scholarly journals Retrolugares, definición, formación y repetición de lugares, escenarios y escenas imaginados del pasado en la cultura popular y el videojuego

2018 ◽  
Vol 28 ◽  
pp. 323
Author(s):  
Alberto Venegas Ramos

Resumen: La intención de este artículo es presentar el concepto “retrolugar” como la repetición de lugares imaginados del pasado dentro de la cultura popular debido a razones sociológicas, políticas y comerciales asociadas a la nueva cultura del capitalismo. Para lograr este objetivo insertaremos el concepto dentro de un marco historiográfico más general y situaremos ejemplos tanto de su concepción como de su desarrollo. Todo ello nos conducirá a la idea de empleo o utilización estética del pasado con razones políticas, sociales o comerciales. Usos del tiempo pretérito alejados del oficio del historiador, pero alojados extensamente entre la población debido a la integración de estos dentro de las manifestaciones culturales más populares.Palabras clave: Retrolugar, Usos públicos de la Historia, Cultura Popular, Mitohistoria, Industria cultural.Abstract: This article introduces the ‘retroplace’, the concept of recreating imagined places of the past within the popular culture on the basis of sociological, political and comercial reasons associated with the new culture of capitalism. To achieve this goal, the concept is examined within a more general historiographic framework, and examples of both its conception and its development are given. This analysis reveals the employment or the aesthetic use of the past for political, social or commercial motives. Although these uses of the past tense are far removed from the trade of the historian, they are widely accepted among the population due to their integration within the most popular cultural manifestations.Key words: Retroplaces, Public use of History, Popular Culture, Mythistory, Cultural industry.

Author(s):  
Alberto Venegas Ramos

Las representaciones de la Prehistoria en la cultura popular siempre han sido parciales, deformadas por los propios creadores para fijar una “marca prehistórica” que fuera fácilmente reconocible para los consumidores. En este trabajo intentaremos trazar un recorrido por la historia de las representaciones del videojuego ambientados en la Prehistoria para establecer una tipología y una serie de rasgos generales. Como conclusión ligaremos esta tipología, las diferentes representaciones y rasgos generales con las nociones de consumo, el pasado y el uso de la Historia en la cultura popular expresadas en los trabajos de Barthes Samuel (2012), David Lowenthal (2015) y Jerome de Groot (2016).The representation of the Prehistory in popular culture have been always partial, deformed by the creators of contents to create a “prehistoric brand” that be easily recognoscible for the consumer. In this paper we will try to trace a history of the prehistoric representations in the video games and stablish a typology for the different manifestations. In the last place, we will question himself the reasons for this representations in relation with the works of Barthes Samuel (2012), David Lowenthal (2015) and Jerome de Groot (2016) and their notions of the relation between the consuming, the past and the use of History in the popular culture.


Author(s):  
Lisa Jakelski

The epilogue begins with a concise overview of the aesthetic, political, and economic shifts that have affected the festival since 1968. It then considers how “new music” is being defined and disseminated at the Warsaw Autumn today. The epilogue demonstrates that, although the old East-West divisions no longer apply in post-socialist Poland, new music at the Warsaw Autumn continues to be defined relationally. Some of these connections are with the present: festival organizers are increasingly willing to admit links between new music, society, and politics. Other relationships are with the past: the Warsaw Autumn is actively engaged in a self-reflexive exploration of its own history. The festival also continues to define contemporary music by what it is not: its marketing strategies and programming maintain a clear division between elite conceptions of new music and commercialized forms of popular culture.


2010 ◽  
Vol 1 ◽  
pp. 167-192
Author(s):  
Lea Sawicki

The article deals with the use of simplex and compound (prefixed) verbs in narrative text. Main clauses comprising finite verb forms in the past and in the past habitual tense are examined in an attempt to establish to what extent simplex and compound verbs exhibit aspect oppositions, and whether a correlation exists between the occurrence of simplex vs. compound verbs and distinct textual units. The investigation shows that although simple and compound verbs in Lithuanian are not in direct aspect opposition to each other, in the background text portions most of the verbs are prefixless past tense forms or habitual forms, whereas in the plot-advancing text portions, the vast majority of verbs are compound verbs in the simple past tense.  


2021 ◽  
pp. 000276422198976
Author(s):  
Darsana Vijay ◽  
Alex Gekker

TikTok is commonly known as a playful, silly platform where teenagers share 15-second videos of crazy stunts or act out funny snippets from popular culture. In the past few years, it has experienced exponential growth and popularity, unseating Facebook as the most downloaded app. Interestingly, recent news coverage notes the emergence of TikTok as a political actor in the Indian context. They raise concerns over the abundance of divisive content, hate speech, and the lack of platform accountability in countering these issues. In this article, we analyze how politics is performed on TikTok and how the platform’s design shapes such expressions and their circulation. What does the playful architecture of TikTok mean to the nature of its political discourse and participation? To answer this, we review existing academic work on play, media, and political participation and then examine the case of Sabarimala through the double lens of ludic engagement and platform-specific features. The efficacy of play as a productive heuristic to study political contention on social media platforms is demonstrated. Finally, we turn to ludo-literacy as a potential strategy that can reveal the structures that order playful political participation and can initiate alternative modes of playing politics.


2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols

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?


Author(s):  
З.И. Годизова ◽  
Д.В. Габисова

Актуальность предпринятого исследования обусловлена тем, что причастие в современном осетинском языке не привлекало активного внимания ученых, имеются лишь общие описания причастий, а специальные исследования, посвященные причастиям, практически отсутствуют. Представляется интересным и актуальным сравнение системы причастий и их грамматических особенностей в осетинском и русском языках. Этот интерес обусловлен принадлежностью сопоставляемых языков к общей индоевропейской семье языков, а также тесным их взаимодействием в условиях двуязычия, что, очевидно, может отразиться и на системе причастий. Научная новизна данной статьи заключается в том, что в ней исследуются грамматические особенности всех разрядов причастий в осетинском языке в сопоставлении с русским языком. На основании проведенного анализа установлено, что в современном осетинском языке система причастий включает пять разрядов, разнообразных в своих грамматических проявлениях, в степени регулярности, в склонности переходить в состав других частей речи. Выявлены наиболее значительные отличия осетинских причастий от русских: существование причастий будущего времени в системе осетинского языка, отсутствие у причастий показателей времени и залога, а также именных грамматических категорий (падежа, числа, рода). Установлено также, что в осетинском языке категория вида в большей степени управляет категорией времени, в силу чего несовершенный вид причастий предполагает только настоящее время, а совершенный только прошедшее отсутствует четкая залоговая оппозиция причастий в осетинском языке. Определено также, что осетинские причастия не имеют членных (полных) форм, но функционируют в роли и сказуемого, и определения, хотя в большей степени тяготеют к предикативной роли. В осетинском языке причастия гораздо менее употребительны сравнительно с причастиями в русском языке и чаще вступают в отношения грамматической омонимии с другими частями речи. The relevance of the undertaken study is determined by the fact that participles in the modern Ossetian language are still insufficiently studied. There are only the most general descriptions of grammar features of participles. The comparison of the system of participles and their grammar features seems interesting and actual, especially considering the fact that the Ossetian and Russian languages belong to different groups of the Indo-European language family. Furthermore, in the context of bilingualism the Russian and Ossetian languages interact actively and that can affect the system of participles. The scientific novelty of the article is determined by the fact that it examines the grammatical features of all categories of participles in the Ossetian language in comparison with the Russian language. The conducted research allowed to elicit five categories in the system of participles in the modern Ossetian language. The analysis of the results showed the participles are diverse in their grammatical characteristics, in the degree of regularity, and in the tendency to transition into other parts of speech. The research defined the most significant differences between Ossetian and Russian participles: existence of future participles in the system of the Ossetian language absence of adjectival grammar categories of gender, number and case as well as formal markers of tense and voice in Ossetian participles. The tense category in Ossetian subordinates to the aspect category to a far greater extent therefore the imperfective aspect of participles accepts the present tense forms only, while perfective acts in the past tense forms Ossetian participles lack explicit voice opposition. Ossetian participles do not have full forms, but they can have syntactic functions of both the predicate and the attribute in a sentence, although the predicative function is more typical for them. Participles in the Ossetian language are much less common compared to participles in Russian and are more disposed to conversion (transition to the category of nouns, verbal adverbs, adjectives, words of the state category).


2015 ◽  
Vol 1 (1) ◽  
pp. 197-215
Author(s):  
Martijn Oosterbaan

This article explores the aesthetic elements of sovereignty. Building on the anthropological literature on sovereignty and on contemporary work on the politics of aesthetics, the article analyzes contemporary appearances of Batman symbols and figures in Rio de Janeiro. Despite political debate and academic discussion about the Batmen appearing in mafia-like militias and popular street protests in Rio, the question of what these appearances tell us about the relations between popular imagery and political contestation has remained untouched. This article supports the work of writers who argue that superhero comics and movies present fierce figures that operate in the zone of indistinction, at the crossroads of lawful order and its exception. However, it adds to this literature an analysis that shows in what kind of sociopolitical contexts these figures operate and how that plays itself out. To understand the contemporary appearances and force of figures of the entertainment industry better, this article proposes the concept “popular culture of sovereignty.”


2012 ◽  
Vol 18 (2) ◽  
Author(s):  
Rodney Taveira

The combination of melodramatic and art cinematic techniques and influences in AMC’s television series Mad Men (2007¬–) reveals how a melodramatic televisuality can image novel modes of social and intimate relations and an alternative to the archetypal American narrative of the self-made man. Set in 1960s’ America, the series uses a contemporaneous and cosmopolitan California to triangulate the formal and narrative insistence of the past on the present. This triangulation is played out by Don Draper’s relations with his family, women, and his former identities and by the representation of homosexuality throughout the series. The application of Lee Edelman’s concept of “sinthomosexuality” and Richard Rorty’s “liberal ironist” reveal a queer, visual rhetoric to the show’s narrative and formal structures, forming a queer irony that allows the show to straddle the aesthetic extremes of “quality TV” (Jane Feuer) and soap opera, which, in turn, queers the exemplary American heterosexuality of Don Draper.


2017 ◽  
Vol 17 (2) ◽  
pp. 245-261 ◽  
Author(s):  
Kathleen M Ryan

Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.


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