Aristotle’s Mean in Politics and Religion

In this paper, we investigate the political and religious projection of Aristotle’s Doctrine of the Mean. According to Aristotle and his virtue ethics theory, humans succeed the mean when they acknowledge in what they are physically inclined to. If someone knows towards where she is deviating, either in terms of exaggeration or understatement, then she can, at some point, achieve the mean as the end goal of ethical virtue. But what if these moral evaluations refer to collective processes, such as politics, culture and religion? In this case, the notion of “intermediate” could be paralleled with the notion of ‘optimized’. A way of locating the optimized point on the political or cultural public sphere is to acknowledge in what people are politically or culturally inclined to. This seems to be guided by their cultural traditions, political history and aims. In politics and modern democracies, the doctrine may be applied in virtues, such as justice. Excess in the administration of justice causes "witch hunts" and deficiency lawlessness. Respectively, in today’s religious-oriented societies - countries that could be ranked according to their religiosity – where there is little tolerance in their permissible cultural patterns, the application of Aristotle’s mean reveals interesting findings. More specifically, in the case of the virtue of honor, the excess may lead to honor crimes and deficiency to contempt.

Cultural Public Sphere: Tracking the Yogyakarta City Policy Agenda through the #JogjaOraDidol Hashtag on Twitter

Instead of studying the virtual space using the Political Public Sphere concept, this study adopts the Literary Public Sphere point of view to examine and narrate the nature of a Cultural Public Sphere in social media. The researchers see interactivity in social media as an articulation of expression involving emotions and aesthetics (affective communication). Using the mixed method of Topic Modelling, Social Network Analysis (SNA), and Discourse Analysis in the case of the presence of the #JogjaOraDidol hashtag in Twitter, this study conclude that the Cultural Public Sphere has three dimensions of Public Sphere as introduced by Dahlgren (2005). The dynamic of inclusivity for anyone to express themselves and to engage in public issues discussions indicates that space is inclusive not only because of the technical support of the media but also because of the commitment of its users (structural dimension). The emergence of three virtual communities (fans, artists and activists) that develop a collective identity represents a subset of the real local population and demonstrates the ideal role taking of the representational aspect of Public Sphere. The interactional one is indicated by the discourse constructed using reflexive but straightforward symbols represent the interaction between users and the meaning that users do to the contents of the media used. Meanwhile, the real action show of the discourse develops virtually does not entrap the user in pseudo-empowerment. As an implication, using specific parameter, notably the hashtag identifies a social movement, policymakers can use data from social media in the agenda-setting process. Additionally, in the context of #JogjaOraDidol, soft data can also be used to evaluate the moratorium policy of granting the hotel's construction permit.

Subversive identity and cultural production by the Russian-Israeli Generation 1.5

This article belongs to the series presenting our ongoing ethnographic project on the Russian-Israeli Generation 1.5. It discusses the nexus between immigrant identity, civic activism and cultural production among young adults born in the (former) Soviet Union, who migrated to Israel as older children or adolescents. We examine the new, protest-driven activism among young Russian Israelis while drawing on the concepts of reactive ethnicity and cultural public sphere. This identity quest occurs at the intersection of their Russian, Jewish and Israeli identities that often clash with each other. Moreover, the ethnic awakening among these young immigrant adults has been clearly gendered, with mostly female leadership emerging out of its cultural avant-garde. We present and discuss examples of the media discourse, artistic and creative events organized by Generation 1.5 leaders, focusing on the recent Russian–Hebrew poetry festival in Jerusalem.

Cultural Journalism

Cultural journalism is a subfield of journalism that encompasses what is known as arts journalism. While arts journalism is characterized by reviews, critique, news, and essays about the arts and popular culture, cultural journalism has a broader take on culture, including lifestyle issues, societal debate, and reflective ethical discussion by cultural personas or expressed in a literary style. Both arts and cultural journalists see their work as “journalism with a difference,” evoking different perspectives and worldviews from those dominating mainstream news reporting. At the same time, cultural journalism shares with journalism issues like boundary work, genre blurring, digitalization, globalization, professionalization, and “the crisis of journalism.” There are three main ways cultural journalism has been studied: one research strand defines cultural journalism as material produced by the cultural desks or material that is explicitly labelled cultural journalism; another defines it as journalism about culture, regardless of how it is labelled or produced; and a third strand includes only arts journalism, examining journalistic content on the fine arts and popular culture. Studies from all of these approaches are included in this article due to the effort to include a wide variety of countries at different time periods and an effort to track joint defining features and developments in cultural journalism. The emphasis is on the Nordic context, where the term “cultural journalism” is well established and where research is relatively comprehensive. The research is divided into three themes: the cultural public sphere and the contribution to democracy; cultural journalism’s professionalism and the challenges of digitalization; and transnational and global aspects of cultural journalism, including tendencies such as cultural homogenization and hybridization. International research on cultural journalism as a subfield has been complicated by its varying designations (arts journalism, feuilleton, journalism about culture, entertainment), and its numerous aesthetic forms, disciplines, or types of culture, all of which are changing over time. Despite these issues, research points in the same direction: the amount of cultural journalism is increasing, and the boundaries against other types of journalism are becoming more porous. There is also a decline in editorial autonomy. In common with journalism, there is an increase in generalists working with culture and greater central managerial control in new multiplatform media organizations. The research points to an increase in a more transnationally oriented cultural journalism, mainly through a larger share of cultural news and popular culture—while its core, review and critique, has changed in character, or arguably lost ground. The increasing “newsification” of cultural journalism should prompt future research on whether the “watchdog” role vis-à-vis the cultural industries is growing. New forms of art and culture are beginning to get coverage, but also, in some cases, the intermixing of “lifestyle” with cultural journalism. The commercialization and celebrity aspects of this are clear, but new digital platforms have also enabled new voices and different formats of cultural journalism and a wider dissemination and intensity in cultural debates, all of which emphasize its democratic potential. New research on this subject appears to focus on the longitudinal changes in cultural journalism, the implications of digitalization and globalization, and cultural journalism in broadcasting.

Intertwining spheres

Public audiovisual archives like the Österreichische Mediathek (Austrian National Audiovisual Archive) have long been concerned with documenting the political as well as the cultural public sphere. National and international efforts have worked to collect and preserve historic film documents from the private sphere. An ongoing Österreichische Mediathek project addresses a source typically viewed as marginal: private video sources from the 1980s and 1990s. The challenges are not only to develop a collection and archiving strategy for a type of content on which there is little to no scientific research but also to master the technical challenges of archiving such materials for the long term. This paper examines the development and the workflow of the project and goes on to consider the historical functions of home videos and their qualities as historical sources.