scholarly journals Imagining 9/11: Blockbuster Hollywood Cinema as Cultural Violence from 1996-2003

2021 ◽  
Author(s):  
◽  
Brady Hammond
Keyword(s):  
Historical Context ◽  
Harry Potter ◽  
The Self ◽  
Theoretical Frameworks ◽  
Lord Of The Rings ◽  
Self And Other ◽  
Star Wars ◽  
Definition Of ◽  
Historical Developments ◽  
The Relationship

<p>This thesis explores the relationship between blockbuster cinematic violence and its historical context in the period surrounding the events of September 11, 2001. It charts the trajectory of violence by showing that screen violence in successful blockbuster cinema responds to historical developments. Violence in this thesis is defined according to the tripartite definition of violence articulated by peace studies theorist Johan Galtung. In order to analyse the historical positioning of the violence in the blockbusters being analysed, tripartite violence has been fused with the diagnostic critique of cultural theorist Douglas Kellner, which “uses history to read texts and texts to read history” (Media 116). By synthesising the two theoretical frameworks in this way, the diagnostic critique becomes violence-calibrated, and can be readily deployed to discern the ways in which blockbuster screen violence engages with the historical context of the text. The texts analysed represent the top grossing film from each year from 1996 to 2003, a period selected for its political relationship to 9/11. The eight films analysed are: Independence Day, Titanic, Saving Private Ryan, Star Wars: Episode I – The Phantom Menace, Dr. Seuss’ How the Grinch Stole Christmas, Harry Potter and the Sorcerer’s Stone, Spider-Man, and The Lord of the Rings: Return of the King. This thesis shows that the films from the pre-9/11 period articulate a clear “dream” of a world that is defined in binary terms with a good Self in opposition to an evil Other that is always external. The trends found in the violent dreams begin to shift with The Grinch as the relationship between the Self and Other changes, but the transformation does not fully manifest itself until the post-9/11 period when the films are marked by paranoia stemming from the repeated appearance of an Other than can pass as the Self, and ultimately a Self that behaves like the Other. While the violence that is found in the pre-9/11 films “dreams” of the Bush response to 9/11, the post-9/11 films ultimate envision a future that the War on Terror could not deliver. In the end, this thesis will develop a methodology that can be used to explore blockbuster cinematic violence in terms of the nuances that exist between the three types of violence Galtung articulates: direct, structural, and cultural.</p>

scholarly journals Imagining 9/11: Blockbuster Hollywood Cinema as Cultural Violence from 1996-2003

2021 ◽  
Author(s):  
◽  
Brady Hammond
Keyword(s):  
Historical Context ◽  
Harry Potter ◽  
The Self ◽  
Theoretical Frameworks ◽  
Lord Of The Rings ◽  
Self And Other ◽  
Star Wars ◽  
Definition Of ◽  
Historical Developments ◽  
The Relationship

<p>This thesis explores the relationship between blockbuster cinematic violence and its historical context in the period surrounding the events of September 11, 2001. It charts the trajectory of violence by showing that screen violence in successful blockbuster cinema responds to historical developments. Violence in this thesis is defined according to the tripartite definition of violence articulated by peace studies theorist Johan Galtung. In order to analyse the historical positioning of the violence in the blockbusters being analysed, tripartite violence has been fused with the diagnostic critique of cultural theorist Douglas Kellner, which “uses history to read texts and texts to read history” (Media 116). By synthesising the two theoretical frameworks in this way, the diagnostic critique becomes violence-calibrated, and can be readily deployed to discern the ways in which blockbuster screen violence engages with the historical context of the text. The texts analysed represent the top grossing film from each year from 1996 to 2003, a period selected for its political relationship to 9/11. The eight films analysed are: Independence Day, Titanic, Saving Private Ryan, Star Wars: Episode I – The Phantom Menace, Dr. Seuss’ How the Grinch Stole Christmas, Harry Potter and the Sorcerer’s Stone, Spider-Man, and The Lord of the Rings: Return of the King. This thesis shows that the films from the pre-9/11 period articulate a clear “dream” of a world that is defined in binary terms with a good Self in opposition to an evil Other that is always external. The trends found in the violent dreams begin to shift with The Grinch as the relationship between the Self and Other changes, but the transformation does not fully manifest itself until the post-9/11 period when the films are marked by paranoia stemming from the repeated appearance of an Other than can pass as the Self, and ultimately a Self that behaves like the Other. While the violence that is found in the pre-9/11 films “dreams” of the Bush response to 9/11, the post-9/11 films ultimate envision a future that the War on Terror could not deliver. In the end, this thesis will develop a methodology that can be used to explore blockbuster cinematic violence in terms of the nuances that exist between the three types of violence Galtung articulates: direct, structural, and cultural.</p>

Virginia Woolf and Being-in-the-world

2017 ◽  
Author(s):  
Emma Simone
Keyword(s):  
Virginia Woolf ◽  
Historical Context ◽  
The Political ◽  
Cartesian Dualism ◽  
Self And Other ◽  
The World ◽  
Binary Oppositions ◽  
The Individual ◽  
The Relationship ◽  
Existential Perspective

Virginia Woolf and Being-in-the-world: A Heideggerian Study explores Woolf’s treatment of the relationship between self and world from a phenomenological-existential perspective. This study presents a timely and compelling interpretation of Virginia Woolf’s textual treatment of the relationship between self and world from the perspective of the philosophy of Martin Heidegger. Drawing on Woolf’s novels, essays, reviews, letters, diary entries, short stories, and memoirs, the book explores the political and the ontological, as the individual’s connection to the world comes to be defined by an involvement and engagement that is always already situated within a particular physical, societal, and historical context. Emma Simone argues that at the heart of what it means to be an individual making his or her way in the world, the perspectives of Woolf and Heidegger are founded upon certain shared concerns, including the sustained critique of Cartesian dualism, particularly the resultant binary oppositions of subject and object, and self and Other; the understanding that the individual is a temporal being; an emphasis upon intersubjective relations insofar as Being-in-the-world is defined by Being-with-Others; and a consistent emphasis upon average everydayness as both determinative and representative of the individual’s relationship to and with the world.

Fine-tuning the Relationship between Religion and Intellectual Humility

2018 ◽  
Vol 46 (4) ◽  
pp. 305-314 ◽  
Author(s):  
Everett L. Worthington
Keyword(s):  
Religious Belief ◽  
The Self ◽  
Content Area ◽  
Fine Tuning ◽  
Epistemic Status ◽  
Intellectual Humility ◽  
The Core ◽  
Definition Of ◽  
Meaning System ◽  
The Relationship

I examine religious humility, which is one content area of intellectual humility. Intellectual humility is the subtype of humility that involves taking a humble stance in sharing ideas, especially when one is challenged or when an idea is threatening. I position religious humility within the context of general humility, spiritual humility, and relational humility, and thus arrive at several propositions. People who are intensely spiritually humble can hold dogmatic beliefs and believe themselves to be religiously humble, yet be perceived by others of different persuasions as religiously dogmatic and even arrogant. For such people to be truly religiously humble, they must feel that the religious belief is core to their meaning system. This requires discernment of which of the person’s beliefs are truly at the core. But also the religiously humble person must fulfill the definition of general humility, accurately perceiving the strengths and limitations of the self, being teachable to correct weaknesses, presenting oneself modestly, and being positively other-oriented. Humility thus involves (1) beliefs, values, and attitudes and (2) an interpersonal presentational style. Therefore, intellectually humble people must track the positive epistemic status of their beliefs and also must present with convicted civility.

The linguistic marking of agentivity and control in child language

1989 ◽  
Vol 16 (2) ◽  
pp. 263-284 ◽  
Author(s):  
Nancy Budwig
Keyword(s):  
Functional Analysis ◽  
The Self ◽  
The Other ◽  
Subject Position ◽  
Use Of Self ◽  
Self And Other ◽  
Reference Form ◽  
And Control ◽  
The Relationship ◽  
Self Reference

ABSTRACTThe present study examines the relationship between linguistic forms and the functions they serve in children's early talk about agentivity and control. The spontaneous linguistic productions of six children ranging between 1;8 and 2;8 served as the data base. Preliminary analyses of who the children referred to and what forms were used in subject position suggest that the children could be divided into two groups. Three children primarily referred to Self and relied on multiple Self reference forms in subject position, while the other children referred to both Self and Other and primarily used the Self reference form, I. A functional analysis was carried out to examine whether the seemingly interchangeable use of Self reference forms could be related to semantic and pragmatic patterns. The findings indicate that at a time before they regularly refer to others, the children systematically employed different Self reference forms to mark distinct perspectives on agency.

scholarly journals El género narrativo de Testo yonqui. Aproximación a la deriva ensayística de Paul B. Preciado

2020 ◽  
pp. 191-214
Author(s):  
Pau Conde Arroyo
Keyword(s):  
Guinea Pig ◽  
Theoretical Framework ◽  
The Self ◽  
The Other ◽  
Other Hand ◽  
The One ◽  
Definition Of ◽  
The Relationship

Este artículo trata de problematizar la definición taxonómica de Testo yonqui desde una óptica literaria que atiende a su faceta narrativa para dilucidar los cauces por los que se manifiesta en tanto que ensayo queer. Dicha problematización es abordada desde dos lugares: por un lado, desde la propia obra, atendiendo a las autodefiniciones presentes en el texto, que son examinadas a partir del marco teórico de la autobiografía; y, por otro lado, desde la recepción crítica de Testo yonqui. En último lugar, a la luz de lo anterior, se exponen una serie de tensiones relativas a la relación entre narración, referente y representación en la propuesta experimental del principio autocobaya.   This article aims to question the taxonomical definition of Testo Junkie from a literary perspective that considers its narrative aspect in order to elucidate the ways in which it can be regarded as a queer essay. Such questioning is approached from two angles: on the one hand, from the work itself, examining the self-definitions found in the text, which are studied on the basis of the theoretical framework of autobiography; and, on the other hand, from Testo Junkie’s critic reception. Lastly, the principle of the auto-guinea pig is also explored, in reference to the series of tensions arising from the relationship between narration, referent and representation.

scholarly journals Tombs, Images and Identities in Ancient Anatolia

2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Dr.Sc. Lucia Novakova
Keyword(s):  
Ethnic Groups ◽  
Influencing Factors ◽  
The Self ◽  
Cultural Elements ◽  
Mediterranean World ◽  
Military Conflicts ◽  
External Impetus ◽  
Definition Of ◽  
The Relationship ◽  
Of Greece

Self-definition of ancient Greeks was created under the influence of socio-historical events, reflecting both, the relationship between Hellenes themselves and attitudes towards others. Greek wonder as a selfgenerated process yielded to a growing awareness that the drive towards advancement, observed in certain regions of Greece, was probably not possible without the external impetus of an extensively integrated Mediterranean world (Rollinger 2006, 197-226). The influencing factors for self-definition of ancient Greeks were a shared myth of descent, a shared territory, and a shared sense of history. Many scholars assume, that a sense of Greekness among Dorians, Ionians, Aiolians and others was finally crystallized throughout the number of military conflicts in which they were involved during the Classical period. Its seems probable that Athens played a major role both in the invention of the barbarian concept and in the substitution of cultural for ethnic criteria in the self-definition of Greeks. In their self-definition, Greeks seem to be deliberately stylized as antinomy to what they considered  to be typical for others. Similarly, as a response to the strong pressure from the Persians, the national awareness of the Anatolians was formed. Interestingly, in some cases local ethnic groups had chosen cultural elements that had been associated with Greeks or Persians for their self-definition.

scholarly journals Courtesy: The Space Between Souls

2018 ◽  
Author(s):  
Erica Vaiser
Keyword(s):  
Hospice Care ◽  
Star Wars ◽  
Shared Space ◽  
Daily Interactions ◽  
Definition Of ◽  
The Individual ◽  
The Mind ◽  
The Relationship

This paper presents an illustrative dissection of the virtuous power of courtesy. The content, herein, examines the mutual space between individual souls created through courtesy, utilizing Robert Sardello’s (2003) definition of “courtesy” as a virtue. True acts of courtesy surpass commonly understood actions and niceties, in which the purpose is to invite one’s soul into a mutual space of acknowledgment with the soul of another. It is only out of this recognition that the soul remembers its common and worldly origin. Ego processing dictates so much of our daily interactions that the presence of soul connection is most certainly never brought to the forefront of our awareness. Courtesy, which leads to connected moments of existence, can most likely be achieved by ignoring categorization of appearance, as well as maintaining a perception of soul-being. Those who act with virtuous courtesy are lead blindly by the heart, quieting the commentary of the mind. Acts of virtuous courtesy can be seen in the profession of hospice care, as a unifying theme in Star Wars, as well as in the prominent work of Mother Theresa. As the nature of the individual soul cannot be expressed in solitude, the relationship between client and therapist most closely represents the process of creating a shared space for one’s soul to enunciate its existence.

scholarly journals Intercultural Transfer and Balinese Gamelan Preservation

2020 ◽  
Vol 3 (1) ◽  
pp. 27-34
Author(s):  
Emma Lo
Keyword(s):  
Experimental Music ◽  
The Self ◽  
Power Dynamics ◽  
Cultural Transfer ◽  
Balinese Gamelan ◽  
Strategic Support ◽  
Definition Of ◽  
Cultural Mobility ◽  
The Relationship ◽  
Over Time

The influence and spread of traditional Balinese music over time and across regions has been conducted through a number of different channels. In addition to locally-focused efforts, cultural transfer has also contributed to the preservation of traditional Balinese arts. From the self-interested, strategic support of gamelan music by Japanese occupational forces to the global experimental music scene today, Balinese arts have been shared, supported, translated, and appropriated in various ways by a number of different actors to political, artistic, and commercial ends. Building on Michel Espagne’s definition of cultural transfer and Stephen Greenblatt’s concept of cultural mobility, this paper aims to outline different modes of cultural transfer (or “bridges,” as Espagne would say), with explicit attention to power dynamics and multi-way flows of influence. Several key historical and contemporary examples of the transfer of traditional Balinese music will be discussed in an effort to better understand the relationship between cultural transfer and preservation.

Dialogical Democracy in a Boundary-Crossing World

2018 ◽  
Author(s):  
Hubert J. M Hermans
Keyword(s):  
Social Power ◽  
The Self ◽  
Boundary Crossing ◽  
Dialogical Self ◽  
Self And Other ◽  
Dialogical Relationship ◽  
Tolerance Of Uncertainty ◽  
Definition Of Health ◽  
Definition Of ◽  
Practical Implications

The democratic and dialogical self is placed in the broader context of three views on democracy—cosmopolitan, deliberative, and agonistic conceptions—relevant to a boundary-crossing world in which individuals and groups are faced with differences and oppositions. A model is presented including three fields of tension: between self and other, between three levels of inclusiveness (individual, social, and human), and between dialogue and social power. Meta-positions and promoter positions are included in the model. Its practical implications focuses on stimulating a dialogical relationship between reason and emotion, increasing tolerance of uncertainty, and including shadow positions as integrative parts of a democratic self. Finally, a definition of health is proposed that considers health of the self as a learning process in a democratic society.

Closet cosplay: Everyday expressions of science fiction and fantasy fandom among women

2020 ◽  
Vol 7 (1) ◽  
pp. 29-50
Author(s):  
Dina Smith ◽  
Casey Stannar ◽  
Jenna Tedrick Kuttruff
Keyword(s):  
Cultural Capital ◽  
Science Fiction ◽  
Comparison Method ◽  
Harry Potter ◽  
Social Contexts ◽  
Star Wars ◽  
American Science ◽  
Interactionist Perspective ◽  
Social Interactionist ◽  
Definition Of

Abstract Some American science fiction and fantasy (SF&F) female fans participate in Cosplay or costume play, the global practice of dressing in costume and performing fictional characters from popular culture. Cosplay is typically only socially sanctioned at conventions and other fan events, leaving fans searching for new ways to express their fandom in everyday life. Closet cosplay is one solution in which everyday clothing and accessories can be worn to express fandom. The motivations for wearing everyday fan fashion have been only briefly mentioned by other authors or studied within limited social contexts. Therefore, the purpose of this research was to explore SF&F female fans' participation in closet cosplay as it is worn in everyday contexts. An exploratory qualitative study was conducted using a social interactionist perspective, and Sarah Thornton's concept of subcultural capital and Pierre Bourdieu's theory of cultural capital. Semi-structured, online interviews were conducted with sixteen participants who wore closet cosplay related to SF&F films and/or television series, which included Star Wars, Marvel Comics, DC Comics, Disney films, Harry Potter and anime fandoms like Sailor Moon (1995‐2000). The interview data were analysed using NVivo qualitative analysis software and the constant comparison method. Two themes emerged from the data: the definition of closet cosplay and motivations for wearing closet cosplay. Through examining these themes, it was evident that female SF&F fans used closet cosplay to express a salient fan identity, which enabled them to simultaneously gain subcultural capital and feminized cultural capital.

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