployed the ideas of Marxist-media theorist Guy Debord (1931-1992). In his book Society of the Spectacle (1966), Debord delineates a society in which images replace the objective reality, and people are incapable of making real changes. The results of the current study show that despite their efforts, Nick and Amy, the two main characters of the novel, are no more than spectators with very little agency before the media. Moreover, following Debord’s argument about the replacement of reality with images, everyone and every institution in Gone Girl projects an image that does not necessarily embody the objective reality, a fact that makes it very hard to differentiate the real from unreal.

Keywords: agency, Debord, Gone Girl, media studies, society of spectacle, reality

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Authors: Bülent Diken

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This paper looks to set Ridley Scott’s original film Blade Runner (1982) and Denis Villeneuve’s Blade Runner 2049 (2017) in order to provide an analysis of both films with respect to the new configurations of slavery in the 21st century. Both Blade Runner films present a de-politicized society that oscillates between two extremes: the spectral (the eye, optics, digital communications) and the biopolitical (the body, haptics). On the one hand, recognizing the subject only as a sign, the society of the spectacle registers, identifies, produces and reproduces the subject as a code. At the same time, though, the subject is constantly reduced to a naked body, to bare life, for biometric technologies to scan it as a biological body or body parts. Being simultaneously a pure code (word without body) and an instrument slave (body without word), the replicants are thus the paradigmatic subjects of this society. The paper focuses first on the similarity: both films depict a relationship between masters and slaves, that is, a despotic relationship. The master uses the (body of the) slave as an instrument, as an extension of his own body. Blade Runner 2019 frames the despotic relation in this classical way through its triangulation with the economy (the Tyrell Corporation) and the slave-replicants’ dissent (rejecting their reduction to mere instruments). In a counter-classical approach, in Blade Runner 2049, the focus shifts to another triangulation: despotism, economy (the Wallace Corporation) and consent (of replicants who no longer perceive themselves as slaves).

Keywords: Blade Runner, the spectacle, bio-politics, slavery, imstrumentalisation

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Authors: Husain Rajib, K. S. Kishor, D. G. Jewel

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Background: Uncorrected refractive error is a common cause of preventable visual impairment in pediatric age group which can be lead to blindness but early detection of visual impairment can reduce the problem that will have good effective in education and more involve in social activities. Glasses are the cheapest and commonest form of correction of refractive errors. To achieve this, patient must exhibit good compliance to spectacle wear. Patient’s attitude and perception of glasses and eye health could affect compliance. Material and method: A Prospective community based cross sectional study was designed in order to evaluate the knowledge, attitude and practices about refractive errors and eye health amongst the primary school going children. Result: Among 140 respondents, 72 were males and 68 were females. We found 50 children were myopic and out of them 26 were male and 24 were female, 27 children were hyperopic and out of them 14 were male and 13 were female. About 63 children were astigmatic and out of them 32 were male and 31 were female. The level of knowledge, attitude was satisfactory. The attitude of the students, teachers and parents was cooperative which helps to do cycloplegic refraction. Practice was not satisfactory due to social stigma and information gap. Conclusion: Knowledge of refractive error and acceptance of glasses for the correction of uncorrected refractive error. Public awareness program such as vision screening program, eye camp, and teachers training program are more beneficial for wearing and prescribing spectacle.

Keywords: refractive error, stigma, knowledge, attitude, practice

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Authors: Ali Momeni

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Visual media has had a significant impact on the mental structure and behaviors of humanity. One interactive platform that has played a major role in this is Instagram. In Islamic countries, particularly Iran, many Muslims have embraced this interactive media platform for various reasons. Instagram has also provided an opportunity for individuals to become famous and gain micro-celebrity status through its semi-algorithmic features. A notable group of Iranian women who have gained fame through Instagram are religious Muslim women who have transitioned into bloggers. These Iranian religious women bloggers (IRWB) have garnered a large following by showcasing different models of hijab and their private lives. This research aims to qualitatively study the representation of femininity and religiosity of these women. The main question addressed in this study is the acceptance of Instagram activity by IRWB among religious women. Drawing on concepts such as 'The Society of the Spectacle' and 'Celebrity Online', this study utilized the netnography method to analyze 14 pages of IRWB. Data was collected in two phases, with the first phase involving the analysis of religious women's comments on posts related to these themes. The second phase included interviews with religious women students who view or follow these pages. A total of 120 comments and 14 interviews were thematically analyzed. The results revealed that the reception of these pages by religious women fell into four main themes: the spectacle of femininity, the commercialization of religiosity, the distortion of Islam, and the construction of religiosity and femininity. Ultimately, religious women did not find these pages to be reflective of their own experiences of female and religious life.

Keywords: women, bloggers, instagram, IRWB, reception.

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Authors: Rich Murphy

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‘The Racism Found in Capitalism’s Poetry’ claims that since the death of philosophy and the end of art modern poetry has been upstaged by capitalist poetry using similar strategies and techniques; while both sublime moments use spectacle one is more effective. The essay also claims that capitalist poetry is open to racism and analyzes KFC advertising campaign to produce evidence of wide spread acceptance in an era of ‘micro-aggressions’ and confederate flag removals. The essay spends considerable time outlining the history of advertising and the weak literary counters to it that inevitably lent its assistance in education. The essay also suggests that the concept of ‘Enormous Irony’ may be the only way to counter. However, as long as capitalism is the method of the economy and governance, the essay suggests, there was little hope in spite of Obama’s election.

Keywords: modern poetry, advertising, Kentucky fried chicken, capitalism, poetry

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Authors: K. R. Parvathy, R. Rao Bhavani , M. L. McLain, Kamal Bijlani, R. Jayakrishnan

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Augmented Reality (AR) technology is considered to be an important emerging technology used in education today. One potentially key use of AR in education is to teach socio-scientific issues (SSI), topics that inure students towards social conscience and critical thinking. This work uses multiple markers and virtual buttons that interact with each other, creating a life-like visual spectacle. Learning about issues such as global warming by using AR technology, students will have an increased sense of experiencing immersion, immediacy, and presence, thereby enhancing their learning as well as likely improving their ability to make better informed decisions about considerations of such issues. Another advantage of AR is that it is a low cost technology, making it advantageous for educators to adapt to their classrooms. Also in this work we compare the effectiveness of AR versus ordinary video by polling a group of students to assess the content understandability, effectiveness and interaction of both the delivery methods.

Keywords: augmented reality, global warming, multiple markers, virtual buttons

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Authors: Elle Nielsen

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Festival time on the island of St. Croix is an annual celebration of a melting pot of rich culture and heritage. All your senses are amplified by the colorful bodies that paint the streets with swaying hips commemorating the ancestors who didn’t have the voice to express themselves, let alone the bodily authority through movement. Within this atmosphere of jubilee, you will become a witness to how the melodies of Calypso and Soca music take full control of the body. As a result, the waist and hips in a trance follow the polyrhythmic patterns birthing the shunned movement practices of whining and wukkin up. Spectators on the sidelines of the festival events will either frown upon this spectacle of the whining bodies or gaze in awe at the performative history in a public space. The historical value of the Caribbean Carnival is being defaced by the transnational spectatorship using body politics to push more of a Eurocentric-influenced atmosphere. The themes within this investigation are the stereotypes of over-sexualization and resistance to assimilation to how black female bodies are being viewed in Carnival.

Keywords: women equity, West Indian movement vocabulary, critical dance studies, humanitarianism in dance academia

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Authors: George Lin

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This study examines a practice in which Chinese municipal governments actively pursue momentary and spectacular urbanism through the hosting of mega-events as an instrument to reproduce urban space for the enhancement of place competitiveness and advancement of political career. Practicing event-driven spectacular urbanism is found to have a short-term impact upon the economy and an effect upon the career advancement of the party secretary more than the mayor. Hosting mega-events has been used as a means to create “a harmonious society” and unified social space whereby grievance and discontents are grossed over, ignored, excluded and marginalized. Geographically, a new urban space has been created for the central city to reassert/consolidate its leading competitive position in the regional and national economy at the expense of the disadvantaged and marginalized. Findings of this research call for a critical re-evaluation of the sophisticated state-space inter-relations in the ongoing processes of planetary urbanization and global urban revolution in which China has taken an important part.

Keywords: Chinese cities, mega events, urbanism, urbanization

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Authors: Melissa Valle

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This paper draws upon the studies of visual culture and intersectionality to illuminate how visuality can naturalize social hierarchies. Through the use of iconography, it decodes the denotative, connotative and ideological meanings of symbols of ritualistic events in the context of the Colombian Atlantic Coast. An examination of such exceptional moments, i.e. of the spectacle, brings into focus how such performances are imbued with meaning by both the on-looker and the performer. Through an analysis of preexisting visuals (e.g., advertisements, social media) and visual materials produced by the researcher for the purpose of photo-elicitation interviews, this paper provides a contextual analysis of the ways in which three representations, popular during Colombian Atlantic coastal festivals (Negrita Puloy, Las Palenqueras, and El Son de Negro), have been historically, culturally and politically constituted. This work reveals that the visualizations are born out of and reproduce typifications systems heavily based upon race, gender, class, and ethnicity. Understanding the ways these categories are mutually constituted through the cultural practice of visual representation is essential to a more comprehensive understanding of the role such representation plays in the reproduction of social difference.

Keywords: Colombia, festivals, intersectionality, visual culture

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Authors: Moses Abrahamson

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This paper examines Edgar Degas’s The Rehearsal of the Ballet Onstage (1874) through the lens of gaze, spatiality, and women’s labor within the context of 19th-century Parisian modernity. Degas’s depiction of ballet dancers, who were often subject to sexual exploitation by wealthy patrons of the Paris Opera, extends beyond a mere aesthetic rendering of performance. Instead, the painting highlights the Opera’s backstage dynamics, where class and gender intersect through power imbalances. By analyzing the gazes of the Opera’s male patrons and ballet masters, the paper explores the implicit commodification of the dancers, drawing on Mulvey’s theory of the male gaze and its manifestation in the portrayal of working-class women. Degas’s positioning of these figures, coupled with his perspective as both artist and patron, reveals his engagement with the spatial layout of the Opera and the modern social hierarchies it embodies. The painting serves as a microcosm of broader sociocultural transformations, where Degas reflects on the labor of ballet dancers as both private toil and public spectacle, connecting his artistic process to the gendered and classed politics of modern Parisian society.

Keywords: class dynamics, male gaze, spatiality, modernity

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Authors: Gatut Priyowidodo, I. I. Indrayani

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The relations between Indonesia and Malaysia are always full of colors. Indonesia is always known as old brother of Malaysia since it has similar history, religion also socio culturally. Some decades show that the declination of relationship the both countries. Another time, as ASEAN members the two countries devotes their nationalities to purify their collective identities as Eastern. The objective of the research is to extricate the construction of Kompas online and Utusan online toward news coverage of the borders dispute between Indonesia-Malaysia in 2010. This research is proposed to examine central issues which reported by Kompas online and Utusan online consistently. As a media industry, Kompas coverage dominates circulation nationally. Kompas.com was the pioneer of online news in Indonesia and born in reformation era. Utusan is prominent media industry in Malaysia that conducted by UMNO as the ruling party in Malaysia for some periods. The method used in this research is framing method by Robert N. Entman’s which consists of four steps identification: defining problem, diagnosing causes, moral judgment and a treatment recommendation. This research found that Kompas news covered the border dispute must be negotiated as recognition of Indonesia dignity. In contrary, Utusan’s spectacle focused on the Indonesia demonstrans anarchism during the dispute.

Keywords: online media, media construction, the border dispute, Indonesia-Malaysia’s bilateral relations

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Authors: Mick Jackowski

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In terms of popularity in the United States, horse racing has been in a steady state of decline since the 1970s. This trend can be attributed to deterioration in the prestige of the sport, due to a shift in cultural values around the treatment of horses, as well as the growing interest of other sports and gambling options. Despite this drift, horse racing still commands a significant piece of the sport landscape through specific events like the Triple Crown and the Breeders Cup. The 2024 Kentucky Derby enjoyed it largest peak television audience (20.1 million) ever. It is because of this still significant attraction to thoroughbred racing that hope exists, not only for the survivability of one of the oldest organized sports in North America, but also for its future growth. But the spectacle that makes select races very popular must be expanded to tracks around the country on a regular basis. The first step is to create a centralized governing body that regulates operation of all races at all tracks in the country, instead of the state-by-state government fiefdoms that currently oversee operations in each jurisdiction. One league office, if you will, can also better coordinate marketing efforts to promote races. These promotions, though, must be targeted to specific audiences, focusing on the strengths that horse racing has in relation to other recreational activities. The industry should utilize a multi-segment strategy that targets the following four groups: Families, Young Adults, Fashion-Conscious, and Sports Bettors. Beyond the traditional marketing mix, the most vital means of establishing and maintaining relationships with each of these consumer segments is through community building.

Keywords: community building, horse racing, sport marketing, thoroughbreds

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Authors: Chiao-Wen Lan, David Gere

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Background and Significance: Performance has a rich history of imparting information and encouraging reflection, yet there is a paucity of literature on applying performance as a method of analysis and not as a medium for health education. This study aimed to apply ethnodrama strategies to the issue of HIV-related stigma in rural China and to use a critical performance as a vehicle for communication of health research. Methods: The program, titled 'STOP STIGMA,' included dance, narratives and original quotes from people living with HIV/AIDS in China, and spectacle such as photographs, set, and props corresponding to the history of HIV in rural China. Results: The performance represented a step away from a completely textual interpretation of data towards a theatrical style that begins to privilege what arts-based research scholars Rossiter and colleagues have termed 'an embodied, theatrical representation of data.' It offered an opportunity to deliver individual and collective stories that represent how HIV-positive people experience living with HIV/AIDS in China, which could play an integral part in the formulation of actions to effect change. Discussion: This method of communicating health research has implications for fostering dialogue among researchers, community members, and medical practitioners. Although arts-based approaches are not new to the scientific community, the integration of dance, video, ethnodrama, and sciences provides opportunities to innovate in non-traditional research dissemination and communication.

Keywords: health communication, HIV/AIDS, stigma, vulnerable populations

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Authors: Dane B. Norris

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This paper offers a reflective and reflexive examination of the lived reality of a group of young white, working-class males engaging in secondary education in England at a time when this population is widely recognised as the lowest attaining ethnic group within British schools. The focus of the paper is an exploration of the development of identities and aspirations alongside contemporary demographic shifts in the British population within the intersection of neoliberal education policies and the emerging ideological conflict between identity conservatism and liberalism. The construction and performance of intersecting social-class, gender, ethnic and national identities are considered, as well as the process through which socially constructed narratives inform identities and aspirations. Evocative autoethnography is then employed to offer reflections on working-class habitus and, in particular, classed and gendered codes that underpin expectations of manhood in post-industrial culture within an education system which seemingly requires the abandonment of aspects of a working-class background, affiliation, and identity. Findings from the study identify the emergence of a culture of hyper-individualisation amongst white, working-class males in schools and a belief in the meritocratic ideologies of the New Right. In particular, the breakdown of the social contract, including notions of political and civic responsibility, coupled with the symbolic violence perpetrated against working-class culture and solidarity in British schools, have all informed the construction of working-class masculinity which values the individual entrepreneur over the collective and depoliticizes students to an extent where a focus on the spectacle and performance of success has replaced individual and collective investment in community.

Keywords: education, identity, masculinity, neoliberalism, working-class

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Authors: Bade-Afuye Toyin Beatrice

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Nigeria, as a multi-cultural nation, boasts of many festivals, many of which are found in the six geo-political zones of the country. One of the major festivals that bring together the Nigerian citizens as one entity is the National Festival of Arts and Culture (NAFEST), organized by the National Council for Arts and Culture (NCAC). The festival is celebrated yearly in ways that are unique to Nigerians and culture enthusiasts locally and abroad. The festival has equally boosted the Nigerian economy through tourism promotion and culture preservation. This study shall adopt the cultural identity theory. The theory will be used to examine the festival as a platform that showcases culture, which represents the totality of the ways and lives of the Nigerian people. To achieve this, the researcher shall gather data as a participant-observer during the festival, which featured elements such as costume, make-up, dance, drama, children's theatre, fashion parade, local cuisines, local games, music, props, acrobatic displays, trade fair among others. These elements are the cultural aesthetics of the festival, thereby creating spectacles and colours in unique styles by each of the 36 states of the federation and the FCT Abuja. The study particularly examines the 2021 edition of NAFEST hosted by the Ekiti State Government. The study reveals that the festival is a unique multi-ethnic event that brings together Nigerians and their kinsmen in the diaspora. NAFEST has equally provided a good opportunity to showcase the rich cultural heritage of the Ekiti people and the economic values of their products and materials. The paper, therefore, concludes that the National Festival of Arts and Culture has over the years promoted national unity and social integration among Nigerians.

Keywords: colours, culture, spectacle, NAFEST

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Authors: Dane Morace-Court

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This paper offers a reflective and reflexive examination of the lived experience of a group of young, white, working-class males engaging in secondary-education in England at a time when this population is widely recognised as the lowest attaining ethnic group within British schools. The focus of the paper is an exploration of the development of identities and aspirations, alongside contemporary demographic and ideological shifts in the British population, in their intersection with neoliberal education policies and the emerging ideological conflict between identity conservatism and liberalism. The construction and performance of intersecting social-class, gender, ethnic and national identities is considered as well as the process through which socially constructed narratives inform identities, values, and aspirations. Evocative autoethnography is then employed to offer reflections on working-class habitus and, in particular, classed and gendered codes that underpin expectations of manhood in post-industrial culture within an education system which seemingly requires the abandonment of aspects of a working-class background. Findings from the study identify the emergence of a culture of hyper-individualisation amongst white, working-class males in schools and a belief in the meritocratic ideologies of the New Right. In particular, the breakdown of the social contract, including notions of political and civic responsibility, coupled with the symbolic violence perpetrated against working-class culture and solidarity in British schools, have all informed the construction of a working-class masculinity which values the individual entrepreneur over the collective, and depoliticizes students to an extent where a focus on the spectacle and performance of success has replaced individual and collective investment in community.

Keywords: education, identity, masculinity, neoliberalism, working-class, intersectionality, autoethnography

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Authors: Athira Sanjeev

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The portrayal of lesbianism in cinema has undergone significant transformations. This study explores the evolving portrayal of lesbianism in the films of French director Céline Sciamma, focusing on how her works have redefined the representation of queer women in contemporary cinema. Through an analysis of Water Lilies (2007), Tomboy (2011), and Portrait of a Lady on Fire (2019), the study investigates the ways in which Sciamma’s films diverge from traditional depictions of lesbianism in film, which often relied on either fetishization or tragedy. Instead, Sciamma adopts a quiet, minimalist style that foregrounds emotional intimacy, offering a more nuanced and authentic portrayal of lesbian relationships. Through a comparative analysis of these films, this research explores the thematic and stylistic progression of Sciamma’s portrayal of lesbianism, highlighting her commitment to centering queer female experiences. The research highlights Sciamma's commitment to focusing on the complexities of desire, identity formation, and the female gaze, particularly through her use of visual storytelling, character development, and narrative silence. Her films emphasize the fluidity of gender and sexuality, portraying lesbianism not as a fixed identity but as part of a broader spectrum of human desire. Sciamma’s nuanced approach resists the traditional marginalization of lesbian characters, allowing them to exist as individuals rather than as plot devices or objects of spectacle. This study draws from queer theory and feminist film criticism to examine how Sciamma challenges conventional heteronormative narratives, prioritizes the female gaze, and subverts traditional cinematic representations of lesbian desire. It also explores how her work contributes to a broader conversation on the representation of queerness in contemporary French cinema, challenging heteronormative paradigms and offering new possibilities for depicting female relationships on screen. By tracing the evolution of her films, this research contributes to broader discussions on LGBTQ+ visibility in cinema and the cultural significance of lesbian representation in contemporary cinema.

Keywords: female gaze, feminist film criticism, lesbianism in cinema, queer theory

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Authors: Soiduate Ogoye-Atanga

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During funeral ceremonies, it has become common for attendees to jostle for burial programs in some southern Nigerian towns. Beginning from ordinary typewritten text only sheets of paper in the 1980s to their current digitally formatted multicolor magazine style, burial programs continue to be collected and kept in homes where they remain as archival documents of family photo histories and as a veritable form of leveraging family status and visibility in a social economy through the inclusion of lots of choreographically arranged photographs and text. The biographical texts speak of idealized and often lofty and aestheticized accomplishments of deceased peoples, which are often corroborated by an accompanying section of tributes from first the immediate family members, and then from affiliations as well as organizations deceased people belonged, in the form of scanned letterheaded corporate tributes. Others speak of modest biographical texts when the deceased accomplished little. Usually, in majority of the cases, the display of photographs and text in these programs follow a trajectory of historical compartmentalization of the deceased, beginning from parentage to the period of youth, occupation, retirement, and old age as the case may be, which usually drives from black and white historical photographs to the color photography of today. This compartmentalization follows varied models but is designed to show the deceased in varying activities during his lifetime. The production of these programs ranges from the extremely expensive and luscious full colors of near fifty-eighty pages to bland and very simplified low-quality few-page editions in a single color and no photographs, except on the cover. Cost and quality, therefore, become determinants of varying family status and social visibility. By a critical selection of photographs and text, family members construct an idealized image of deceased people and themselves, concentrating on mutuality based on appropriate sartorial selections, socioeconomic grade, and social temperaments that are framed to corroborate the public’s perception of them. Burial magazines, therefore, serve purposes beyond their primary use; they symbolize an orchestrated social site for image-making and the validation of the social status of families, shaped by prior family histories.

Keywords: biographical texts, burial programs, compartmentalization, magazine, multicolor, photo-histories, social status

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Authors: Paulo Da Silva Quadros

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This work aims to point out comparative parameters between the artistic production of two exponents of the contemporary popular culture scene: Caetano Veloso (Brazil) and David Bowie (England). Both Caetano Veloso and David Bowie were pioneers in establishing an aesthetic game between various artistic expressions at the service of the music-visual scene, that is, the conceptual interconnections between several forms of aesthetic processes, such as fine arts, theatre, cinema, poetry, and literature. There are also correlations in their expressive attitudes of art, especially regarding the dialogue between the fields of art and politics (concern with respect to human rights, human dignity, racial issues, tolerance, gender issues, and sexuality, among others); the constant tension and cunning game between market, free expression and critical sense; the sophisticated, playful mechanisms of metalanguage and aesthetic metacritique. Fact is that both of them almost came to cooperate with each other in the 1970s when Caetano was in exile in England, and when both had at the same time the same music producer, who tried to bring them closer, noticing similar aesthetic qualities in both artistic works, which was later glimpsed by some music critics. Among many of the most influential issues in Caetano's and Bowie's game of artistic-aesthetic expression are, for example, the ideas advocated by the sensation of strangeness (Albert Camus), art as transcendence (Friedrich Nietzsche), the deconstruction and reconstruction of auratic reconfiguration of artistic signs (Walter Benjamin and Andy Warhol). For deepen more theoretical issues, the following authors will be used as supportive interpretative references: Hans-Georg Gadamer, Immanuel Kant, Friedrich Schiller, Johan Huizinga. In addition to the aesthetic meanings of Ars Ludens characteristics of the two artists, the following supporting references will be also added: the question of technique (Martin Heidegger), the logic of sense (Gilles Deleuze), art as an event and the sense of the gesture of art ( Maria Teresa Cruz), the society of spectacle (Guy Debord), Verarbeitung and Durcharbeitung (Sigmund Freud), the poetics of interpretation and the sign of relation (Cremilda Medina). The purpose of such interpretative references is to seek to understand, from a cultural reading perspective (cultural semiology), some significant elements in the dynamics of aesthetic and media interconnections of both artists, which made them as some of the most influential interlocutors in contemporary music aesthetic thought, as a playful vivid experience of life and art.

Keywords: Caetano Veloso, David Bowie, music aesthetics, symbolic playfulness, cultural reading

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Authors: John Hardy

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Over the last decade, the world has witnessed an unprecedented rise in the quality and availability of violent extremist propaganda. This phenomenon has been fueled primarily by three interrelated trends: rapid adoption of online content mediums by creators of violent extremist propaganda, increasing sophistication of violent extremist content production, and greater coordination of content and action across violent extremist organizations. In particular, the self-styled ‘Islamic State’ attracted widespread attention from its supporters and detractors alike by mixing shocking video and imagery content in with substantive ideological and political content. Although this practice was widely condemned for its brutality, it proved to be effective at engaging with a variety of international audiences and encouraging potential supporters to seek further information. The reasons for the noteworthy success of this kind of shock-value propaganda content remain unclear, despite many governments’ attempts to produce counterpropaganda. This study examines violent extremist propaganda distributed by five terrorist organizations between 2010 and 2016, using material released by the ‎Al Hayat Media Center of the Islamic State, Boko Haram, Al Qaeda, Al Qaeda in the Arabian Peninsula, and Al Qaeda in the Islamic Maghreb. The time period covers all issues of the infamous publications Inspire and Dabiq, as well as the most shocking video content released by the Islamic State and its affiliates. The study uses frame analysis to distinguish thematic from symbolic content in violent extremist propaganda by contrasting the ways that substantive ideology issues were framed against the use of symbols and violence to garner attention and to stylize propaganda. The results demonstrate that thematic content focuses significantly on diagnostic frames, which explain violent extremist groups’ causes, and prognostic frames, which propose solutions to addressing or rectifying the cause shared by groups and their sympathizers. Conversely, symbolic violence is primarily stylistic and rarely linked to thematic issues or motivational framing. Frame analysis provides a useful preliminary tool in disentangling substantive ideological and political content from stylistic brutality in violent extremist propaganda. This provides governments and researchers a method for better understanding the framing and content used to design narratives and propaganda materials used to promote violent extremism around the world. Increased capacity to process and understand violent extremist narratives will further enable governments and non-governmental organizations to develop effective counternarratives which promote non-violent solutions to extremists’ grievances.

Keywords: countering violent extremism, counternarratives, frame analysis, propaganda, terrorism, violent extremism

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Authors: Nadia K. Thalji

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In the timeless tapestry of human culture, theater, mythology, and psychology intersect to weave narratives that transcend temporal and spatial boundaries. For millennia, actors have stood as guardians of intuitive wisdom, their craft serving as a conduit for the collective unconscious. This paper embarks on a journey through the realms of creative expression, melding the insights of cross-cultural psychology with the mystical allure of serendipity and synchronicity. At the nexus of these disciplines lies the enigmatic process of active imagination, a gateway to the depths of the psyche elucidated by Jung. Within the hallowed confines of the black box theater at the Department of Performing Arts, UFRGS University in Brazil, this study unfolds. Over the span of four months, a cadre of artists embarked on a voyage of exploration, harnessing the powers of imagery, movement, sound, and dreams to birth a performance that resonated with the echoes of ancient wisdom. Drawing inspiration from the fabled Oracle of Delphi and the priestesses who once dwelled within its sacred precincts, the production delves into the liminal spaces where myth and history intertwine. Through the alchemy of storytelling, participants navigate the labyrinthine corridors of cultural memory, unraveling the threads that bind the past to the present. Central to this endeavor is the phenomenon of synchronicity, wherein seemingly disparate elements coalesce in a dance of cosmic resonance. Serendipity becomes a guiding force, leading actors and audience alike along unexpected pathways of discovery. As the boundaries between performer and spectator blur, the performance becomes a crucible wherein individual narratives merge to form a collective tapestry of shared experience. Yet, beneath the surface of spectacle lies a deeper truth: the exploration of the spiritual dimensions of artistic expression. Through intuitive inquiry and embodied practice, artists tap into reservoirs of insight that transcend rational comprehension. In the communion of minds and bodies, the stage becomes a sacred space wherein the numinous unfolds in all its ineffable glory. In essence, this paper serves as a testament to the transformative power of the creative act. Across cultures and epochs, the theater has served as a crucible wherein humanity grapples with the mysteries of existence. Through the lens of cross-cultural psychology, we glimpse the universal truths that underlie the myriad manifestations of human creativity. As we navigate the turbulent currents of modernity, the wisdom of the ancients beckons us to heed the call of the collective unconscious. In the synthesis of myth and meaning, we find solace amidst the chaos, forging connections that transcend the boundaries of time and space. And in the sacred precincts of the theater, we discover the eternal truth that art is, and always shall be, the soul's journey into the unknown.

Keywords: theater, mythology, cross-cultural, synchronicity, creativity, serendipity, spiritual

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Authors: Jim O'brien

Abstract:

Contemporary global representation and consumption of La Liga across a plethora of media platform outlets has resulted in significant implications for the historical, political and cultural developments which shaped the development of Spanish club football. This has established and reinforced a hierarchy of a small number of teams belonging to or aspiring to belong to a cluster of global elite clubs seeking to imitate the blueprint of the English Premier League in respect of corporate branding and marketing in order to secure a global fan base through success and exposure in La Liga itself and through the Champions League. The synthesis between globalization, global sport and the status of high profile clubs has created radical change within the folkloric iconography of Spanish football. The main focus of this paper is to critically evaluate the consequences of globalization on the rich tapestry at the core of the game’s distinctive history in Spain. The seminal debate underpinning the study considers whether the divergent aspects of globalization have acted as a malevolent force, eroding tradition, causing financial meltdown and reducing much of the fabric of club football to the status of by standers, or have promoted a renaissance of these traditions, securing their legacies through new fans and audiences. The study draws on extensive sources on the history, politics and culture of Spanish football, in both English and Spanish. It also uses primary and archive material derived from interviews and fieldwork undertaken with scholars, media professionals and club representatives in Spain. The paper has four main themes. Firstly, it contextualizes the key historical, political and cultural forces which shaped the landscape of Spanish football from the late nineteenth century. The seminal notions of region, locality and cultural divergence are pivotal to this discourse. The study then considers the relationship between football, ethnicity and identity as a barometer of continuity and change, suggesting that tradition is being reinvented and re-framed to reflect the shifting demographic and societal patterns within the Spanish state. Following on from this, consideration is given to the paradoxical function of ‘El Clasico’ and the dominant duopoly of the FC Barcelona – Real Madrid axis in both eroding tradition in the global nexus of football’s commodification and in protecting historic political rivalries. To most global consumers of La Liga, the mega- spectacle and hyperbole of ‘El Clasico’ is the essence of Spanish football, with cultural misrepresentation and distortion catapulting the event to the global media audience. Finally, the paper examines La Liga as a sporting phenomenon in which elite clubs, cult managers and galacticos serve as commodities on the altar of mass consumption in football’s global entertainment matrix. These processes accentuate a homogenous mosaic of cultural conformity which obscures local, regional and national identities and paradoxically fuses the global with the local to maintain the distinctive hue of La Liga, as witnessed by the extraordinary successes of Athletico Madrid and FC Eibar in recent seasons.

Keywords: Spanish football, globalization, cultural identity, tradition, folklore

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