The Art of Hearing | ScienceGate

This paper offers a close analysis of the usage of the term circulus to refer to groups of Romans gathered together for various reasons. I identify such groupings as primarily non-elite in character and suggest that examination of their representation in our sources offers insight into popular sociability and communication at Rome. While circuli and the related figure of the circulator are often associated with what is considered to be a debased popular culture, they can also be seen as part of a more general culture of popular sociability which is politically threatening to a Roman governing class that desired to monopolize and control speech and communication and in whose interest it was to channel popular political participation into the official political institutions of the city. This paper also looks at some of the strategies developed by Roman elites to maintain, in response to such unauthorized activity, their moral, intellectual, and political hegemony over the rest of the population.

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Se eu fosse você: liminal spaces of gender and sexuality

Significação Revista de Cultura Audiovisual ◽

10.11606/issn.2316-7114.sig.2021.160524 ◽

2021 ◽

Vol 48 (55) ◽

pp. 36-54

Author(s):

Roberta Gregoli

Keyword(s):

Popular Culture ◽

Gender And Sexuality ◽

The Body ◽

Gender Performativity ◽

Double Standards ◽

Liminal Spaces ◽

Close Analysis

The body swap comedy is a privileged genre for investigating norms related to gender and sexuality in popular culture. This article explores these norms through the close analysis of the film Se eu fosse você (Daniel Filho, 2006), using Mikhail Bakhtin’s thesis on the carnivalesque and Judith Butler’s theory of gender performativity. Despite the film’s overall strong conservative framework, it is argued that just as revealing as what the film tries to regulate is what it exposes: double standards, failures in the heteronormative matrix, and disruptive sex acts and gendered behavior.

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Erotic Comics in Japan

10.5117/9789463727129 ◽

2020 ◽

Author(s):

Kaoru Nagayama

Keyword(s):

Popular Culture ◽

Freedom Of Expression ◽

Legal Action ◽

Close Analysis ◽

The World ◽

Small Industry ◽

History Of ◽

Comprehensive Introduction ◽

Productive Discussion

Comics and cartoons from Japan, or manga and anime, are an increasingly common feature of visual and popular culture around the world. While it is often observed that these media forms appeal to broad and diverse demographics, including many adults, eroticism continues to unsettle critics and has even triggered legal action in some jurisdictions. It is more urgent than ever to engage in productive discussion, which begins with being informed about content that is still scarcely understood outside small industry and fan circles. Erotic Comics in Japan: An Introduction to Eromanga is the most comprehensive introduction in English to erotic comics in Japan, or eromanga. Divided into three parts, it provides a history of eroticism in Japanese comics and cartoons generally leading to the emergence of eromanga specifically, an overview of seven themes running across works with close analysis of outstanding examples and a window onto ongoing debates surrounding regulation and freedom of expression in Japan.

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News & the politics of satire: TV3's 7 Days

10.26686/wgtn.17008441.v1 ◽

2021 ◽

Author(s):

◽

Elyse Katherine Robêrt

Keyword(s):

Popular Culture ◽

New Zealand ◽

News Media ◽

Literary Tradition ◽

Television Show ◽

Counter Narrative ◽

Close Analysis ◽

Current Affairs ◽

The Us ◽

Uncertain Future

<p>As New Zealand’s favoured satirical television show 7 Days reconstitutes the week’s current affairs and offers up a valuable counter narrative to traditional news media through its remixing of the conventions of news and the panel quiz show. Whilst many academics have studied satirical television in the US and UK contexts very little attention has been paid to the collection of New Zealand television satire and local audiences’ preference for satire over other local comedy forms. In comparing the three television systems several characteristics emerge as unique to 7 Days and New Zealand’s satiric tradition; an affinity for self-deprecating humour, the targeting of hubris, and the assailing of tall poppy syndrome; the hailing and sustenance of public feeling, and thereby the nourishment of nationalism and a communal ‘Kiwi’ identity. Television satire dealing in news and review is a well-established practice but is often referred to in academia and popular culture as simply a ‘genre’ when it rather operates as somewhere between a discourse and a genre. Television satire is born of a strong literary tradition but literary criticisms fail to adequately address the functions of contemporary satire; its affective powers, the limits of its uptake, and the ideological footing of its critiques. Examples from US and UK television are considered as precursors to New Zealand satire, and a close analysis of 7 Days reveals that it is not only the conventions of genre that limit satire’s incarnations but also an unstable broadcasting history and an uncertain future.</p>

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News & the politics of satire: TV3's 7 Days

10.26686/wgtn.17008441 ◽

2021 ◽

Author(s):

◽

Elyse Katherine Robêrt

Keyword(s):

Popular Culture ◽

New Zealand ◽

News Media ◽

Literary Tradition ◽

Television Show ◽

Counter Narrative ◽

Close Analysis ◽

Current Affairs ◽

The Us ◽

Uncertain Future

<p>As New Zealand’s favoured satirical television show 7 Days reconstitutes the week’s current affairs and offers up a valuable counter narrative to traditional news media through its remixing of the conventions of news and the panel quiz show. Whilst many academics have studied satirical television in the US and UK contexts very little attention has been paid to the collection of New Zealand television satire and local audiences’ preference for satire over other local comedy forms. In comparing the three television systems several characteristics emerge as unique to 7 Days and New Zealand’s satiric tradition; an affinity for self-deprecating humour, the targeting of hubris, and the assailing of tall poppy syndrome; the hailing and sustenance of public feeling, and thereby the nourishment of nationalism and a communal ‘Kiwi’ identity. Television satire dealing in news and review is a well-established practice but is often referred to in academia and popular culture as simply a ‘genre’ when it rather operates as somewhere between a discourse and a genre. Television satire is born of a strong literary tradition but literary criticisms fail to adequately address the functions of contemporary satire; its affective powers, the limits of its uptake, and the ideological footing of its critiques. Examples from US and UK television are considered as precursors to New Zealand satire, and a close analysis of 7 Days reveals that it is not only the conventions of genre that limit satire’s incarnations but also an unstable broadcasting history and an uncertain future.</p>

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Genre, Authorship and Contemporary Women Filmmakers

10.3366/edinburgh/9781474425261.001.0001 ◽

2018 ◽

Cited By ~ 4

Author(s):

Katarzyna Paszkiewicz

Keyword(s):

Popular Culture ◽

Women Filmmakers ◽

Romantic Comedy ◽

Independent Cinema ◽

Close Analysis ◽

Women's Cinema ◽

The Aesthetic ◽

Kathryn Bigelow

Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.

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Adversity and redemption: Learning and teaching in the language learning histories of two EFL student-teachers

Studies in Second Language Learning and Teaching ◽

10.14746/ssllt.2015.5.2.5 ◽

2015 ◽

Vol 5 (2) ◽

pp. 273-299 ◽

Cited By ~ 1

Author(s):

Miri Tashma Baum

Keyword(s):

Popular Culture ◽

Language Learning ◽

Student Teachers ◽

Language Learner ◽

Imagined Community ◽

Learning And Teaching ◽

Narrative Structures ◽

Close Analysis ◽

Situated Identity ◽

The One

A better understanding of the multifaceted, dynamic and situated identity of the language learner stands at the center of much current SLA research. One of the main ways in which it is investigated is through the examination of autobiographical language learning histories. In an effort to better understand some of the processes which lead to a motivated, confident and successful language learner and user, this article analyzes the language learning histories of two EFL student-teachers, notable for their commitment to the learning and teaching of English. A close analysis of their narratives, focusing on thematic, stylistic and performative aspects, reveals what narrative psychologist McAdams (2006) has called “redemptive” patterns, that is, narrative structures in which hardship leads to inner growth and difficulties become “springboards” (Pals, 2006) to success. The two narrators also display a similar flexibility in their evolving self-positioning in response to the difficulties they narrate, and for both, attachment to the imagined community of Anglophone popular culture is an essential component in this process. Together, the learning experiences delineated in the accounts support the call for student-focused pedagogy, which puts emphasis on creating a positive emotional atmosphere, on the one hand, and providing rich intercultural knowledge, on the other.

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Toward a Middle-Class Cinema: Thomas Ince and the Social Problem Film, 1914–1920

The Journal of the Gilded Age and Progressive Era ◽

10.1017/s1537781400001481 ◽

2009 ◽

Vol 8 (4) ◽

pp. 545-572

Author(s):

Nancy J. Rosenbloom

Keyword(s):

Popular Culture ◽

Middle Class ◽

Progressive Era ◽

Social Problem ◽

American Cinema ◽

Feature Films ◽

Close Analysis ◽

The Social ◽

Social Problem Film ◽

The Relationship

Thomas H. Ince (1882–1924) was a popular motion-picture producer and director in the 1910s. He built his reputation and fortune by making feature films that appealed to middle-class tastes. In addition to his westerns and the epics for which he is best known, Ince made a number of social-problem films. Three of his films—The Italian(1914),Dangerous Hours(1920), andThe Dark Mirror(1920)—are particularly interesting for how they illuminate the relationship between the American cinema and Progressive Era reform. A close analysis of these three films suggests ways that popular culture reflected the concerns of mainstream progressives and how these concerns shifted during the course of the decade.

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