Development Of Popular Culture Research Articles

An Examination of the Connections Between Visual Communication and Pop Culture

Visual communication plays a substantial role in society and, particularly in the framework of the United Arab Emirates (UAE), assumes a pivotal position in both shaping and mirroring its cultural milieu. Visual communication has played a decisive part in the transmission and interpretation of Emirati culture inside the United Arab Emirates (UAE). It encompasses a wide range of artistic expressions, both ancient and contemporary, that serve as vehicles for expressing the fundamental aspects of Emirati culture. The historical visual communication perspective in the United Arab Emirates encompasses traditional crafts and artworks and the contemporary digital media and design age. This qualitative research examines the complex interplay between visual communication and Emirati popular culture, investigating how they mutually shape each other. This study utilizes an extensive review of scholarly literature to elucidate the persistent correlation existing in visual communication and the development of popular culture in the United Arab Emirates. The results indicate that the amalgamation of visual communication and popular culture in the United Arab Emirates (UAE) produces favorable results, enhancing the cultural environment with more vibrancy and resonance. In summary, the study confirms the capacity of visual communication to influence and improve Emirati popular culture, with significant implications for forthcoming changes. The statement highlights the considerable importance of visual communication in reflecting and shaping the cultural dynamics of the United Arab Emirates (UAE).

Politics, Jokes and Power in Africa: The View From Stand-Up Comedy

ABSTRACT The history of stand-up comedy in Africa has often been tied to developments in popular culture, language, and performance. In this article, I take a different perspective by identifying the interactivities of politics and comedy, and how the actions, endorsements, and even censure of national leaders across different nations buoyed up stand-up performances on the continent. With specific examples from different countries, the explications in this paper show how the (in)actions of political leadership in Africa served as fodder for laughter elicitation – in Kenya, with Daniel arap Moi’s capitulation and Mwai Kibaki’s lethargy; in Nigeria, with Olusegun Obasanjo’s comedian-president posture as well as the gaffes of Patience Jonathan; and in South Africa, with Jacob Zuma’s unending drama until his resignation. These situations are equally contrasted with the experiences in Uganda, Egypt and Rwanda, where political censure is variously rife.

Anglo-American Fan Studies and Their Impact on the Development of Popular Culture in the Twenty-First Century

The aim of the article is to reveal the main stages of the research of fans in fan studies discourse and analyse the evolution of fan culture development that took place in the 21st century. Results. The article demonstrates that a separate scientific direction is dedicated to the study of fan communities in the Anglo-American academic environment — fan studies, which went through three distinct periods in their development: deviation, resistance (20th century), and mainstream (21st century). In the cultural aspect, the concepts of “fanatic/fanaticism” and “fan/ fandom” are distinguished. It is shown that Anglo-American fan studies define fan culture as an expressive lifestyle of fans of a certain cultural phenomenon or of a bearer of a certain cultural tradition, and in the last two decades, the fan studies direction, where fan culture is connected with fandom, has been intensively developing. It is stated that fandom is a self-organised community built around shared pleasure from a certain product of cultural industries in the digital media environment, and a fan is considered as a person who invests his time, energy, and money in interaction with a media product that is the object of his interests. The scientific novelty consists in determining the methodological status of the concept of “fan culture”, revealing the role of fan communities in the creation of popular culture in the 21st century. Conclusions. Fans began to play an active role in the processes of cultural creation, thanks to their creative work, there was a transition from passive consumption of mass culture products to active production of works of popular culture. Fan culture as a special community and environment of joint creative work among fans of literary works, television series, comics, and computer games, blurs the difference between consumption and production, becoming a vivid phenomenon of popular culture.

Autopoiesis Crosses the Human-Machine Boundary——A Brief Analysis of the NPC Image in the Film-Game Integration Movie

In recent years, with the development of popular culture and digital technology, there has been a new trend of fusion between online games and film art. In movies themed on popular games, some NPC images have developed self-awareness with the operation of artificial intelligence systems, they own the information body and the self-generating system, regarding human player as the mirror to self-identify and become a channel between the virtual and real worlds. These images play an important role in the narration, some of them resist system instructions in the climax of the story, not only break the original rules of the game, but also evolve new life forms, and challenge the authority of the traditional human-machine boundary for the acquisition of emotion, memory and thinking. The film's vivid interpretation of the NPC autogenesis process enriches the characters and expands the meaning of the theme, at the same time, it allows us to reflect on the contradictions and conflicts between humans, machines and other species from the perspective of virtual life, provides some inspiring opinions on how to meet the unknown posthuman future.

O familie model şi rezonanţa ei în comunitate

Ethnographic studies have revealed the importance of the family in the development of popular culture among Romanians, highlighting its role in transmitting old creative traditions in art and its wide receptivity to innovations in current work technique. In this context, the author concludes that the family presents itself as a constant in the process of shaping the culture and civilization of a people, but also as a source of values that is continuously implemented in the reality of community and individual life. Its appearance is the result of a long and complex process, which has its beginning in the early stages of the development of the family as a social unit. In the present approach, the author discusses a family of musicians, who became a model for the locals of Costiceni village, revealing the spiritual values of resonance that it generated over the years to the rural community from which it draws its roots. Insisting on the spiritual side, he will demonstrate how this social constant has survived and how over the years it has become a generative example of culture and civilization in the genuine environment, thanks to its functions: ethical, educational, psychological, political, legal and religious.

Antara Iman dan Kenikmatan: Konstruksi Gagasan Pascamodernisme Ariel Haryanto

Artikel ini bertujuan untuk menggambarkan konstruksi gagasan pascamodernisme Ariel Heryanto. Melalui kajian pengamatan mendalam pada beberapa artikel dan terutama pada buku Identity and Pleasure: The Politics of Indonesian Screen Culture, artikel ini berhasil menyimpulkan bahwa epistemologi pascamodernisme menjadi tumpuhan analisis Ariel dalam melihat perkembangan budaya populer di Indonesia dewasa ini. Ariel Heryanto meminjam serangkaian epistemologi pascamodernisme salah satunya untuk melihat gejala budaya populer yang melahirkan gugusan identitas baru yang mencoba meruntuhkan identitas lama yang selama ini telah diberikan oleh penguasa. Identitas keindonesiaan yang menyangkut pemaknaan menjadi muslim Indonesia, bagaimana identitas tentang keminoritasan, baik ras maupun golongan tertentu (Kiri dan PKI), dan ekspresi memilih kenikmatan dengan sekaligus meneguhkan dan membangun identitas dalam konteks kegandrungan muslimah kelas menengah terhadap K-Pop dan K-Drama serta budaya populer berbasis layar lainnya. Ariel Heryanto berhasil membaca fenomena adanya generasi yang mencoba merumuskan ulang bagaimana menjadi muslim yang taat, bagaimana menjadi warga negara yang baik sekaligus di saat yang bersamaan tetap eksis menjadi anggota komunitas produsen dan konsumen global.

WISATA KULINER DAN GAYA HIDUP MASYARAKAT KONSUMSI PADA ERA DIGITAL: ANALISA TEOLOGIS DENGAN PERSPEKTIF BUDAYA POPULER

AbstractSociety is becoming increasingly consumptive. Consuming goods is notbecause of the value of its use, but for the sake of lifestyle, so that humans today are never able to meet their needs. To understand the consumption society, the writer examines in a qualitative research with exploratory description method. Research Objectives: Strive for the theological values of Christianity to be interacted with popular culture specifically culinary tourism and the lifestyle of the consumption society in the fourth industrial revolution era (digital era). Thus the results of the study, namely: The development of popular culture does not actually deceive humans, but rather empowers in relation to the cultural mandate.Keywords: Society, consumption, popular culture, digital age, greed, andfragility

PESONA DAN KHARISMA USTADZ DALAM IMAJINASI POPULER DI INDONESIA

The development of globalization and the present information age has influenced many relationships in the world of life, including the life of religiosity, especially Islam. Relation between religion and culture mainly through the development of popular culture in the era of globalization and information is characterized by various problems, dilemmas, and contradictions. In the millennium era in Indonesia the power of religion and the power of popular culture in the larger cultural context has led to various contradictions and paradoxes in religious life. The development of popular culture has had a profound effect on how religion is now understood and ritualized. To cite this article (7th APA style): Chaniago, R. H. (2018). Pesona dan Kharisma Ustadz dalam Imajinasi Populer di Indonesia [Ustadz's Enchantment and Charisma by Popular Imagination in Indonesia]. Journal Communication Spectrum, 8(1), 1-14. http://dx.doi.org/10.36782/ jcs.v8i1.1809

BUDAYA POPULER GAME POKEMON GO SEBAGAI SOFT DIPLOMACY JEPANG

Pokemon Go is a smartphone game that blends the real and digital worlds, tasking players with exploring their neighborhoods to find creatures and treasure for in-game use. This research describes the ways Japan uses its soft power in international coorporation relations, particulary through Pokemon Go’s game. Based on Joseph S. Nye, Jr, the soft power defined as the ability of country to achieve its goal using cultural attraction rather than coercion and violence. After the World War II, Japan has tried to change its image as war crime through popular culture, such as anime, manga and cosplay. According to Nye, Japan has more potential resources in soft power compared to the other countries. This research is focus on Popular Culture of Pokemon Go’s Game as Japan’s Soft Diplomacy. Pokemon Go is one of Japan’s cultural diplomacy activities and the other countries uses popular culture to strengthen the positive image of Japan in the international world. The development of popular culture as a soft power and soft diplomacy also a diplomacy tool of development that can be used by Japan in conducting foreign policy in relation to international cooperation.

'COME DOWN, O LORD!' MUSIC, PROTEST AND RELIGION IN ZIMBABWE

Electronically recorded Christian music, popularly known as gospel music, has attracted a lot of followers in countries like Ghana, Nigeria, South Africa and Zimbabwe. Commentators from the scholarly and journalistic fraternities have approached gospel music as a distinctive genre, one totally removed from secular or profane popular music. This article questions such a rigid dichotomy by analysing the Zimbabwean music scene from the colonial period, and between 1980 and 2000. It probes the relationship between music performance and the social context. The disillusionment with the postcolonial black government receives attention in the examination of the protest song. Gospel music as an avenue of protest is highlighted; while the various categories of performing artists who have derived benefits from gospel music are discussed. The article concludes with a call to scholars in Religious Studies to extend the frontiers by paying attention to developments in popular culture.

Популарна култура у драми Џона Озборна „Осврни се у гневу“

This paper analyses Look Back in Anger (1956) – a play written in the style of social realism by English dramatist John Osborne – from the point of view of popular culture. Popular culture is seen here as a number of material and non-material aspects of everyday life in the first half of the twentieth century. The notion of popular culture is largely taken from John Fiske (2001), who maintains that the instruments of everyday life are crucial for the development of popular culture. The analysis is divided into three sections: the first one deals with anger as a popular feeling of the 1950s, which is also the dominant mood in the play; the second one is concerned with popular industrial products, such as newspapers, the iron, toys for children, etc., which serve emotional rather than industrial, practical ends; the third one is devoted to the usage of certain popular elements as a means of communication with art, mostly with the aim of escaping from harsh reality or fighting against it. The final aim of the paper is to prove that popular culture plays one of the leading roles in the realism of this drama.

Literasi Media dan Pendidikan Demokrasi Dalam Masyarakat Informasi

The importance of media literacy and democratic education for Indonesia society is not only related to the high media exposure or the tsunami of information from the media itself, but also relates to several factors. The first factor is the important role of information in the democratic process. Second is the important role of cultural and citizenship participation, then the third factor is the development of popular culture which made more children and adolescents access digital media in higher frequency. The purpose of writing this paper is to discuss how media literacy and democratic education in the information society to be more intelligent, critical, and wise in choosing information. The data collection method used is a literature study with descriptive analysis techniques. The results of the discussion show that media literacy and democratic education can be a compass for information society to be more intelligent, critical, and wise in choosing information so that they are not trapped in a tsunami of information from the media or become victims of fake facts (hoax) and fake news that can impact the life in society, nation and state.

USTADZ SELEBRITI ABDULLAH GYMNASTIAR (Perspektif Hipersemiotika Yasraf Amir Piliang)

The development of popular culture, particularly, in the development of information technology such as as television, mobile phones, and the Internet, have an impact on the creation of a new reality called hyper-reality. Media, in this case, is able to reconstruct a new reality through the sophisticated technology. The construction of this medium also penetrates the religious area. This can be seen in the figure of Abdullah Gymnastiar (Aa Gym). Through the medium of information, Aa Gym is not only seen as a religious teacher who offers a depth of spirituality but also as a celebrity through the image formed. This paper aims to identify and describe the phenomenon of celebrity cleric/ ustadz Abdullah Gymnastiar in popular culture, using hyper-semiotics approach of Yasraf Amir Piliang. This paper attempts to explain the new reality of diversity of Abdullah Gymnastiar. Through the hyper-semiotics approach, religious hyper-reality form can be described scientifically.

Class of ’66

Class of ’66 Brian McHale (bio) On or about October, 1966, human character changed. Or maybe not. What if we said, just by way of a thought-experiment, that postmodernism began in 1966—at least in Anglophone fiction, but maybe elsewhere in culture, too; maybe everywhere. This is manifestly a crazy way to do cultural history (isn’t it?). The transition to postmodernism, if it ever happened at all (but let’s not go there today), is certainly a process, not a punctual event. The consensus view seems to be that postmodernism emerged over the course of the “long sixties,” the span of years from (let’s say) the Brown v. Board of Education decision to the end of the war in Vietnam. Nevertheless, the experiment of identifying a specific onset year, however arbitrarily—and in a certain sense, the more arbitrarily the better—has the potential to illuminate our thinking about periodization, change, and continuity. Nineteen sixty-six is as good a candidate as any, better than most: a year in which avant-garde tendencies converged, mingled and cross-pollinated with developments in popular culture, to explosive effect. If we said that 1966 marks the beginning of postmodernism in fiction, then what would that version of postmodernism—the one that begins in 1966—look like? Let’s try that idea on for size. Bear with me. Why October, 1966? The late Raymond Federman, French-born Jewish-American novelist, claimed he sat down to begin composing his first novel, Double or Nothing (1971), on October 1, 1966, in Paris, in the process inventing surfiction, an American brand of postmodernism. Well, maybe he did and maybe he didn’t; maybe Double or Nothing is a model of postmodernist fiction, maybe it isn’t. Federman was a notorious self-fictionalizer, and his story is as untrustworthy as any of his novels, a personal myth rather than a sober matter of fact. In plain fact, most of the cutting-edge novels of 1966 stop short of surfiction in the Federman mode. Poised on the very brink of postmodernism, they exhibit for the most part a kind of aggravated modernism. A few of them, however, do topple over that brink. It is a precarious moment. Nineteen sixty-six is a threshold year for fiction in at least one sense: a number of major novelists who would subsequently make the transition to postmodernism published their first novels in that year. A shortlist might include Robert Coover’s The Origin of the Brunists, William H. Gass’s Omensetter’s Luck, Joseph McElroy’s A Smuggler’s Bible, and Gilbert Sorrentino’s The Sky Changes. All of these novels are characterized by a modernist focus on the interior lives of characters—many of them experiencing extreme psychological states—and on the way different characters perceive the same exterior reality differently. The narrative techniques here are those of high modernism—internal focalization through one or more characters, interior monologues cast in the first-person or the third-person (free indirect) modes, juxtaposed perspectives of multiple characters, and so on—and the models are the classic modernist novels of Joyce, Woolf, Faulkner and others. The British novelist B. S. Johnson’s Trawl also belongs to this group because, even though this is not his first novel, Johnson here retreats to modernist-style interior monologue after the metafictional breakthrough of 1964’s Albert Angelo—literally a breakthrough, involving (among other things) punching a physical hole through several pages of the text. Each of these novelists would sooner or later leave behind the edgy, aggravated modernism of these early novels and pass over into one version or other of postmodernism. Coover would make the transition by way of The Universal Baseball Association Inc., J. Henry Waugh, Prop. (1968), his novel of an obsessive game-player who slips across the ontological border into his own game, and he would seal his transformation in his stories of world-building and -unbuilding in Pricksongs and Descants (1969), followed by the carnivalesque historical fantasia of The Public Burning (1977). Gass would shift by way of the transitional stories of In the Heart of the Heart of the Country (1968) to the experimental book-making of...

USTADZ SELEBRITI ABDULLAH GYMNASTIAR DALAM BUDAYA POPULER (Perspektif Hipersemiotika Yasraf Amir Piliang)

The development of popular culture, in particular the development of information technology develops so fast as television, mobile phones and internet network as a part of the development of information technology, ultimately, it has an impact on the creation of a new reality called hyper reality. Media in this case were able to reconstruct a new reality through technological sophistication. The construction of this media also comes into the religious sphere. This can be seen in the figure of an Abdullah Gymanstiar (Aa Gym). Through the media of information, Aa Gym is not only known as an Islamic priest who offers a depth of spirituality but he is also as a celebrity through the image formed. This paper aims to identify and describe the phenomenon of celebrity ustadz, Abdullah Gymnastiar in popular culture, by using hyper semiotics approach Yasraf Amir Piliang.

Engineering the human: human enhancement between fiction and fascination

The volume is collection of articles treating the topic of human improvement/enhancement from a variety of perspectives - philosophical, literary, medical, genetic, sociological, legal etc. The chapters in this volume treat not only those aspects that most immediately come to mind when one thinks of 'human enhancement', such as genetic engineering, cloning, artificial implants and artificial intelligence etc. Somewhat less obvious aspects include evolutionary perspectives in connection with the prolongation of the human lifespan, plastic surgery since its beginnings, and questions such as whether the distinction between 'natural' and 'artificial' can really be drawn at all and how it has been conceived across the ages, or what the legal implications are of recent developments and techniques. Many papers make links to the representation of these developments in popular culture, from Jules Verne through Aldous Huxley to the movie Gattaca, address the hopes and fears that come with them as well as the question how realistic these are. While all chapters are written by scientists at the international top of their respective fields, all are accessible to a non-specialist audience and eminently readable. We believe that they represent a state-of-the art overview of questions that are of interest to a large audience. The book thus targets a non-specialist audience with an interest in philosophical, sociological, scientific and legal issues involved in both traditional and recent matters concerning the desire of mankind to improve itself, the human body, the human mind and the human condition. It is unique in that it brings together all these aspects within a coherent and cohesive collection.

“Mon triste voyage”: Sentimentality and Autobiography in Gottschalk'sThe Dying Poet

The terms “sentimentalism” and “sensibility” play a central role in contemporary scholarly discourse on literature and intellectual theory in the long nineteenth century. Often used interchangeably, these words identify developments in popular culture and philosophy in which emotions and feelings, as opposed to reason and logic, were seen as the routes to moral and social improvement. In visual, literary, and musical artworks of the era, the emphasis on feeling was frequently connected to a male archetype of the sentimental protagonist, a “dying poet,” marked by several common elements: great creativity, high levels of sensitivity, physical and emotional fragility, significant moments of disappointment, and early (and often self-inflicted) death. The subject of the dead or dying young man assumed critical significance during the 1860s, when so many soldiers were lost during the Civil War.

From the philosophy of the first five year plan to popular culture: Illustrated press of socialist Yugoslavia

Illustrated press in the SFRY 1945 to 1980 marks the political rule of Josip Broz Tito and the Communist Party and represents a conglomerate of visual and narrative contents, with a significant role in establishing and popularizing socialism and the development of popular culture. Visualized news, trends and propaganda represented the experimental field of regime's occasional indulgence, indicated the shifting of behavioral boundaries and changing of the everyday life philosophy. The same thematic contents of magazines allowed differentiation of several dominant phenomena, which provided the emphasizing of the best visual testimonies of political, social and cultural reality of the socialist period, and the changes the society was undergoing. Photographs from the cover pages were indicators of regime's agitation and propaganda in the first years after the World War II, which already in the early fifties began to indicate social change, the relative liberality of the Yugoslav regime, in the same time being a response to the audience pressures. The starting hypothesis is that the illustrated press, as a mass medium, was a carrier of information and entertainment, as well as it was an integral part of mass culture, in which the dogmatic influences of the East and the West intertwined throughout the 1945-1980 entire period. Since the end of the fifties, a modernized illustrated press supported the new trends and improvement in everyday life, whereby it participated in the westernization of society. The aim of this exposition is to present the possible cultural and socio-political interpretation of the illustrated press as a mass medium in the service of daily political needs, but also as a carrier of visual representations of changes in the perception of everyday life and popular culture.

Latino Pentecostal Identity: Evangelical Faith, Self, and Society (review)

20ogBook Reviews27g four is somewhat reminiscent of Gabriela F. Arredondo's 2008 work Mexican Chicago : Race, Identity, and Nation, 191 6-39 (University ofIllinois Press) while Carmen Teresa Whalen makes yet another worthwhile contribution in chapter five with a careful review of Puerto Rican labor experiences in New York City. Chapter six discusses Latina partnerships in the pursuit of electoral participation and incorporation into the Washington state political system. Chapter seven chronicles the footsteps of the Chicana Movement as it crosses into Mexico City. Finally, chapter eight not only delves into Puerto Rican identity formation based on phenotype, religion, education, and class, but does so through the lens of Virginia Sánchez Korrol, one of the first Latinas to earn a Ph.D. in history. This collective work shows scholars die value ofexploring both a female analysis-centered approach as well as a balanced gender line of historical inquiry when writing about our shared history. For all interested in Latino/a Studies, Gender Studies, Chicano/a and Puerto Rican working class history, immigration patterns, and American ethnic history in general, this book is essential. Public and academic libraries should also shelve a copy because it places the multifaceted experiences of Latinas in a better perspective. Rutgers UniversityDarius V. Echeverría lMtino Pentecostal Identity: Evangelical Faith, Self, and Society. By Arlene SánchezWalsh . (New York: Columbia University Press, 2003. Pp. 255. Illustrations, maps, appendix, notes, bibliography, index. ISBN 9780231127325, $59.50 cloth; ISBN 9780231127332, $28.00 paper.) Today, nearly five million Latinos in the United States self-identify as part of the Pentecostal/Charismatic movement. Her tide notwithstanding, Arlene Sánchez -Walsh tackles a very specific component of this growing movement: Mexican -American Pentecostalism in Southern California. Combining historical and ethnographic methodologies, Sánchez-Walsh offers a history of Latino Pentecostalism in the region along widi carefully nuanced portrayals ofsome of the group's contemporary manifestations. In short, readers more concerned with the historical trajectory of the movement will find much of interest, as will those intrigued by the lives of their Latino Pentecostal/Charismatic neighbors down the street. Roughly the first half of Latino Pentecostal Identity focuses on more traditional expressions ofLatino Pentecostalism within the Assemblies ofGod (a large Pentecostal denomination). Sánchez-Walsh traces die careers ofearly twentietii-century Latino Pentecostal leaders such as Alice Luce and Francisco Olazábal in California and Texas, highlighting their frequent run-ins with Anglo-American paternalism. She also dedicates an entire chapter to the history of the Latin American Bible Institute, founded by Luce in 1926 for the training of pastors and ministry workers . Sánchez-Walsh emphasizes the crucial role this school played in policing the boundaries of Latino Pentecostal identity. In part, die school symbolizes SanchezWalsh 's larger claim that "Latino Pentecostals developed a historical memory and religious identity separate from Catholicism" (23). Too often, she insists, scholars 28oSouthwestern Historical QuarterlyOctober characterize Latino Pentecostals simply as recent Catholic converts and miss the ways in which many have long ago "grafted onto the larger evangelical world" and created a self-sufficient culture ( ? ) . Significandy, for Sánchez-Walsh, Pentecostalism "loosed [Latino Pentecostals ] from their ethnic moorings" by placing religious experience—as opposed to ethnicity or nationalism—at die center of an individual's identity (i). While Latino Pentecostals still "subdy view their edinicity as an important component to who diey are," their conversions have brought adherents closer to their AngloAmerican neighbors (i). It is this broader historical process of modernization and ambivalent acculturation diat form the backdrop for Sánchez-Walsh's final three chapters. She first discusses the history of the Victory Outreach missions in Los Angeles and participants' ministry among former convicts and drug addicts. While she offers a valuable summary of the origins and current characteristics of diis group, she also dedicates an entire chapter to the emerging youdi culture among second-generation believers—a youth culture closely in-tune to developments in popular culture as it "sacralizes" forms of secular entertainment and merchandising. Very similar processes characterize La Viña, the final group analyzed by the author. Sánchez-Walsh is at her best when she highlights the various historical tensions inherent in Latino Pentecostalism between tradition and...

Santa Cruz de Guanacaste: cultura local, turismo y globalización

The article analyzes the relationship between local culture of the canton of Santa Cruz, Guanacaste, and the development of tourism in the canton. In a first section explores the origin and development of popular culture in the canton, linking it to traditional farming activities, then describes the deployment of tourism in Santa Cruz, in order to analyze the popular culture of the canton in a framework of productive activities ranging from farming to tourism, in a context of economic and cultural globalization.