scholarly journals Rhetoric and audience reception: An analysis of Theresa May’s vision of Britain and Britishness after Brexit

Politics ◽  
2021 ◽  
pp. 026339572199141
Author(s):  
Judi Atkins
Keyword(s):  
National Identity ◽  
Textual Analysis ◽  
Audience Reception ◽  
Rhetorical Situation ◽  
Audience Studies ◽  
Subject Positions ◽  
Historical Method ◽  
Reception Study ◽  
British People

This article demonstrates the value of rhetorical audience studies for analysing constructions of ‘the nation’ and national identity. A key strength of this approach is its recognition of the interplay between the rhetorical situation, the text of the speech, and the audience’s responses to that rhetoric. Using the historical method for investigating rhetoric and its reception, the article examines Theresa May’s efforts to bring the nation together after the 2016 referendum and to offer an inspiring vision of post-Brexit Britain. A textual analysis shows that her rhetoric of Britishness was constructed around an imagined audience of Leave voters, and thus excluded Remainers from her conceptions of Britain and ‘the British people’. The audience reception study supports this finding, as it reveals two competing myths of ‘the nation’ which in turn constituted rival subject positions. In short, May’s epideictic failed to unite the country behind her conception of a strong, cohesive Global Britain.

scholarly journals Film “Darah dan Do’a” Sebagai Wacana Film Nasional Indonesia

Panggung ◽  
2016 ◽  
Vol 26 (3) ◽  
Author(s):  
Arda - Muhlisiun
Keyword(s):  
National Identity ◽  
Textual Analysis ◽  
National Cinema ◽  
Dominant Discourse ◽  
Determining Factor

AbstrakFilm nasional merujuk pada pengertian identitas nasional. Dia bisa disebut nasional karena representasi identitas itu bisa menunjukkannya. Film Usmar Ismail (Darah dan Doa, 1950) disebut sebagai (gagasan) film nasional karena diwacanakan sebagai film yang “asli” Indonesia.Melalui analisa tekstual bisa didapatkan satu pengertian diskursif-performatif atas film nasional, yang sesungguhnya telah menjadi “mitos” terhadap film Usmar Ismail ini. Untuk memperjelas pengertian film nasional, sekaligus sebagai upaya mendeskripsikan wacana film nasional atas film Usmar Ismail ini digunakan konsep film nasional yang ditawarkan oleh Jinhee Choi tentang pengertian film nasional yang menurutnya bisa berdasarkan nilai teritori, nilai fungsional dan nilai relasional. Hasil analisa yang didapatkan dari penelitian ini menemukan bahwa gagasan film nasional atas film Usmar Ismail memang lebih berkutat pada kekuatan wacana yang mengelilinginya, terutama Usmar Ismail yang memang menjadi faktor determinan dalam lahirnya gagasan film nasional Indonesia.Kata Kunci : Film Nasional, Usmar Ismail, Darah dan DoaAbstractA national film suggestived towards the ideas of national identity. It can be labelled ‘national’ because the representation of national identity pertains to it. Usmar Ismail’s film was described as a national film because it presents genuine Indonesian. Through the textual analysis that discursive-performative understanding of national films can be achieved; an understanding that has become a myth in context to Usmar Ismail’s film.In order to clarified concepts of national film as well as to illustrate the discourse of national films in Usmar Ismail’s work, this analysis used JinHee Choi’s theory of national cinema. In which national film was theorized based on territorial, functional and relational factors.The findings of this analysis showed how the concept of national film in Usmar Ismail’s film actually struggles against the dominant discourse of its time particularly in terms of Usmar Ismail’s figure as a determining factor in establishing national films in Indonesia.Keyword : National Cinema, Usmar Ismail, Darah dan Doa 

“I haven’t heard anything about religion whatsoever”: Audience perceptions of anti-Muslim racism in Sacha Baron Cohen’s The Dictator

2016 ◽  
Vol 29 (2) ◽  
Author(s):  
Simon Weaver ◽  
Lindsey Bradley
Keyword(s):  
Young People ◽  
Focus Group ◽  
Public Debate ◽  
Audience Reception ◽  
Reception Study ◽  
Race Ethnicity ◽  
Hasidic Jews ◽  
The Relationship

AbstractSince the late 1990s, Sacha Baron Cohen’s characters have raised controversy, criticism and protest from various groups (for example, from Black activists in 2002 and Hasidic Jews in 2012). The comedy has also been described as satirical or anti-racist. Baron Cohen, as either Ali G, Borat, Bruno, or General Aladeen, has consistently provided comedy that leads to public debate on the relationship between comedy and race, ethnicity and stereotype, and the nature of racism and “othering” in comedy. Despite this tendency, very little research has been conducted on how audiences receive the comedy. We present results from a recent focus group, audience reception study of the comedy of Baron Cohen, which recorded discourse from young people aged 18–29 years (n 49). The article examines the perceptions of Islamophobia or anti-Muslim racism in the comedy, focusing on

scholarly journals Pergulatan Aliran Kepercayaan dalam Panggung Politik Indonesia, 1950an-2010an: Romo Semono Sastrodihardjo dan Aliran Kapribaden

2018 ◽  
Vol 3 (1) ◽  
pp. 58
Author(s):  
Aryono Aryono
Keyword(s):  
National Identity ◽  
Constitutional Law ◽  
Constitutional Court ◽  
Historical Method ◽  
Central Java ◽  
The Status ◽  
Identity Card ◽  
Unity In Diversity ◽  
The 1950S ◽  
The Government

This article discusses about the efforts of creeds religion flourished to maintain their existence since the 1950s until the late 2010’s in Indonesia. Using historical method, this article found the interesting facts about the struggle of creeds religion in political stage of Indonesia. In 1953, for example, the Ministry of Religion Affairs noted that there were 360 groups protected by the government according on the Constitutional Law 1945 Article 29. After the tragedy of 1965, migration of members to the religions took place. When Soeharto became president, these groups was allowed to flourish. However, they got discrimination and always being watched. The new hope was arose in 2006, when the government issued Law No. 23/2006 about Population Administration, although it still requires to fill the religious column in national identity card (KTP). In the end 2017, the Constitutional Court issued a fatwa related to the status of religious column in KTP of the creeds religion. This condition also encompassed to Aliran Kapribaden’s Romo Semono Sastrodiharjo in Purworejo, Central Java. This discrimination must be terminated, in the name of unity in diversity.

Aesthetics and Hyperembodiment in Pop Videos

2013 ◽  
Author(s):  
Stan Hawkins
Keyword(s):  
Critical Point ◽  
Textual Analysis ◽  
The Body ◽  
Video Production ◽  
Music Video ◽  
Everyday Experience ◽  
Musical Sound ◽  
Subject Positions ◽  
Physical Responses

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter uses textual analysis of the music video “Umbrella,” featuring Rihanna, to demonstrate the intricacies of sound and image synchronization. It argues that music highlights subject positions according to the viewer’s expectations, assessment, and understanding of the displayed subject. Rihanna’s erotic imagery forms a critical point for contemplating the pop artist’s physical responses to music. One central ingredient of most video performances is disclosed by the suggestive positioning of the gendered body, which extends far beyond everyday experience. Such notions are theorized through aspects of hyperembodiment and hypersexuality, wherein the technological constructedness of the body constitutes a prime part of video production. The aesthetics of performance are predicated on the reassemblance of the body audiovisually. Editing, production, and technology shape the images, which are stimulated by musical sound, and ultimately the audiovisual flow in pop videos mediates a range of conventions that say much about our ever-evolving cultural domains.

From ‘sick nation’ to ‘superpower’: Anti-corruption knowledge and discourse and the construction of Indonesian national identity (1997–2019)

Organization ◽  
2021 ◽  
Vol 28 (5) ◽  
pp. 773-797
Author(s):  
Kanti Pertiwi ◽  
Susan Ainsworth
Keyword(s):  
National Identity ◽  
Political Stability ◽  
National Identities ◽  
Historical Method ◽  
The Third World ◽  
Shared Understandings ◽  
The Impact ◽  
Self Presentations ◽  
Harsh Conditions ◽  
The International Monetary Fund

Anti-corruption knowledge and discourse emerged in the mid-1990s promoted by powerful international actors and organizations, mostly targeting countries in the ‘Third World’. In this paper, we seek to decolonize this knowledge and show how it influences the construction of national identity of former colonies. Our case is a country with a reputation as one of the most corrupt in the world: Indonesia. Long celebrated in the West for its economic growth and political stability, in 1997 the Asian Financial Crisis forced Indonesia to accept financial aid from the International Monetary Fund accompanied by harsh conditions that resulted in domestic turmoil. Using discourse-historical method, we trace how national identity was constructed in The Jakarta Post from 1997 through two decades of Western-influenced corruption-related reform. Our findings show how acceptance of Western anti-corruption discourse and knowledge early on contributed to highly negative internal constructions of Indonesian national identity, but over time, this gave way both to more positive self-presentations as well as greater critique and contestation of this knowledge. Moreover, alternative rationales for anti-corruption were asserted that drew from shared understandings of Islam and Indonesia’s independence. Overall, we show how this type of internationally dominant management and organizational knowledge (MOK) colonized how Indonesia was imagined but that contestation was possible, enabled by improvements in economic circumstances. We conclude by arguing that to understand the colonizing effects of MOK, it is necessary to look at the impact of management knowledge beyond the boundaries of organizations, including at the level of national identities.

Trousers and Tiaras: Audrey Hepburn, A Woman's Star

2002 ◽  
Vol 71 (1) ◽  
pp. 37-51 ◽  
Author(s):  
Rachel Moseley
Keyword(s):  
National Identity ◽  
Young Women ◽  
Textual Analysis ◽  
Archival Research ◽  
The 1950S ◽  
Female Audience

Audrey Hepburn is one of cinema's most stylish and enduring icons, and has embodied an ideal of femininity for generations of women. Using textual analysis, archival research and audience accounts of ‘Doing the Hepburn Look’, I argue that Audrey Hepburn, as a star clearly addressing a female audience, offered a flexible image which was enabling to young women through dress in relation to exigencies of gender, class and national identity. The paper draws on research conducted as part of a larger project investigating Hepburn's ongoing appeal for young British women from the 1950s to the 1990s.

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