Debussy redux: the impact of his music on popular culture

2013 ◽  
Vol 50 (06) ◽  
pp. 50-3166-50-3166
Keyword(s):  
2020 ◽  
Vol 3 (1) ◽  
pp. 130-135
Author(s):  
Mukhiddin Tursunmuratov ◽  

This article provides a detailed description and explanation of the term "popular culture". It also analyzes a number of aspects of "popular culture" that are becoming more widespread today, their role and influence in the formation of the minds and behavior of young people, and draws the necessary conclusions. Most importantly, it also describes ways to protect young people from threats in the form of "popular culture" that negatively affect their morale.


2018 ◽  
Vol 8 (1) ◽  
Author(s):  
Constantinos Constantinou ◽  
Zenonas Tziarras

This article examines the ways in which (pop or) popular culture may fall within the context of foreign policy. More specifically, it situates our analysis against such backdrop by delving into how Turkey effectively exports pop culture, propaganda and positive images of itself via the use of television (TV) shows. To that end, notable Turkish soap operas market its ancient glorious past. Admittedly, these telenovelas form a salient cultural product export for Turkey as they reach diverse and far-away audiences – from Latin America to Russia, Central Asia, North Africa, the Middle East, and the Balkans, to merely name a few. Paradoxically, the frenzy has even reached places like Greece. Not to mention, Serbia or Israel, with the latter’s phenomenal success accompanied also with some backlash. Therefore, the current study seeks to better understand the magnitude alongside the impact of Turkey’s achievement given how it comprises a multi-million-dollar industry, by partially unearthing what makes Turkish TV series so powerful the world over. Further, this research firstly presents an analysis of the hegemonic efforts before presenting the limitations to its success by thoroughly covering the empirical data while, theoretically framing it.  


Author(s):  
Brenda Plummer

Brenda Plummer examines the effect of the U.S. space program on race relations in key areas of the South, and the impact of that connection on popular culture. She also explores the intersection of the struggle for racial equality and aerospace exploration, as both constituted potent narratives of freedom in the American imaginary. Plummer disputes the assumption that NASA as an instrument of modernization and partner in the creation of the New South was implicitly allied with the civil rights movement. While the transformation of parts of the Deep South undeniably broke up earlier political, economic, and cultural patterns, aerospace research and development helped inaugurate a successor regime that neither challenged the structural foundations of racial inequality nor guarded against the production of new disparities.


2021 ◽  
Vol 7 (1) ◽  
pp. 1-9
Author(s):  
Zion Elani

Quantum computing, a fancy word resting on equally fancy fundamentals in quantum mechanics, has become a media hype, a mainstream topic in popular culture and an eye candy for high-tech company researchers and investors alike. Quantum computing has the power to provide faster, more efficient, secure and accurate computing solutions for emerging future innovations. Governments the world over, in collaboration with high-tech companies, pour in billions of dollars for the advancement of computing solutions quantum-based and for the development of fully functioning quantum computers that may one day aid in or even replace classical computers. Despite much hype and publicity, most people do not understand what quantum computing is, nor do they comprehend the significance of the developments required in this field, and the impact it may have on the future. Through these lecture notes, we embark on a pedagogic journey of understanding quantum computing, gradually revealing the concepts that form its basis, later diving in a vast pool of future possibilities that lie ahead, concluding with understanding and acknowledging some major hindrance and speed breaking bumpers in their path.


Author(s):  
Matthew A. Collins

This essay examines the Bible in American television, focusing in particular on the twenty-first century. It suggests that there are three broad categories which may helpfully illustrate and encompass the diverse ways in which the Bible appears and/or is utilized: (1) educating about the Bible (e.g., documentaries); (2) dramatizing the Bible (renditions of biblical stories); and (3) drawing on the Bible (the impact or use of the Bible in other television programs). Examining each of these in turn, this essay highlights the prevalence of the Bible on television and thus in American popular culture more generally, as well as considering some of the myriad ways in which it has been read, used, and interpreted. In particular, it endeavors to show how the medium can function as a tool for both reflecting and promoting levels of biblical literacy among its audience.


Author(s):  
Theresa M. Sanders

This chapter looks at two areas of popular culture that frequently refer to Adam and Eve: society’s ongoing rethinking of the role of women and the dispute between evolutionary biologists and creationists. Movies like Fig Leaves (1926) and Adam’s Rib (1949) illustrate how contentious the “battle of the sexes” can be. These movies use Adam and Eve as shorthand for “man” and “woman” and avoid coming to any definitive conclusions about proper gender roles. Regarding the debate between evolution and creationism, the chapter explores the Creation Museum in Kentucky and the 2014 debate between Bill Nye and Ken Ham. Both Nye and Ham attempted to integrate faith with knowledge, mirroring the story of Eden itself.


2020 ◽  
Vol 33 (6) ◽  
pp. 1395-1422
Author(s):  
Mark Christensen ◽  
Sébastien Rocher

PurposeIn analysing the beancounter image's trajectory, from its birth to its persistence, in European French language comics between 1945 and 2016, this paper explores why artists continue beancounter image usage in popular culture.Design/methodology/approachBeancounter characters have been studied in an application of Iconology (Panofsky, 1955) in order to unravel how individuals make sense of cultural artefacts and how, in turn, the visuals shape cultural belief systems at a given time.FindingsThis study reveals that comics artists usage of the beancounter image results from their critical reactions to management and capitalism whilst at other times the usage is an indication of authenticity. Motivation for the usage is not constant over time nor is the impact of the beancounter image. Both appear dependant of the level of artistic freedom experienced by the artist.Research limitations/implicationsBased on a single media (comics) with a unique characters (European French language) this study deepens exploration of the ways in which accounting becomes entwined with the everyday and implies that further research is needed.Originality/valueExtends the work of Smith and Jacobs (2011) and Jacobs and Evans (2012) by focusing on a genre of popular culture over a long period, and by adopting a critical viewpoint. Also expands the possible applications of Panofsky's (1955) Iconology in accounting studies.


At the beginning of the twentieth century, the Jewish communities of Poland and Hungary were the largest in the world and arguably the most culturally vibrant, yet they have rarely been studied comparatively. Despite the obvious similarities, historians have mainly preferred to highlight the differences and emphasize instead the central European character of Hungarian Jewry. Collectively, the chapters here offer a different perspective. The volume has five sections. The first compares Jewish acculturation and integration in the two countries, analysing the symbiosis of magnates and Jews in each country's elites and the complexity of integration in multi-ethnic environments. The second considers the similarities and differences in Jewish religious life, discussing the impact of Polish hasidism in Hungary and the nature of 'progressive' Judaism in Poland and the Neolog movement in Hungary. Jewish popular culture is the theme of the third section, with accounts of the Jewish involvement in Polish and Hungarian cabaret and film. The fourth examines the deterioration of the situation in both countries in the interwar years, while the final section compares the implementation of the Holocaust and the way it is remembered. The volume concludes with a long interview with the doyen of historians of Hungary, István Deák.


2021 ◽  
Vol 18 (2) ◽  
pp. 195-210 ◽  
Author(s):  
Susanne Hackett

Recent scholarship on Sara Gómez has expanded upon existing discourse on her work beyond her singular feature film, De cierta manera/One Way or Another ([1974] 1977) to examine not only her earlier documentary shorts of the 1960s, but to demonstrate the impact that her body of work has had on a subsequent generation of Cuban filmmakers who continue her mission to critique the Revolution through an antiracist and feminist lens – contemporary filmmakers such as Gloria Rolando, Sandra Gómez and Susana Barriga. This article seeks to push this conversation forward by arguing several interrelated points: (1) that De cierta manera contains symbolic, visually embedded references to a specific patakí (myth) about the Afro-Cuban orishas Ogun and Ochún; (2) that De cierta manera holds this in common with Gloria Rolando’s Oggun: An Eternal Presence (1991), which tells the patakí in a more explicit manner, and therefore the two films warrant comparison and (3) lastly, that this interpretation of De cierta manera offers a novel take on a ‘classic’ Cuban revolutionary film, offering additional interpretive layers that do not change the message of the film, per se, but complicate it by adding an additional filter through which to view and interpret it: that of Yoruba moral philosophy. The Afro-Cuban word patakí in Cuban Lucumí liturgical speech refers to a parable with a moral lesson, and is derived from the word pàtàkì, which means ‘[something] important’ in the Yorùbá language of West Africa. This article will attempt to answer how and why this particular myth is ‘important’ (pàtàkì) to the reading of De cierta manera and argue for a broader re-centring and privileging of African-derived philosophical frameworks within Cuban intellectual history and popular culture.


Author(s):  
Tokie Laotan-Brown

The contemporary African city tends to become a geographic platform for establishing and showing a territorial spatial–social identity. This shows that global openness and accessibility may run parallel to closed and fragmented cultural clusters. Urban scholarship calls for a broader orientation in the field of cultural heritage dynamics, with a focus on the following: citizenship and identity, economic creative activities and innovation, the impact of popular culture, and the interface between traditional societal perspectives and open attitudes regarding contemporary interwoven cultures. Against this background, African cities have always been meeting places for people of different cultures, education, and talents. The contemporary African city is an open milieu, where ideas from a diversity of cultures and nations come together. The major challenge for a modern African city will be to turn possible tensions in such a intercultural milieu into positive synergetic energy.


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