political stance
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2022 ◽  
Vol 19 (2) ◽  
pp. 253
Author(s):  
Dani Fadillah ◽  
Arif Ardy Wibowo ◽  
Nunik Hariyati ◽  
Uspal Jandevi

The Omnibus Law, which was passed on October 5, 2020, has discontented students and workers who protested on the streets. The ratification of the Omnibus Law has an effect on public opinion-raising activities, both those who support and who reject the ratification of the Omnibus Law, are crowded on Twitter social media. The active account of K-Poppers who took part became a line against the opinion of the Omnibus Law, so a question arises whether this is a phenomenon of the rise of political awareness of K-Poppers in Indonesia? This study analyzes the role of K-Poppers in socio-political movements in several countries globally, especially in Indonesia. The type of research used is a case study of the K-Poppers movement in the case of the ratification of the Omnibus Law as the subject in writing this paper. Collecting data using Social Network Analysis (SNA) and observing the activities of K-Poppers in Indonesia when parliament passed the controversial Omnibus Law. The results of this study indicate that Indonesian K-Poppers maximize their function as part of Indonesian citizens to express their political stance. They also showed their political involvement when creating hashtags, organizing other K-Pop crowds, and at the same time providing support to activists who rejected the Omnibus Law.


Author(s):  
Silvia Lunardi

Taking as a starting point the most traditional experience of exile, this paper encourages a debate about the expatriation experience that has affected many Latin American intellectuals residing in and producing their works in the United States of America. Most have decided to write in Spanish in a country that, according to the dominant narrative, is based on a pluralist and tolerant society. But racism and discrimination are still rooted there, and all those who do not ‘belong’ are literally treated as ‘aliens’, especially if they are part of the Latino/Hispano community. This study aims to emphasise the cultural and literary impact that this wave of transnational and extraterritorial writers may have in the future. Moreover, it highlights the use of Spanish language as a political stance in a context which, in a not-so-distant future, will be increasingly influenced by Spanish-speaking people, who are still wrongly considered a minority.


2021 ◽  
Vol 9 (1) ◽  
pp. 20-31
Author(s):  
Alex Gekker ◽  
Daniel Joseph

Abstract This paper explores Disco Elysium’s first major expansion, “Working Class Update” as emblematic of the potential fracture between the game’s themes and its politics of production and distribution. Our central claim is that in this update, the studio has reacted to the audience’s appreciation for the game’s labor themes within broader dissatisfaction with the industry’s otherwise exploitative practices, yet was constrained by the contemporary dynamics of said industry. First, we examine Disco Elysium’s radical political orientation and the platformized political economy of digital game distribution through ZA/UM’s origins within the Estonia-specific ICT scene. Second, we describe the current state of videogames distribution, in critical dialog with Dyer-Witheford and De Peuter’s concept of a “game of multitude.” We show the limits and contradictions of Disco Elysium to enact radical political stance in a grow-ingly consolidated and platform-dependent video games market. Finally, through a qualitative empirical analysis of the community’s responses to the Worker’s Class Update on Reddit and Steam, we examine the game’s fit into the above-mentioned framework through key themes of dissonant development, tactical games and software commons.


2021 ◽  
Author(s):  
◽  
Emily Tehrase White

<p>Emily Perkins' work exemplifies a shift in the way the nation is represented in New Zealand fiction. In place of the cultural nationalist acceptance that the writer should attend faithfully to the New Zealand referent and seek to define the nation we find doubt, uncertainty and resistance. This shift has been observed positively in some contemporary criticism, notably in Anna Jackson and Jane Stafford's Floating Worlds (2009). But other commentary, such as Patrick Evans' 2003 'Spectacular Babies' essay, is highly negative. There is a surprisingly small amount of critical attention dedicated to contemporary New Zealand writing. This thesis will offer some reasons for this lack of commentary and propose a framework within which Perkins' work can be analysed. It will also identify the ways in which Perkins' work refers to the nation and how this differs from the way in which the cultural nationalists referred to the nation. I argue that new critical modes are required to approach contemporary New Zealand writers like Perkins that reach behind the cultural nationalist influence. Accordingly, I position Perkins' way of representing New Zealandness alongside that of early writers Benjamin Farjeon and Katherine Mansfield, to show that a non-essentialised identity can be expressed in the text. The contemporary approach to this endeavour can be compared to what I call "pre-nationalist" writing, although early avoidances of the New Zealand referent were not as deliberate as they now are. I argue that like Katherine Mansfield, Perkins' textual relationship with New Zealand is metonymic rather than referential. Her writing conjures up New Zealand without generalising it or essentialising it. In this thesis, I address three of the primary ways that Perkins achieves this in her writing. Firstly, she addresses the meaning of place and its significance in the formation of subjectivity. Secondly, she deliberately avoids taking an overt political stance and use of the Māori referent. The absences in her work contrast with detailed attention to what is there, and so appear as a presence. In this sense her work depends largely on how the reader is able to interpret the absences and provide what is unsaid. Thirdly, her attention to New Zealandisms, linguistic idiosyncrasies and her use of taboo language refer to New Zealandness but simultaneously reveal self-consciousness. I argue that the diagnosis of New Zealand identity as 'floating', while useful, is problematic because it tends to have a silencing effect on discussions of contemporary literature. Characterising New Zealand identity as 'floating' appears to signal the end of the conversation and to assume that because the literature cannot be categorised, it cannot be discussed either. This thesis will suggest alternative ways of addressing New Zealandness which open up, rather than close, new possible perspectives on contemporary New Zealand literature.</p>


2021 ◽  
Author(s):  
◽  
Emily Tehrase White

<p>Emily Perkins' work exemplifies a shift in the way the nation is represented in New Zealand fiction. In place of the cultural nationalist acceptance that the writer should attend faithfully to the New Zealand referent and seek to define the nation we find doubt, uncertainty and resistance. This shift has been observed positively in some contemporary criticism, notably in Anna Jackson and Jane Stafford's Floating Worlds (2009). But other commentary, such as Patrick Evans' 2003 'Spectacular Babies' essay, is highly negative. There is a surprisingly small amount of critical attention dedicated to contemporary New Zealand writing. This thesis will offer some reasons for this lack of commentary and propose a framework within which Perkins' work can be analysed. It will also identify the ways in which Perkins' work refers to the nation and how this differs from the way in which the cultural nationalists referred to the nation. I argue that new critical modes are required to approach contemporary New Zealand writers like Perkins that reach behind the cultural nationalist influence. Accordingly, I position Perkins' way of representing New Zealandness alongside that of early writers Benjamin Farjeon and Katherine Mansfield, to show that a non-essentialised identity can be expressed in the text. The contemporary approach to this endeavour can be compared to what I call "pre-nationalist" writing, although early avoidances of the New Zealand referent were not as deliberate as they now are. I argue that like Katherine Mansfield, Perkins' textual relationship with New Zealand is metonymic rather than referential. Her writing conjures up New Zealand without generalising it or essentialising it. In this thesis, I address three of the primary ways that Perkins achieves this in her writing. Firstly, she addresses the meaning of place and its significance in the formation of subjectivity. Secondly, she deliberately avoids taking an overt political stance and use of the Māori referent. The absences in her work contrast with detailed attention to what is there, and so appear as a presence. In this sense her work depends largely on how the reader is able to interpret the absences and provide what is unsaid. Thirdly, her attention to New Zealandisms, linguistic idiosyncrasies and her use of taboo language refer to New Zealandness but simultaneously reveal self-consciousness. I argue that the diagnosis of New Zealand identity as 'floating', while useful, is problematic because it tends to have a silencing effect on discussions of contemporary literature. Characterising New Zealand identity as 'floating' appears to signal the end of the conversation and to assume that because the literature cannot be categorised, it cannot be discussed either. This thesis will suggest alternative ways of addressing New Zealandness which open up, rather than close, new possible perspectives on contemporary New Zealand literature.</p>


2021 ◽  
pp. 117-128
Author(s):  
Stuart Sillars

In the early 1920s, the literary editor Sidney Clark wrote about English classic texts as moral guides for new readers. In 1932, Q. D. Leavis bemoaned the growth of popular fiction as simple escape. More positive overall was the growth of books as constructions of word and image, not just through illustrations but in all aspects of design, layout and increasingly through pictorial dust jackets in books of all kinds. Design of covers and binding revealed much about contents, with the Left Book Club and its rival Right Book Club the most extreme, declaring their content and political stance. In new homes, books became a way of presenting the owners’ tastes to visitors; the design of Penguin Books in particular made purchasing easier and cheaper, and also offered books of many kinds, identifiable by colour-coded covers, to new readers.


2021 ◽  
Vol 10 (2) ◽  
pp. 325-332
Author(s):  
Michael Nimbley ◽  
Catherine Bourgeois

The following is the working script from Montreal-based artist Michael Nimbley’s presentation about his professional career. The script was co-created with his creative ally Catherine Bourgeois, the founder and artistic director of Montreal-based theatre group, Joe Jack & John. Joe Jack & John is a theatre company that produces original, bilingual, multidisciplinary shows combining video, dance, and the spoken word. Their artistic approach is deeply humanistic and inclusive; their creations represent a social microcosm by integrating professional actors with an intellectual disability or from diverse cultural backgrounds. During the time of VIBE, Nimbley was an artist-in-residence with the company. In establishing artistic residencies, Joe Jack & John are fulfilling their mission in a new way by inviting an artist living with a disability to initiate and direct a creation of their own. These residencies demonstrate a unique political stance. By handing power to an artist with an intellectual disability, they are furthering their research on marginalized aesthetics and voices. Their goal is to develop interdependent creative models and practices, promoting the emergence of underrepresented voices that have not been part of the dominant artistic trends. In doing so, they are disrupting aesthetic hierarchies and continuing to dismantle biases against artists who evolve outside the artistic establishment.


Pólemos ◽  
2021 ◽  
Vol 15 (2) ◽  
pp. 333-354
Author(s):  
Sidia Fiorato

Abstract Bram Stoker’s Dracula presents an investigation of identity from multiple perspectives: the political stance of the Victorian fin de siècle intersects with questions of identity and their liminal articulation through narrative control. The count becomes a “thick” synecdoche for the East and his arrival to England symbolises a reverse political and cultural colonisation that leads to a new image of the individual, revealing the innermost recesses of Western culture.


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