scholarly journals The Exploration of Female Identity in the Father-Daughter Dynamic in Caroline Bowles's Poetry

2013 ◽  
Vol 17 ◽  
Author(s):  
Irina I. Simonova Strout
Keyword(s):  
Women Writers ◽  
Female Identity ◽  
Contemporary Culture ◽  
Masculine Norms ◽  
The Public ◽  
Patriarchal Society ◽  
Public Persona ◽  
To Come

The work and literary accomplishments of Caroline Bowles Southey established her significance as a poet in the Romantic tradition as well as contemporary culture. Similar to many other women writers, she worked within the established poetic genres against the conformity of the masculine norms of Romanticism. The father-daughter relationship is not new, yet in Caroline Bowles’s poetry it becomes a symbol of the patriarchal relation of women and men in society, a precursor to the questioning of woman’s role and place in culture. This paper aims to examine the father-daughter dynamic in Ellen Fitzarthur and Birth-Day. Bowles interrogates the ambivalence of self: the private and the public persona, which has to come to terms with the demands and pressures of patriarchal society. To achieve self-fulfillment a woman has to be free from the power of the father. Caroline Bowles’s poetry is such an attempt to strive towards the personal and poetic independence from the expectations of the patriarchal society.

scholarly journals Celebrity and Public Persona

Communication ◽  
2015 ◽  
Author(s):  
P. David Marshall
Keyword(s):  
Reputation Management ◽  
Community Research ◽  
Contemporary Culture ◽  
The Public ◽  
Democratic Capitalism ◽  
The Press ◽  
Public Persona ◽  
The Media ◽  
A Site ◽  
Media And Communication

Research on celebrity and public persona derives from fundamentally interdisciplinary sources. Although at its core, the study of public personality has been the object of investigations by those more closely associated with media and communication, the key disciplines of sociology, cultural studies, literary studies, political science, social psychology, and even anthropology and history have been part of its analysis. Celebrity identifies the “extra-textual” dimensions of the famous, in which the lives of the renowned are followed, read, and reported. It is a public celebration of individuality that is (but not exclusively) connected to consumer culture and democratic capitalism. Through these larger cultural tropes celebrity has had its strongest affiliations with the contemporary entertainment industries, particularly in terms of how they are covered by the media and the press for further value beyond the cultural forms that are often the origins of stardom—the public individual’s performances in fields such as film, television, sport, and popular music. Celebrity is a site of celebration and derogation in any culture: these public individuals are truly exalted and given a status beyond others, but they are also ridiculed for their believed-to-be unearned credentials for having such a public platform and voice. Moreover, the study of celebrity and public persona is also an investigation into the connection between the populace and these public personalities, where parasocial relations most evident in fandom identify how celebrities embody audiences with an affective connection that is truly powerful in contemporary culture. That power of embodiment and connection that celebrities possess is subsequently exploited by the media industries to promote and sell new connected cultural products. Identifying celebrities as part of a spectrum of public personas links the study of celebrity to the investigation of the celebrated and famed in a variety of professions and fields well beyond entertainment. Thus, the term persona is used in these studies of public personalities to acknowledge the mask that is deployed to present a public version of the self for this external consumption and reading by an audience, a collective, a network, a nation, a citizenry, or a community. Research into public personas has led to related studies of political leadership, self-branding, notoriety in business, and reputation management, and research delves into the presentation of the public self by greater portions of the populace in online cultures. Celebrity and public persona is a field in which research aims to investigate the significance and meaning of various versions of the public self in both contemporary culture and historically.

ВИДОВИЩЕ ТА ВИДОВИЩНІСТЬ В СУЧАСНІЙ КУЛЬТУРІ УКРАЇНИ

2020 ◽  
pp. 110-116
Author(s):  
Admink Admink ◽  
Катерина Гайдукевич
Keyword(s):  
Public Opinion ◽  
Social Regulation ◽  
Cultural Value ◽  
Contemporary Culture ◽  
The Public ◽  
The Social

Обґрунтовано, що видовища характеризуються специфічними ознаками, серед яких варто наголосити на культурній цінності, що виявляється у використанні видовищем різних складових культури. Доведено, що видовища є показниками суспільних зрушень у системі цінностей, ідеологій, наявних і латентних проблем, устремлінь та бажань громадськості. Показано, що в сучасній культурі України пріоритетною є функція соціальної регуляції й формування  суспільної думки, яка реалізується у форматі імітативних практик та множинних культурних інтерпретацій. Проаналізовано напрями, за якими розвиватимуться видовища й видовищність в Україні: зміцнення й популяризація традиційних видовищних заходів; усталення нових видовищних практик; збагачення видовищної культури інноваційними формами та практиками. It is substantiated that the spectacle is characterized by specific features, among which it is worth emphasizing the cultural value that is expressed in the use by the spectacle of different components of the culture. It has been proved that the spectacles are indicators of social shifts in the system of values, ideologies, existing and latent problems, aspirations and desires of the public. It is shown that in the contemporary culture of Ukraine the priority is the function of the social regulation and the formation of the public opinion that is implemented in the format of imitative practices and multiple cultural interpretations. The directions for development of the spectacles and entertainment in Ukraine are analyzed: strengthening and promoting traditional entertainment events; establishing new entertaining practices; the enrichment of the spectacular culture with innovative forms and practices.

Climate Justice

2018 ◽  
Keyword(s):  
Climate Change ◽  
Sustainable Development Goals ◽  
Climate Justice ◽  
Policy Discourse ◽  
Mary Robinson ◽  
The Public ◽  
Development Goals ◽  
To Come ◽  
Run Up ◽  
High Level

Climate justice requires sharing the burdens and benefits of climate change and its resolution equitably and fairly. It brings together justice between generations and justice within generations. The United Nations Sustainable Development Goals summit in September 2015, and the Conference of Parties to the Framework Convention on Climate Change in Paris in December 2015, brought climate justice center stage in global discussions. In the run up to Paris, Mary Robinson, former president of Ireland and the UN Secretary General’s Special Envoy for Climate Change, instituted the Climate Justice Dialogue. The editors of this volume, an economist and a philosopher, served on the High Level Advisory Committee of the Climate Justice Dialogue. They noted the overlap and mutual enforcement between the economic and philosophical discourses on climate justice. But they also noted the great need for these strands to come together to support the public and policy discourse. This volume is the result.

scholarly journals Are We Ready for the Arrival of the New COVID-19 Vaccinations? Great Promises and Unknown Challenges Still to Come

Vaccines ◽  
2021 ◽  
Vol 9 (2) ◽  
pp. 173
Author(s):  
Davide Gori ◽  
Chiara Reno ◽  
Daniel Remondini ◽  
Francesco Durazzi ◽  
Maria Pia Fantini
Keyword(s):  
Herd Immunity ◽  
The Elderly ◽  
Vaccine Hesitancy ◽  
Current Crisis ◽  
Complex Issue ◽  
The Public ◽  
The Social ◽  
To Come ◽  
Vaccination Campaigns ◽  
The Eu

While the SARS-CoV-2 pandemic continues to strike and collect its death toll throughout the globe, as of 31 January 2021, the vaccine candidates worldwide were 292, of which 70 were in clinical testing. Several vaccines have been approved worldwide, and in particular, three have been so far authorized for use in the EU. Vaccination can be, in fact, an efficient way to mitigate the devastating effect of the pandemic and offer protection to some vulnerable strata of the population (i.e., the elderly) and reduce the social and economic burden of the current crisis. Regardless, a question is still open: after vaccination availability for the public, will vaccination campaigns be effective in reaching all the strata and a sufficient number of people in order to guarantee herd immunity? In other words: after we have it, will we be able to use it? Following the trends in vaccine hesitancy in recent years, there is a growing distrust of COVID-19 vaccinations. In addition, the online context and competition between pro- and anti-vaxxers show a trend in which anti-vaccination movements tend to capture the attention of those who are hesitant. Describing this context and analyzing its possible causes, what interventions or strategies could be effective to reduce COVID-19 vaccine hesitancy? Will social media trend analysis be helpful in trying to solve this complex issue? Are there perspectives for an efficient implementation of COVID-19 vaccination coverage as well as for all the other vaccinations?

Public and Private: The Late Medieval Wall Paintings of Haddon Hall Chapel, Derbyshire

2006 ◽  
Vol 86 ◽  
pp. 179-205
Author(s):  
Mellie Naydenova
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Wall Paintings ◽  
Public And Private ◽  
Late Medieval ◽  
Public Statement ◽  
The Public ◽  
Parish Church ◽  
Public Persona ◽  
Private Devotion

This paper focuses on the mural scheme executed in Haddon Hall Chapel shortly after 1427 for Sir Richard Vernon. It argues that at that time the chapel was also being used as a parish church, and that the paintings were therefore both an expression of private devotion and a public statement. This is reflected in their subject matter, which combines themes associated with popular beliefs, the public persona of the Hall's owner and the Vernon family's personal devotions. The remarkable inventiveness and complexity of the iconography is matched by the exceptionally sophisticated style of the paintings. Attention is also given to part of the decoration previously thought to be contemporary with this fifteenth-century scheme but for which an early sixteenth-century date is now proposed on the basis of stylistic and other evidence.

The 1972 Elections

1973 ◽  
Vol 7 (1) ◽  
pp. 1-15
Author(s):  
H. G. Nicholas
Keyword(s):  
Political Parties ◽  
Data Gathering ◽  
The United States ◽  
United States Constitution ◽  
The Public ◽  
Pressure Groups ◽  
Wide Range ◽  
Political Forces ◽  
American Elections ◽  
To Come

Elections satisfy both the practical and the theoretical requirements of classical democratic theory if they answer one question only: Who shall rule? Judged by this test the American elections of 7 November 1972 returned as clear and unequivocal an answer as the United States Constitution permits – crystal-clear as to individuals, equivocal as to parties and political forces. But the student of politics and society cannot resist treating elections as data-gathering devices on a wide range of other questions, on the state of the public mind, on the relative potency of pressure groups, on the internal health of the political parties, and, of course, on the shape of things to come. In this ancillary role American elections, despite the generous wealth of statistical material which they throw up – so much more detailed and categorized (though often less precise) than our own – Suffer in most years from one severe limitation, a limitation which in 1972 was particularly conspicuous; they do not engage the interest of more than a moderate percentage of the American citizenry. In 1972 that percentage was as low as 55 per cent, i.e. out of an estimated eligible population of 139,642,000 only 77,000,000 went to the polls. Since this circumscribes the conclusions which can be drawn from the results themselves, as well as constituting a phenomenon of considerable intrinsic interest, it seems worthwhile to begin any examination of the 1972 elections by an analysis not of the votes counted but of those which were never cast.

Privacy, Respect and the Virtues of Reticence in Kant

2010 ◽  
Vol 15 (2) ◽  
pp. 28-42 ◽  
Author(s):  
Sharon Anderson-Gold
Keyword(s):  
Moral Obligation ◽  
Kantian Ethics ◽  
Truth Telling ◽  
Full Disclosure ◽  
The Public ◽  
To Come

At a time when the public is increasingly exposed to public scandals, moral defences of privacy are hard to come by. Privacy, it is argued, is merely a cloak for deception and vice. Since the virtuous have nothing to hide, full disclosure of ourselves to others must be a moral obligation. Given the rigour with which Kant defends the prohibition on lying, many have inferred that Kantian ethics must be equally strict on the necessity of truth telling. Do we in fact owe others the truth, the whole truth and nothing but the truth?

Translation, interpreting and the genealogy of conflict

2012 ◽  
Vol 11 (2) ◽  
pp. 169-184 ◽  
Author(s):  
Luis Pérez-González
Keyword(s):  
Special Issue ◽  
Social Phenomena ◽  
The Public ◽  
Institutional Settings ◽  
Public Consciousness ◽  
The Media ◽  
Methodological Approaches ◽  
To Come ◽  
The Stability ◽  
The Impact

While the growing ubiquitousness of translation and interpreting has established these activities more firmly in the public consciousness, the extent of the translators’ and interpreters’ contribution to the continued functioning of cosmopolitan and participatory postmodern societies remains largely misunderstood. This paper argues that the theorisation of translation and interpretation as social phenomena and of translators/interpreters as agents contributing to the stability or subversion of social structures through their capacity to re-define the context in which they mediate constitutes a recent development in the evolution of the discipline. The consequentiality of the mediators’ agency, one of the most significant insights to come out of this new body of research, is particularly evident in situations of social, political and cultural confrontation. It is contended that this conceptualisation of agency opens up the possibility of translation being used not only to resolve conflict and tension, but also to promote them. Through a variety of theoretical and methodological approaches, the contributing authors to this special issue explore a number of sites of linguistic and cultural mediation across a range of institutional settings and textual/interactional genres, with particular emphasis on the contribution of translation and interpreting to the genealogy of conflict. The papers presented here address a number of overlapping themes, including the dialectics of governmental policy-making and translation, the interface between translation, politics and the media, the impact of the narrative affiliation of translators and interpreters as agents of mediation, the frictional dynamics of interpreter-mediated institutional encounters and the dynamics of identity negotiation.

scholarly journals Exhibiting an Unapologetic Fascist: Mario Sironi

Perceptions ◽  
2018 ◽  
Vol 4 (2) ◽  
pp. 20
Author(s):  
Fiona Fackler
Keyword(s):  
Public Perceptions ◽  
The Political ◽  
Contemporary Culture ◽  
National History ◽  
Work Of Art ◽  
The Public ◽  
Public Displays ◽  
Contemporary Politics ◽  
The World ◽  
Primary Focus

Benito Mussolini's Fascist dictatorship over Italy in the period between world wars remains a troubling element of the nation's history. It has heavily affected the contemporary politics and public displays of in addition to scholarship about the thriving artistic scene of that time, yet, the weight of Italy's Fascist legacy has either comprised the primary focus of or been entirely absent from studies on art in the 1920s-1930s until a recent academic interest in reinvestigating the political and cultural atmosphere of the period. This paper underlines the importance of such renewed critical interests in chapters of painful history and how those interests can influence public perceptions of national history and its outreach into contemporary culture. Specifically, I will examine the written and exhibited discrepancies between the life of the painter Mario Sironi under the regime and the life of selected paintings that perpetuate his existence in contemporary Italy. By comparing La Famiglia del Pastore in "Roma Anni Trenta: La Galleria d'Arte Moderna e Le Quadriennali (1931 - 1935 - 1939)" at the Galleria d'Arte Moderna and La Solitudine in "Time is Out of Joint" at the Galleria Nazionale I will analyze how exhibitions of art shape the Italian public's reception of this period. I contend that certain exhibiting styles can either deepen public reception and consideration for a work of art and the time from which it stems or can reduce understanding to that inspired by instantaneous connections, dependent on the institution's or curator's approach to context. For, no trip to a museum is simply a trip to a museum – whether actively or passively, museums shape how the public approaches the works in its halls and through these works, how the public approaches themselves and the world surrounding them.

scholarly journals FEMALE IDENTITY AND MAGICAL REALISM IN NATIVE AMERICAN AND AFRO AMERICAN WOMEN WRITING: A COMPARATIVE ANALYSIS OF LOUISE ERDRICH’S TRACKS AND TONY MORRISON’S BELOVED

2017 ◽  
Vol 4 (11) ◽  
pp. 108
Author(s):  
Mumtaz Ahmad ◽  
Kaneez Fatima
Keyword(s):  
Women Writers ◽  
Native American ◽  
Female Identity ◽  
Oral Traditions ◽  
Discursive Construction ◽  
Fourth World ◽  
American Women Writers ◽  
American Women ◽  
Sweeping Generalization ◽  
Discursive Field

<p>This research article is an attempt to evaluate the Native and Afro American women writers ‘sustained efforts to articulate a continuous and internal cultural female identity by constructing re evaluative narratives that deconstruct institutionally supported universal female images inflicted upon the third and fourth world women by the first world feminist intelligentsia. To do so these women writers radically depart from the conventions of Euro American stylistic, formal and structural modalities of the narrative and use instead a stylistic mosaic allowing the native and black oral traditions to imbricate with the white normative models. Since literature and arts have always been an effective medium, an expansive domain, and a discursive field where writers have been voicing the aureate human feelings, conflicting passions and the continuous struggles of the different societal segments, especially of deprived strata against those who maintain and perpetuate their cultural and political hegemony by suppressing the subalterns, the  women writers from the fourth world ethnic communities have expressed whole range of the intensely personal and communal human emotions that radiate from the springboard  of social, cultural, historic and political practices One of the significant features that the Native American and Afro American women writers often demonstrate include the use of magical realist strategies that express, on one hand, their efforts to indigenize narrative and, on the other hand, help them construct female identity from their own perspective since, within main concerns of contemporary fourth world feminist criticism, the (re) construction of female identity merits special attention and analysis. The stereotypical discursive construction of the Native and Afro American women by the dominant Euro American discourses bracketed them into essentialist categories glossing over the medley of vital differences that these women reveal in their social, cultural, anthropological and sexual strictures. Tackling the issue of the discursive construction of female identity that involves conceptual and perspectival problems, both Native American and Afro American women writers deconstruct the sweeping generalization of the fourth world women by challenging and subverting the clichéd images replacing them with empowered and agentive subjects who are no more subjected to, what Gyatri Spivk conceptualizes,   subalternity and “epistemic violence”.</p>

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