This paper represents a case study interpretation of the political and media discourses in Romania referring to Islam and the threat of Muslim refugees. Using a selection of media narratives from the public debates that took shape immediately after the Brussels attacks on March 22, 2016, this study uses a critical discourse analysis approach as an interpretative tool to understanding how in Romania the opinion leaders, the political elites and the media are building an anti-Islam propaganda. By applying a textual (...) and ideological analysis of a selection of media discourses that refer to the terrorist attacks and the implicit threat of Islam, the author describes the dominant rhetorics of conflict between the West and the Muslim world. By elaborating a list of Islamophobic stereotypes used in the Romanian mainstream media and by discussing the negative narratives propagated in the public sphere, a case is made against the artificial growth of intolerant attitudes. The central argument of the author is that we are witnessing a generalized anti-Islam propaganda, where a specific religion and its followers are demonized by politicians, cultural figures and opinion leaders. This paper's conclusion is that in the Romanian media and the political discourses a form of unjustified Islamophobia is cultivated for ideological purposes. (shrink)

This study presents the manifestations of irrational practices in recent Romanian politics. Providing a short history of the mystical and the occult in Romanian politics, this research uses as a case study the alleged use of the occult “violet flame” in the presidential campaign of 2009. By showing how public religiousness and the daily mystical practices are changing, the author is describing the transformations of the national political communication under the pressure of the news media, which are becoming more and (...) more pervasive to the occult discourses and the magical thinking. The author describes these transformations as part of the general transformations of the political imaginary inRomania. The Romanian public psyche belongs more and more to the culture of infotainment, a culture based on cultivating superficiality, where mystical and simplistic thinking have replaced the traditional processes of public exchange of reasonable ideas. Thus a main trait of this video-pathology in which the Romanian media is engulfed, is the substitution of the rational discourses with the superficial understanding of the world and supernatural explanations about the universe. One of the conclusions is that the manifestations and functions of the irrational in the Romanian political sphere have become more innocuously connected with a deep mysticism already in place, and are profoundly changing the society as a whole. (shrink)

This work applies the meaning of empsychia (animation) to the domain of graphe empsychos (animated word or image) using some funerary orations written by Gregory of Naziansus (IV-th century) and Michael Psellos (XI-th century). In our opinion, a certain continuity of this Byzantine tradition could be traced in the Romanian culture of the XVI-th century.

This essay intends to reveal the contribution of some Aristotelian concepts – such as “just measure” (metron, meson) and “lack of measure” (alloiosis) as well as some other connected pathological affections (pathe) of the human volitive part of the soul (thymos), caused by certain changes of the humoral mixtures, especially the ones of the black bile, a humoral substance that was considered largely responsible for the severe alterations of the normal rational activity of the human soul (logismos). – to the (...) definition of melancholy as a natural/pathological condition. This type of analysis could be useful for wider cultural studies in which certain medical traditions would have a significant contribution and would help us understand better the holistic thought of the ancient and medievalEuropean culture. (shrink)

At the beginning of the 16 th century, Transylvania had been an officially Catholic land belonging to the Kingdom of Hungary and led by an elite consisting of three nations, the Hungarian nobles (increasingly referred to as the Hungarian nation), the Saxons and the Szeklers. However, the general population, deprived of any political power, consisted of Orthodox Romanians. In other words, in Transylvania the Latin West met the Byzantine Orient. The old Hungary fell apart between 1526 and 1541, its central (...) regions taken by the Ottoman Empire, the west and the north by the Habsburgs, while the eastern part, Transylvania, became an autonomous principality under Ottoman suzerainty. At the same time, various Protestant trends made their presence felt among the leading nations, eventually crystallizing in the form of Lutheranism, Calvinism, and Unitarianism. In the space of three decades (1540–1570) these rival denominations gained legal status and joined Catholicism as the official religions of the country. Catholicism became a marginal denomination, deprived of assets and of its hierarchy. Under Protestant pressure, the Orthodox Romanians were still kept away from power. The last three decades of the century saw some attempts at Counterreformation and at a Catholic Reformation, at a time when the principality was once again led by a Catholic dynasty. In this context, new Catholic cultural (educational) models, supported by the Jesuits, were implemented in the existing Protestant and Orthodox context, in an often desperate attempt to reverse or at least balance the situation. In this respect, the Jesuit College of Cluj (today Cluj-Napoca, Romania), established in 1581, remains a most memorable episode, whose consequences can still be seen today. By resorting to education and learning, the college was meant to influence and alter the surrounding Protestant and Orthodox world. In fact, it became an interesting facet of the multicultural, multiethnic and multiconfessional character of Transylvania, a miniature Europe inhabited by Latin, Germanic, Finno-Ugrian, Slavic peoples etc., by Byzantines, Catholics and Protestants, by rightful citizens and “tolerated” inhabitants, by masters and servants, by privileged categories and by groups merely “allowed to exist”. The troubled events of those years have left us with a model of cohabitation based on both cooperation and rivalry that truly deserves consideration. (shrink)

This book offers insight into the many identity work processes in play in the construction of yoga categories, inviting readers to consider pop culture yoga, a distinct way of understanding this complex phenomenon.

For over twenty years, Mark McNulty has been documenting the Liverpool music scene, both in the city and as it has proliferated worldwide. Accompanied by over 100 photographs, Pop Cultured celebrates the city, its music, and its culture through the lens of this highly acclaimed and influential photographer. McNulty has covered a wide array of iconic British bands such as the Stone Roses, Happy Mondays, Echo and the Bunnymen, and the Arctic Monkeys, as well as visiting international acts like (...) the White Stripes. Witty, enthralling, and visually stunning, Pop Cultured combines McNulty’s images with his own laconic and humorous commentary and that of his iconic musical subjects, providing a rollercoaster account of the last twenty years of British culture. (shrink)

René Girard, Theology, and Pop Culture provides a fresh and engaging introduction to and the application of René Girard's mimetic theory. From movies to social media, television to graphic novels, the contributors explore popular culture's theological depths and challenge readers to consider what culture reveals about them.

Comment et pourquoi affirmer que l'humanisme d'un penseur catholique du XVIIe siècle peut nous guider dans la compréhension de phénomènes culturels contemporains, c'est in fine la question qui commande cette étude rigoureuse et audacieuse. Faire dialoguer de façon féconde le projet de Blaise Pascal et la pop culture, appréhendée à partir des tribus musicales punk, rock, skinhead, gothique, hip-hop et électro, c'est l'objectif du travail de Jean-Louis Bischoff.

Anarchism is a theory of the good society, in which justice and social order are maintained without the State (or government). Many anarchists in the libertarian movement (including myself) were heavily influenced by the epistemological and moral theories of Ayn Rand. According to these anarchists, Rand's principles, if consistently applied, lead necessarily to a repudiation of government on moral grounds.

Feminist Theory and Pop Culture (Second Edition) synthesizes feminist theory with modern portrayals of gender in media culture. This updated text provides comprehensive and interdisciplinary scholarship focused on topics related to: - Historical examination of feminist theory - Application of feminist research methods - Feminist theoretical perspectives such as the male gaze, feminist standpoint theory, Black feminist thought, queer theory, masculinity theory, theories of feminist activism, and postfeminism. - Contributor chapters cover a range of topics from Western perspectives (...) on belly dance to television shows such as Girls, Scandal, and Orange is the New Black. - Feminist theory and the wave of feminism, including a discussion of the fourth wave - Pedagogical features - Suggestions for further reading and discussion questions for classroom use Feminist Theory and Pop Culture was designed for classroom use and has been written with an eye toward engaging students in discussion. The book's polished perspective on feminist theory juxtaposes popular culture with theoretical perspectives which have served as a foundation for the study of gender. This interdisciplinary text can serve as a primary or supplemental reading. (shrink)

Drawing on newspaper articles, ad campaigns, declassified government archives, and old movies, Ken Hollings shows the culture of postwar America and its dream of limitless technological and human development.

Though Trey Parker and Matt Stone haven't been killed for it (they did receive death threats after their 200th episode) the creators of South Park have faced accusations much like those that led to Socrates' execution: the corruption of youth and the teaching of vulgar, irreligious behavior. A closer examination, however, reveals that South Park is very much within the Platonic tradition, as Kyle and Stan engage in questioning and dialogue in order to "learn something today." Moreover, the mob mentality (...) of the parents, along with the malicious yet mimetic evil of Cartman, demonstrates how evil emerges from thoughtlessness: a failure to ask if one can live with oneself, and a failure to out oneself in the place of others. Through its different characters, and even its apparently mindless vulgarity, South Park shows the need for engaging in dialogue, and thinking from others' perspectives, in order to pursue wisdom, examine life, and make it worth living. (shrink)

René Girard, Theology, and Pop Culture provides a fresh and engaging introduction to and the application of René Girard’s mimetic theory. From movies to social media, television to graphic novels, the contributors explore popular culture’s theological depths and challenge readers to consider what culture reveals about them.

What can _South Park_ tell us about Socrates and the nature of evil? How does _The Office_ help us to understand Sartre and existentialist ethics? Can _Battlestar Galactica_ shed light on the existence of God? _Introducing Philosophy Through Pop Culture_ uses popular culture to illustrate important philosophical concepts and the work of the major philosophers With examples from film, television, and music including _South Park_, _The Matrix_, _X-Men_, _Batman_, _Harry Potter, Metallica_ and _Lost,_ even the most abstract and complex (...) philosophical ideas become easier to grasp Features key essays from across the Blackwell _Philosophy and Pop Culture_ series, as well as helpful editorial material and a glossary of philosophical terms From metaphysics to epistemology; from ethics to the meaning of life, this unique introduction makes philosophy as engaging as popular culture itself Supplementary website available with teaching guides, sample materials and links to further resources at _www.pop-philosophy.org_. (shrink)

Reflecting on the many challenges facing Christianity as a religion, and particularly Christian philosophy as a way of thinking in modern, strange and unfamiliar times, one encounters time and again the grim realization that many of such challenges are simplyprovided by the current culture, the cultural sphere. Without idealizing Europe’s Christocentric culture and remembering that it was not homogeneous, we must recognize that it once existed, it was the ruling cultural norm. Today, such norms are indeed very different (...) and vary greatly depending on the geographic region we have in mind and change from decade to decade. After the Renaissance, the Enlightenment, modernity and the postmodern era, we observe that what governs our cultural world today is pluralism more than anything else. But there are still some traces of Christocentrism in our culture and in what it has become during this period, namely popular culture. Among other aspects, research has focused on the analysis of one idea – that of the Christ-figure, which has come a long way from theology to culture to pop culture over the centuries. In this article, I will try to show why this complicated legacy can be seen, at least in part, as a challenge to Christianity in light of contemporary Christian philosophy. -------------------------- Received: 14/03/2023. Reviewed: 16/04/2023. Accepted: 30/04/2023. (shrink)

For the past several decades, popular culture, especially feature films and television, has been utilized with increasing frequency in bioethics teaching and reflection. This seems quite fitting, for, in the words of cultural historian and film critic Leo Braudy, even more than standard newspaper articles and other analytical texts, popular culture constitutes a “sounding board or lightning rod for deep-rooted audience concerns” Refiguring American film genres. University of California Press, Berkeley, pp 278–309, 1998). Further, many audience concerns in (...) advanced-capitalist societies relate to the promises and perils of science and technology in general and biomedicine in particular. In this essay, I offer an overview of the advantages and disadvantages of utilizing popular culture for bioethical reflection and pedagogy, and provide a framework for thinking through the promises and pitfalls of popular culture for researchers, teachers and practitioners of bioethics and biomedicine. (shrink)

Music has often attempted to express mystical states of mind, cosmic harmony, the demonic and the divine. This wide-ranging survey explores how such film music works and uncovers its origins in Pythagorean and Platonic ideas about the divine order of the universe and its essentially numerical/musical nature.

An image of God that isn't true -- The God of creation -- The God of no use -- The God of our imagination -- The God of thunder -- The God of terror -- The God of surrender -- The God of intimacy -- The God of consolation -- The God of incarnation -- The God of rebirth -- The adventurous God.

_Minerva’s Night Out_ presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture. Presents a wide-ranging series of essays that reflect on philosophical issues relating to modern film and popular culture Authored by one of the best known philosophers dealing with film and popular culture Written in an accessible manner to appeal to students and scholars Coverage ranges from the (...) philosophy of Halloween to _Vertigo_ and the pathologies of romantic love. (shrink)

The essay is designed to present the phenomena of popular culture, its difference from pop culture, both products of modern West, and their impact on film and advertisement media in India. First, the discussion focuses on the Critical School which proposed the initial thesis of commodification of culture with a resultant “lowering” of standards to appeal to “the masses”, and an appeal to the “average” tastes. In the essay an argument is presented that pop culture is (...) a “critique” of popular culture and is an elitist position attempting to shock popular mores and media content. Given this setting, it is argued that while India has followed both the globalizing popular and pop cultures, neither are adequate to encompass Indian media, specifically their film content. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy and the Interpretation of Pop CultureStefán SnaevarrPhilosophy and the Interpretation of Pop Culture, edited by William Irwin and Jorge J. E. Gracia. Lanham, MD: Rowman and Littlefield, 2007, 297 pp., $29.85 paper.There has been quite a boom lately in the market for philosophical books on popular culture. The young American philosopher William Irwin has led the way by starting the fad of "... and philosophy" (...) books; the first one that Irwin edited was Seinfeld and Philosophy. So it is only fitting that he is one of the editors of this volume on philosophical interpretation of popular culture. In contrast to most of the earlier books of this kind, a sizable number of the contributors to this volume belong to the top brass of America's aestheticians: Noël Carrol, Ted Cohen, Carolyn Korsmeyer, and Richard Shusterman, to name but a few. The book is divided into two parts, "Philosophy and Popular Culture" and "Interpretation and Popular Art Forms." These titles are self-explanatory; it might be added that the aforementioned top brass dominates the first part.Irwin provides the book with a witty and well-written introduction, but he operates with a very wide definition of popular culture, classifying movies as such as items of pop culture. However, the medium surely is not the message. The fact that novels can be part of popular culture does not make Joyce's Ulysses a pop cultural object. Irwin's chapter, "Philosophy as/and/of popular culture," is rather two papers in one. One half addresses the concept of popular culture, containing an insightful critical evaluation of, among others, Noël Carroll's concept of mass art. The other half proposes that we can use popular culture to disseminate philosophical ideas to the general public. More so than in the introduction, Irwin is actually rather critical of popular culture in this chapter. He worries about its negative effect on culture in general—no cult of pop culture here. In addition, he rejects the notion of popular culture having the potential of becoming philosophy or its surrogate. He reminds us that Socrates used examples from everyday life and the popular culture of his day to make his philosophical points. In a similar fashion, the popular culture of today can be a stepping stone for philosophers to reach wider audiences. If you cannot beat them, join them! Popular culture could, for instance, be used to warn the public against its own evil aspects. This is an excellent idea, and I could not agree more; I myself often use examples from popular culture in my own lectures with good results. Irwin should expand on this idea and present it in a separate article.Richard Shusterman's chapter does not add much to his earlier writings. It is also somewhat like two articles in one; the first is a criticism of the denigration of pleasure and entertainment as aesthetic values, and the second half is an attempt to bridge the divide between intrinsic value and instrumental value. Both halves [End Page 111] contain some excellent arguments, but popular culture tends to be on the fringe in Shusterman's argument. The focus is on other more traditional, philosophical issues. Perhaps another venue would have been more suitable for this article.In contrast to Shusterman, Caroline Korsmeyer addresses the issues of popular culture in a fairly straightforward manner. Popular culture can be educational, even philosophically so. This claim does not mean that works of popular culture are works of philosophy in the ordinary sense of the word. However, we can "treat philosophy as a success term to refer to works demanding imaginative engagement that results in the recognition... of a philosophical position, such that what is done in philosophy proper that induces a possible conclusion is done in another genre by means appropriate to its appreciation" (31). Given this understanding of philosophy, we can understand works of popular culture as vehicles of philosophy. Korsmeyer maintains that the TV series Angel conveys some of Simone de Beauvoir's ideas from one of her books. Korsmeyer's chapter also contains a delightful discussion of "the probable impossible" and "the possible improbable" in fiction. But... (shrink)

Minerva’s Night Out presents series of essays by noted philosopher and motion picture and media theorist Noël Carroll that explore issues at the intersection of philosophy, motion pictures, and popular culture.

Comprised of thirteen articles by well-known authors, this book makes the case to philosophers that popular culture is worthy of their attention. Issues of concern include the distinction between high culture and popular culture, the aesthetic and moral value of popular culture, allusion and identification in popular culture, and special problems posed by the interpretation of popular culture. Popular art forms considered include: movies, television shows, comic books, children's stories, photographs, and rock songs.

Teaching Kantian ethics is difficult, for “getting Kant right” extends to a wide field of concerns. This paper is aimed at instructors who wish to give interdisciplinary criticism of Kantian deontology by discussing exceptions naturalist critics take to Kant’s concept of “autonomy.” This concept can and should be supplanted by the notion of “emergent intelligence.” Surprising support for this project comes from the fictional exploits of Star Trek’s Captain Jean-Luc Picard. I conclude by indicating how the residual lessons from this (...) criticism of Kant should lead us back to an understanding of emergence within Kant’s own third Critique. (shrink)

Zusammenfassung Der Aufsatz untersucht am Beispiel der Skateboard-Praktik den Einfluss audiovisueller Medien auf die Produktion von Bewegungen und die Konstitution von Stil-Kulturen in neuen sportiven Prakti­ken. Der Zusammenhang von Bewegungen und Bildtechnologien wird als „intermediale Konstella­tion“ analysiert. Zeigen lässt sich, wie seit den 1970er Jahren der Gebrauch sich wan­delnder Medientechnologien nicht nur das Aneignen von Manövern beeinflusst und beschleunigt. Auch auf die Vergemeinschaftung der Teilnehmer zu stilistischen ‚Kulturen‘ hat diese Entwicklung erheblichen Einfluss, indem sie immer wieder neue AutorenInnen und Bildgenres (...) zulässt. Eine Zä­sur markiert der in den frühen 1980er Jahren durchgesetzte Videorekorder, auf dessen Basis sich das ‚klassische‘ Skateboard-Video etabliert: Die Praktik verbreitet sich in körperlicher Aneignung von „Rockvideos über Sport“, die zugleich Imagefilme von Jugendmarken sind. Dieser Prozess, so die These, platziert ihre Träger exakt im Schnittpunkt von Sport- und Popkultur - und macht die Skateboard-Praktik zu einer exemplarischen Selbsttechnik, in denen sich ab 1980 das „konsumatorische Kreativsubjekt“ der postmodernen Ordnung heranbildet. (shrink)

TWEEN POP examines the creation of the "tween" in the early 2000s as a gendered and raced consumer audience. The tween, aged nine to twelve, and usually thought of as a white girl, occupies a temporality between childhood and adolescence: she has aged out of children's products but is too young to fully engage in marketing directed at teenagers. But, as Tyler Bickford argues, this seemingly narrow market grew to broadly include four to fifteen year olds, with producers and marketers (...) pulling upwards and downwards by creating material that would attract younger viewers and teenagers, thereby creating a demographic that expanded, rather than limited, the traditional reach of child and teenage markets. According to Bickford, the key to this expansion was pop music, as it provided an intensity of experience that mirrored childhood in its investments in emotional authenticity, cultural value, and relational intimacies. In other words, pop music needed to be both intimate and public--a tension that Bickford argues defined the tween's positionality as well--and tween pop did so by pairing the mainstream pop of adulthood with images and lyrics suitable for younger audiences. Throughout the book, Bickford reveals how childhood's status as a private domestic position outside of politics was not a hindrance to the cultivation of children as a mass audience but rather was the very foundation of that project. By creating an intimate public of tween pop, the tween music industry was able to position tweens as still within the private domestic sphere of family life, but connected in a broader public of other tween-pop-listening tweens. Chapter 1 looks at Kidz Bop music videos to argue that the tween music industry framed childhood domesticity as complementary to participation in a public culture. Chapter 2 focuses on Disney Channel's popular music programs' efforts to engage older children, particularly older girls, in their marketing tactics. Chapter 3 analyzes the Disney Channel show Hannah Montana and its foregrounding of tensions between girlhood, public culture, and family. Chapter 4 attends to how whiteness served as central to the tween construction of innocence and childhood. Bickford concludes the book by periodizing the tween moment as the decade from 2001 to 2011, and then outlines the developments in popular culture for children since that time. This book will be of interest to students and scholars of ethnomusicology, feminism and gender studies, and cultural studies. (shrink)

This interview – conducted by Peter Beilharz and Trevor Hogan with Clinton Walker over the course of three months between Melbourne and Sydney via email and Skype – explores the questions of Australian popular culture writing with, against, and of the culture industries themselves. Walker is a leading freelance Australian cultural historian and rock music journalist. He is the author of seven books, five about Australian music. He has been a radio DJ and TV presenter. He compiled and (...) produced four double CD album collections of Australian music – Inner City Sound, Buried Country, Long Way to the Top, and Studio 22. He has been a key writer in several multi-media projects, including the Powerhouse Museum Real Wild Child exhibition and CD-Rom and ABC TV’s hit documentary series/CD/DVD Long Way to the Top. In 2006, a new US edition of his first book Inner City Sound was published. His Golden Miles: Sex, Speed and the Australian Muscle Car has been published in a revised edition in 2009. In 2012, his eighth book, The Wizard of Oz, will be published. Walker is currently writing with Beilharz and Hogan a book called The Vinyl Age: The History of Australian Rock Music, 1945–1995. The interviewers invited Walker to reflect critically on his 35-year ‘career’ as pop avatar, independent writer and critic in the post-war to post-modern Australian popular culture industries. Going from journalism to his path-finding books and television documentaries, the article traces this work’s development both in personal terms and as a symptom of the broader cultural evolution, from the suburbs to pop to art and rock and back again; between London and the provincial cultures of Oz; from one-way American consumerism to local DIY egalitarianism, analogue to digital to global dialogue, youth culture to multi-culturalism, and from the putative low brow to the legimitization process itself of popular culture. (shrink)

We explored the need for an ecosystem approach based on relational systems when conducting research on South Korea’s cultural industry. We used Mollard’s (2009. L’ingeniere culturelle. Paris: PUF) idea of the participants in the French cultural system as a key reference and extended it to the notion of the platform, which is the core concept of South Korea’s cultural industry ecosystem (CIE). We also utilized the idea of the “semiotic square of consumption values” from Floch to explicate each platform and (...) participant, which play a significant role in South Korea’s CIE. By defining a role rooted in the relationship and values for each subject (i.e., the production, consumption, authority, and intermediary subjects), we aimed to better understand the ecosystem of the cultural industry and focused on K-pop as a specific aspect of South Korea’s cultural sector by identifying the current identity of each participant. (shrink)

›Pop‹ often functions as an abbreviation of ›popular‹. If that is the case, ›pop‹ includes talk of ›simple,‹ ›catchy‹, ›vivid‹ and/or ›standardised‹, ›schematised‹ and/or ›charming‹, ›spectacular‹ artefacts as well as their ›lively‹, ›unmediated‹ or ›conditioned‹, ›passive‹, ›merely sensual‹ reception. This essay reconstructs precisely those approaches to a pop aesthetic, from Richard Hamilton, among others, to cultural studies and German-language pop discourse, that deviate from this and offer an independent position. Three areas of such pop aesthetics are examined in more detail: (...) 1. determinations of individual pop arts and pop-specific value judgements, 2. forms of not purely discursive pop aesthetics, 3. provisions for an overarching pop aesthetic. In the comprehensive inspection of corresponding presentations on pop music, pop art, pop literature and pop design, characteristics cited, such as superficiality and artificiality, are examined for their viability, deficits are identified and, in some cases, new proposals are made. (shrink)