Carrier Of Ideology Research Articles

Analysis of Media-Shaped Role Models from the Perspective of Transitivity: A Case Study of Rongzhi Lao Criminal Cases

News reporting is the carrier of ideology and culture. Although the media claims to be impartial, objective and neutral, they necessarily reflect a certain stance. The media usually constructs characters directly or indirectly in news reports so as to change the audience’s perception of the events. Taking the news headlines related to Rongzhi Lao from thepaper as the data, this paper analyzed the role models of Rongzhi Lao shaped by the media from the perspective of transitivity by using the UAM corpus tool and Python. The result shows that (1) in the news headlines related to Rongzhi Lao from thepaper as the data, the material process accounts for the largest proportion, followed by the relational process, mental process, verbal process, and existential process; (2) through the five processes, Rongzhi Lao is constructed as a guilty person who is good at evading his responsibilities and disguising but does not regret committing felonies on his initiative. This paper gives us insight to clarify the purpose of media news reporting by understanding how the media constructs characters.

“Model Opera” of the 20th Century in Chinese Musical Culture

The article is devoted to the problem of studying the conditions of development of musical culture in China, in particular, the creation of the twentieth-century model opera, as a result of the synthesis of the East-West arts. The purpose of this article is to determine the components of the opera model and to indicate the prerequisites for its creation. The research methodology is based on the use of the hermeneutic-comparative method, which allows studying the model of Chinese opera in accordance with the conditions of the historical development of musical culture, as well as general scientific methods of analytical and historical-descriptive content, which formed, among other things, the methodological foundations of the art and cultural studies accepted for the study to understand the patterns and generalisations in accordance with the definition of the popularity of the twentieth-century opera model in Chinese culture. The scientific novelty lies in the universalisation of approaches to the synthesis of art in the East-West context and the study of the peculiarities of the existence of vocal and stage art in China as a component of the country's political programme of development and as a carrier of ideology. Conclusions. It has been determined that the performing tradition and functioning of vocal and stage art in China has a synthetic character, which took shape in the 19th century, but became active in the 20th century. The concept of a model opera came into use as an exemplary component of vocal and stage art that reflected political views and was also a carrier of the country's ideology. The creation of a number of operas based on the same model did not limit the development of Chinese musical culture, but rather created the conditions for the formation of a completely individual, unique national genre, which was embodied in a kind of model opera with its numerous experiments, but at the same time, some of its initiatives were distilled and even canonised into semantic units, performance practices, and norms of musical structure. Key words: model opera, Chinese music, vocal and stage performance, East-West, ideology.

Shuffling Softly, Sighing Deeply: A Digital Inquiry into Representations of Older Men and Women in Literature for Different Ages

When gender is brought into concerns about older people, the emphasis often lies on stereotypes connected to older women, and few comparative studies have been conducted pertaining to the representation of the intersection between older age and gender in fiction. This article argues that not only children’s literature, traditionally considered to be a carrier of ideology, plays a large part in the target readership’s age socialization, but so do young adult and adult fiction. In a large corpus of 41 Dutch books written for different ages, the representation of older men and women is studied through the verbs, grammatical possessions and adjectives associated with the relevant fictional characters, which were extracted from the texts through the computational method of dependency parsing. Older adult characters featured most frequently in fiction for adults, where, more so than in the books for younger readers, they are depicted as being prone to illness, experiencing the effects of a deteriorating body and having a limited social network. In the books for children, little to no association between older adulthood and mortality was found in the data. Ageist stereotypes pertaining to both genders were found throughout the corpus. In terms of characterization, male older adults are associated more with physicality, including matters of illness and mobility, while character traits and emotions show up in a more varied manner in connection to female older characters.

Sculpture in Socialist Realism—Soviet Patterns and the Polish Reality

Socialist realism was more than just a trend in art. It was also, and perhaps predominantly, a method of educating the new post-revolutionary society in the Union of Soviet Socialist Republics. In socialism, the state became the commissioner, consumer, and critic of art, treating it as a major propaganda tool. It is thus not surprising that the socialist realism patterns were imposed on artists working in those countries which found themselves in the Soviet sphere of influence after the end of the Second World War. In Poland, which was the Soviet Union’s closest neighbour and one of the larger countries in the post-war “Eastern Bloc”, socialist realism was the only permitted creative method in the years 1949–1956. The ideologists of the new art assigned a special role to sculpture, which, next to posters and murals, was considered the most socially accessible form of artistic expression due to the possibility of placing it in public space. Monuments as material carriers of ideology were used as an expression of power, but they also marked the places of strengthening collective identity. During the period of socialist realism in Poland, sculptural activity followed the main three directions: heroic, portrait, and architectural–decorative. Therefore, this paper aims to present theoretical and ideological assumptions relating to socialist sculpture and their confrontation with realisations in Poland during the period of the Soviet artistic doctrine. The paper also presents the aesthetic paradigms of socialist sculptures and their relationships with the canons of European art, and, for Poland, also with the native art, mainly sacral.

Model Soviet City of the Brezhnev Era: The Image of Kharkiv in Selected Propaganda Texts

The aim of the paper is to present the image of Kharkiv in propaganda materials from the period of Leonid Brezhnev’s rule addressed to foreign recipients. Three key threads repeated in narratives about Kharkiv were distinguished by the author: the relative “youth” of the city, its industrial character and the functioning of a strong academic center. The critical analysis of the propaganda discourse is based on the assumption that the language used was the carrier of ideology, i.e. it did not report reality, but its ideological vision. The image of Kharkiv emerging from the analysis is a vision of a city fulfilling the model Soviet standard: neither a communist ideal that Moscow was nearing, nor one with the exotic flair of the Caucasus or Central Asia. It was a Soviet model typicality: a large, modern industrial metropolis, ideologically correct, exemplifying the core, Slavic-European part of the USSR. Thus its promotion was in fact the promotion of the Soviet system as a whole.

IDEOLOGY OF CIVILIZATIONAL SOVEREIGNTY OF RUSSIA (IN THE CONTEXT OF RUSSIA-WEST RELATIONS)

This article examines the objective prerequisites for the formation of the ideology of civilizational sovereignty of Russia (ideology of mobilization type) in the context of Russia - West relations. Currently, the carrier of ideology is not the state (it is prohibited by the Constitution of the Russian Federation), but civil society - and the ideology is not so much political as civilizational (spiritual and cultural), providing mental, cultural and moral unity of society. However, in this capacity, ideology still performs its classical political function of ensuring the political and ideological mobilization of people in the form of their political consciousness development. Modern Russian society can effectively develop any new social institutions and forms of social activity necessary for the development of modern man-made civilization, but the intellectual and moral degradation of people, which has been going on for several decades as a consequence of the development of “consumer society”, destroys the human resource of Russia in qualitative terms. Only the model of “mobilization society”, which is a legacy of traditional civilization, can resist this. In modern conditions, ideology cannot be, as it was in the era of classical ideologies, a set of unified theses and definitions. The modern non-classical “mobilization ideology” of the Russian civil society is not a set of initially defined concepts, but a set of basic values that can be interpreted individually, based on different worldview positions. Only in this case the ideological consolidation of society is possible, otherwise the described state of ideological chaos will remain insurmountable.

Modals as Carriers of Ideology in Salmon Fishing in the Yemen

Modality encodes speakers or writers’ attitudes towards, and evaluations of, people and states of affairs. These evaluative attitudes are often ideologically motivated. This paper investigates ideology as carried by modal expressions in Salmon Fishing in the Yemen. Of the ten genres constituting the narrative, the newspaper articles have been selected for analysis. The paper adopts Simpson’s (1993) analytical framework, aka Critical Linguistics, in order to achieve three objectives. It aims to identify the modal expressions employed in the selected newspaper articles, classify the relevant modalized, and modally unmarked, statements, and explore the ideological assumptions and evaluations generated by the modal expressions, or their absence, in relation to the characters’ attitudes towards each other and towards the thematic developments in the novel. Analysis uncovers a dichotomy constructed between the East and West. The East, represented by the salmon project, Sheikh Muhammad and the Yemeni government, is projected as submissive and inferior.

FAMILY AND MATERNITY PERCEIVED AND PICTURED BY A MIGRANT ARTIST: PAINTINGS OF CONSTANTINE ANDREOU

Introduction: Representations of Maternity in ArtThe r epr esentation of mat er nity in visual arts has an intertempora l and ecumenical character, and since prehistoric times to this day there has been an immense variety a nd innumerable versions ther eof (Betterton, 2006). Maternity's ecumenical dimension (Simonton, 2011) is marked by the fact that it is related to unchanging, or very slowly changing, elements, which allow us to consider them as stable, due to the relatively stable subjective human situation in terms of anatomy and biology, whereas it is always experienced in specific changing and varying conditions, clad with the corresponding ideology. Due to the position she de facto holds, for better or for worse, in the family with regard to giving birth to and raising the children, the mother is a carrier of ideology, given that she reproduces within the family nucleus the values of the social system (Castilla del Pino, 1973).Furthermore, representation of the mother in art is related to its psychological meaning as well as to the artist's social determinations (Jennings & Minde, 1996), which affect not only the material and the style, but also the ideological patterns used by him/her. Various psychoanalytic approaches of artwork attempting to int erpret the artist's unconscious - in particular in works of Futurist, avant-garde and also conceptual as well as feminist artists (Heath, 2013; Meskimmon, 2007) - have asserted the relevance of aesthetic experience and creation with the relationship to the mother, which has been established not only as the archetype of relationships with people, but also as the archetype of the first aesthetic experience (Chernick & Klein, 2011). It has been argued that the idiom, the particular manner in which a mother takes car e of the baby a nd t he experience of such handling by the child, constitutes the first human aesthetic which, when further extended, looks like the early sense of unity with the mother (Spitz, 1985). Besides, all the more recent correlations between psychoanalytical data and art are based on the explicit or implicit assumption of the ability of adults to retrogress - while remaining adults - to the mental situation of the first experiences, which are reactivated and re-experienced as such throughout the course of an individual's life, so as to operate in a layered model of mental significance (Kristeva, 1995), directly linked to the so-called visual mechanism through which, even when the r epr esentat ion of the ima ge cha nges, the representation of the feeling cladding it r emains unaltered. Thus, the deferred experience helps understand the artwork.Julia Kristeva, pioneer semiologist and psychoanalyst, reduces the entire artistic creation to the relationship with the mother, which she qualifies as the semiotic chora, coming into action in every artwork, even where the latter does not depict maternity. Irrespective of the form of the final product, the mother's body is what is preserved and restored (Fuller, 1988). Nevertheless, researchers who themselves refer to psychology in order to interpret artwork, readily admit that, no matter how detailed such an interpretation may be, it remains incomplete if it does not also take into account other cultural factors (Spitz, 1985), which, according to Yung's followers, include the group, the ra ce, the peopl e, t he historical context, the a ctua l cir cumsta nces, et c. (Newma n, 1974a). Following an analysis of maternity, Chodorow (1978) states that traits identified in the mother/child relationship are potentially present in the personality of the mothers taking care of the children and are expected in the children due to the care they receive from their mothers, but their manifestation depends on the specific organization of the family and the institution of maternity in every society.Depictions of the mother in art usually revolve around two main axes, a lthough this does cer t a inly not mean that ther e exist clear boundar ies between them. …

Cultura e ideologia: a mídia revelando estereótipos raciais de gênero

Nesse artigo, analisamos duas formas simbólicas brasileiras (comerciais de televisão) tendo como enquadre teórico uma metodologia crítica baseada em alguns elementos teóricos dos Estudos Culturais. O ponto de partida é o conceito de minoria e maioria, e seu caráter nômico e anômico. Assumimos que as formas simbólicas podem ser entendidas como portadoras de ideologia, e para entender a ideologia subjacente a elas nós temos que desconstruir a unidade da mensagem e expor sua "naturalidade". Nesse processo, aspectos relacionados às relações de dominação de gênero e raça foram desveladas, indicando que a discriminação em direção às minorias ainda é parte da nossa realidade mediada.

Une interprétation des représentations occidentales de l'Islam

Traditional western views of Muslims were a catalogue of prejudice in focusing on the alleged authoritarian and fatalistic character of Islam. In the western imagery, Muslims were sly, cruel and sensual, and this image was the product of cultural con flicts in which Islam was seen as a theological and political threat to Christianity. In more recent scholarship, it has been suggested that the negative image of Islam was the product of an Oriental discourse which survived for centuries, regardless of the inten tions of individual commentators on Islam. The idea that western attitudes were wholly negative and consistent is too simplistic. There were two distinct western views of Islam, namely a roman tic aristocratic version and a critical bourgeois image of the Orient. The aristocratic wing was generally sympathetic towards Islam, because it was hostile to the development of industrial capi talism in Europe. For such traditionalists, Islam represented an escape from a process of modernisation which they saw as des tructive of traditional values and institutions. By contrast, bour geois critics saw Islam as representative of precisely those institu tions and attitudes which they sought to destroy. In both cases, Islam as a construct was employed as a critical myth in the evalua tion of western society. The transformation of Islamic societies in the modern period has rendered both forms of imagery irrelevant in sociological terms, but their existence in the past makes it impossible to speak of one Oriental discourse. Social imagery is fractured by the cultural and class characteristics of the carriers of ideology and the traditional view of Islam in the West was bifur cated along class lines.

Remarks on C. A. Bowers's “Curriculum as Cultural Reproduction: An Examination of Metaphor as a Carrier of Ideology”

Remarks on C. A. Bowers's “Curriculum as Cultural Reproduction: An Examination of Metaphor as a Carrier of Ideology”

Curriculum as Cultural Reproduction: An Examination of Metaphor as A Carrier of Ideology

Curriculum as Cultural Reproduction: An Examination of Metaphor as A Carrier of Ideology