scholarly journals THE AESTHETIC RECEPTION OF THE QURAN IN INSTAGRAM: Variations, Factors, and Religious Commodification

2020 ◽  
Vol 21 (2) ◽  
pp. 237-268
Author(s):  
Rizal Faturohman Purnama
Keyword(s):  
Social Media ◽  
Qualitative Study ◽  
Social Factors ◽  
Analytical Method ◽  
Reception Theory ◽  
The Past ◽  
Historical Factor ◽  
Religious Piety ◽  
Normative Factors ◽  
The Aesthetic

This research discusses the aesthetic reception of the Quran in Instagram including various forms, appearance factors and commodification. This research is included in the qualitative study using Ahmad Rafiq’s reception theory. Using descriptive-analytical method, the study found variations of the Quran’s aesthetic reception in Instagram which are in the form of verse continuation and the Quran recitation. The background factors of the Quran’s aesthetic reception in Instagram include normative factors the Quran’s verses showing kindness to those who teach and practice it; historical factor i.e. the past reality related to the Quran’s aesthetic reception done by the Arab community; and social factors showing high passion of self-expression in preaching. Instagram as a social media has modified the Quran’s aesthetic reception with several available facilities and featuresthat enables its users to express themselves concerning the identity of religious piety and economic commodities through several contents related to the Quran.

Slacktivism, Supervision, and #Selfies

2020 ◽  
pp. 696-711
Author(s):  
Elisabeth H. Buck
Keyword(s):  
Social Media ◽  
Composition Pedagogy ◽  
Rhetoric And Composition ◽  
Classroom Discussion ◽  
Reception Theory ◽  
Classroom Context ◽  
Aesthetic Experiences ◽  
Entry Points ◽  
Media Environments ◽  
The Aesthetic

Since its original development for use in literary studies by German scholar Hans Robert Jauss in the late 1960s, reception theory has been successfully applied to fields as diverse as media studies, communications, and art history; its efficacy within rhetoric and composition pedagogy, however, has been less fully explored. I argue in this essay that reception theory can provide a meaningful way to understand and discuss social media composing practices, especially as a lens for thinking about why and how we participate in social media as both readers and writers in the 21st century. This essay thus examines the three “aesthetic experiences” of Jauss's reception theory—catharsis, aisthesis, and poiesis— which describe the ways that audiences derive satisfaction from engaging with texts. I apply each aesthetic concept to a corresponding mode of social media composition: practices of social media-based activism, regulation of content on social media, as well as the act of creating “selfies.” These applications stand as potential entry points for classroom discussion about how social media draws its users into producing a response. The “aesthetic experiences” represent ways to look at composing practices on social media cohesively, but they also give language to how individual social media users gain enjoyment from participating with these sites. I offer specific strategies for incorporating reception theory in a classroom context, and conclude that this approach helps students think more specifically about the intricacies and limitations of audience(s)—important recognitions for anyone who produces content in social media environments.

scholarly journals Photojournalism: Journalistic Reality and Necessity

2016 ◽  
Vol 3 (1) ◽  
Author(s):  
Sushama Kasbekar
Keyword(s):  
Social Media ◽  
Qualitative Study ◽  
Mass Media ◽  
News Stories ◽  
The Past ◽  
News Photography ◽  
Pictorial Presentation ◽  
The World ◽  
The Impact ◽  
Depth Interviews

Aylan Kurdi, a three year old Syrian boy’s image carried on the front pages of newspapers and magazines in September 2015 was enough to stop the world in its tracks. It embodied the ravages of the Syrian war which has made headlines in newspapers and in the mass media in the past few years. Photo journalism is “Journalism in which written copy is subordinate to pictorial presentation of news stories or in which a high proportion of pictorial presentation is used, is broadly news photography” according to Miriam Webster’s dictionary. News photography sears, it captures reality. It is a necessity in this world which requires evidence and substantiation. This paper aims to study the photos related to the war in Syria; especially photos of Aylan Kurdi a three year old boy washed ashore while escaping with his family from Syria. The impact of these photographs on readers has been made through a qualitative study with in-depth interviews. The disturbing nature of the photographs, the knowledge about the war in Syria, the need and necessity of using of such photographs in media, feelings evoked, and the impact of the photographs by being shown on social media was gauged through a questionnaire and in-depth interviews.

Slacktivism, Supervision, and #Selfies

2016 ◽  
pp. 163-178
Author(s):  
Elisabeth H. Buck
Keyword(s):  
Social Media ◽  
Composition Pedagogy ◽  
Rhetoric And Composition ◽  
Classroom Discussion ◽  
Reception Theory ◽  
Classroom Context ◽  
Aesthetic Experiences ◽  
Entry Points ◽  
Media Environments ◽  
The Aesthetic

Since its original development for use in literary studies by German scholar Hans Robert Jauss in the late 1960s, reception theory has been successfully applied to fields as diverse as media studies, communications, and art history; its efficacy within rhetoric and composition pedagogy, however, has been less fully explored. I argue in this essay that reception theory can provide a meaningful way to understand and discuss social media composing practices, especially as a lens for thinking about why and how we participate in social media as both readers and writers in the 21st century. This essay thus examines the three “aesthetic experiences” of Jauss's reception theory—catharsis, aisthesis, and poiesis— which describe the ways that audiences derive satisfaction from engaging with texts. I apply each aesthetic concept to a corresponding mode of social media composition: practices of social media-based activism, regulation of content on social media, as well as the act of creating “selfies.” These applications stand as potential entry points for classroom discussion about how social media draws its users into producing a response. The “aesthetic experiences” represent ways to look at composing practices on social media cohesively, but they also give language to how individual social media users gain enjoyment from participating with these sites. I offer specific strategies for incorporating reception theory in a classroom context, and conclude that this approach helps students think more specifically about the intricacies and limitations of audience(s)—important recognitions for anyone who produces content in social media environments.

scholarly journals Quantified Nostalgia: Social Media, Metrics, and Memory

2021 ◽  
Vol 7 (2) ◽  
pp. 205630512110088
Author(s):  
Benjamin N. Jacobsen ◽  
David Beer
Keyword(s):  
Social Media ◽  
Focus Group ◽  
Qualitative Interviews ◽  
The Past ◽  
Group Data ◽  
Focus Group Data ◽  
Social Media Platforms ◽  
Memory Practices ◽  
The Relationship

As social media platforms have developed over the past decade, they are no longer simply sites for interactions and networked sociality; they also now facilitate backwards glances to previous times, moments, and events. Users’ past content is turned into definable objects that can be scored, rated, and resurfaced as “memories.” There is, then, a need to understand how metrics have come to shape digital and social media memory practices, and how the relationship between memory, data, and metrics can be further understood. This article seeks to outline some of the relations between social media, metrics, and memory. It examines how metrics shape remembrance of the past within social media. Drawing on qualitative interviews as well as focus group data, the article examines the ways in which metrics are implicated in memory making and memory practices. This article explores the effect of social media “likes” on people’s memory attachments and emotional associations with the past. The article then examines how memory features incentivize users to keep remembering through accumulation. It also examines how numerating engagements leads to a sense of competition in how the digital past is approached and experienced. Finally, the article explores the tensions that arise in quantifying people’s engagements with their memories. This article proposes the notion of quantified nostalgia in order to examine how metrics are variously performative in memory making, and how regimes of ordinary measures can figure in the engagement and reconstruction of the digital past in multiple ways.

scholarly journals Portrait of the artist as a philosopher

2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols
Keyword(s):  
Know How ◽  
The Past ◽  
Aesthetic Practice ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

The response asks about the relationship between artist and audience in the RAAAF artworks. Is the artist an Autonomous Innovator who breaches the ties with the past and the environment? Or is the aesthetic practice located in the creation of relationships around these objects, hence expanding the artwork by using know-how, experiences and enthusiasm of the audience/users?

Concrete Monsters of the Welfare State: Discussions of Brutalist Architecture on Social Media

2021 ◽  
pp. 120633122110193
Author(s):  
Max Holleran
Keyword(s):  
Social Media ◽  
Welfare State ◽  
Large Scale ◽  
Eastern European ◽  
Municipal Governments ◽  
Online Social Media ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Aesthetic ◽  
The Welfare State

Brutalist architecture is an object of fascination on social media that has taken on new popularity in recent years. This article, drawing on 3,000 social media posts in Russian and English, argues that the buildings stand out for their arresting scale and their association with the expanding state in the 1960s and 1970s. In both North Atlantic and Eastern European contexts, the aesthetic was employed in publicly financed urban planning projects, creating imposing concrete structures for universities, libraries, and government offices. While some online social media users associate the style with the overreach of both socialist and capitalist governments, others are more nostalgic. They use Brutalist buildings as a means to start conversations about welfare state goals of social housing, free university, and other services. They also lament that many municipal governments no longer have the capacity or vision to take on large-scale projects of reworking the built environment to meet contemporary challenges.

scholarly journals Household medication safety practices during the COVID-19 pandemic: a descriptive qualitative study protocol

BMJ Open ◽  
2020 ◽  
Vol 10 (11) ◽  
pp. e044441
Author(s):  
Tamasine C Grimes ◽  
Sara Garfield ◽  
Dervla Kelly ◽  
Joan Cahill ◽  
Sam Cromie ◽  
...  
Keyword(s):  
Social Media ◽  
Qualitative Study ◽  
Medication Safety ◽  
Best Practice ◽  
Public Involvement ◽  
Comparative Method ◽  
Patient And Public Involvement ◽  
Safety Practices ◽  
Trinity College Dublin ◽  
Descriptive Qualitative

IntroductionThose who are staying at home and reducing contact with other people during the COVID-19 pandemic are likely to be at greater risk of medication-related problems than the general population. This study aims to explore household medication practices by and for this population, identify practices that benefit or jeopardise medication safety and develop best practice guidance about household medication safety practices during a pandemic, grounded in individual experiences.Methods and analysisThis is a descriptive qualitative study using semistructured interviews, by telephone or video call. People who have been advised to ‘cocoon’/‘shield’ and/or are aged 70 years or over and using at least one long-term medication, or their caregivers, will be eligible for inclusion. We will recruit 100 patient/carer participants: 50 from the UK and 50 from Ireland. Recruitment will be supported by our patient and public involvement (PPI) partners, personal networks and social media. Individual participant consent will be sought, and interviews audio/video recorded and/or detailed notes made. A constructivist interpretivist approach to data analysis will involve use of the constant comparative method to organise the data, along with inductive analysis. From this, we will iteratively develop best practice guidance about household medication safety practices during a pandemic from the patient’s/carer’s perspective.Ethics and disseminationThis study has Trinity College Dublin, University of Limerick and University College London ethics approvals. We plan to disseminate our findings via presentations at relevant patient/public, professional, academic and scientific meetings, and for publication in peer-reviewed journals. We will create a list of helpful strategies that participants have reported and share this with participants, PPI partners and on social media.

scholarly journals Trends in Patient, Physician, and Public Perception of Ulnar Collateral Ligament Reconstruction Using Social Media Analytics

2021 ◽  
Vol 9 (3) ◽  
pp. 232596712199005
Author(s):  
Jonathan S. Yu ◽  
James B. Carr ◽  
Jacob Thomas ◽  
Julianna Kostas ◽  
Zhaorui Wang ◽  
...  
Keyword(s):  
Social Media ◽  
Public Perception ◽  
Ulnar Collateral Ligament ◽  
Return To Play ◽  
Social Media Analytics ◽  
Care Providers ◽  
Collateral Ligament ◽  
The Past ◽  
Positive Sentiment ◽  
Negative Sentiment

Background: Social media posts regarding ulnar collateral ligament (UCL) injuries and reconstruction surgeries have increased in recent years. Purpose: To analyze posts shared on Instagram and Twitter referencing UCL injuries and reconstruction surgeries to evaluate public perception and any trends in perception over the past 3 years. Study Design: Cross-sectional study. Methods: A search of a 3-year period (August 2016 and August 2019) of public Instagram and Twitter posts was performed. We searched for >22 hashtags and search terms, including #TommyJohn, #TommyJohnSurgery, and #tornUCL. A categorical classification system was used to assess the sentiment, media format, perspective, timing, accuracy, and general content of each post. Post popularity was measured by number of likes and comments. Results: A total of 3119 Instagram posts and 267 Twitter posts were included in the analysis. Of the 3119 Instagram posts analyzed, 34% were from patients, and 28% were from providers. Of the 267 Twitter posts analyzed, 42% were from patients, and 16% were from providers. Although the majority of social media posts were of a positive sentiment, over the past 3 years, there was a major surge in negative sentiment posts (97% increase) versus positive sentiment posts (9% increase). Patients were more likely to focus their posts on rehabilitation, return to play, and activities of daily living. Providers tended to focus their posts on education, rehabilitation, and injury prevention. Patient posts declined over the past 3 years (–28%), whereas provider posts increased substantially (110%). Of posts shared by health care providers, 4% of posts contained inaccurate or misleading information. Conclusion: The majority of patients who post about their UCL injury and reconstruction on social media have a positive sentiment when discussing their procedure. However, negative sentiment posts have increased significantly over the past 3 years. Patient content revolves around rehabilitation and return to play. Although patient posts have declined over the past 3 years, provider posts have increased substantially with an emphasis on education.

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