Ideological Messages Research Articles

Troubled Images: Analysing the Republican Use of Visual Metaphors in Wall Paintings and Pictures in Northern Ireland

The republican movement in Northern Ireland was visually manifested in images drawn on walls and on the gable ends of houses in the towns of Belfast and (London) Derry. As well as being an iconographic expression of the social injustice they suffered (Rapp & Rhomberg, 2013; Goalwin, 2013), these wall paintings were employed by the republicans to convey political and ideological messages in order to heighten awareness and to mobilize people. Blank spaces on walls were increasingly exploited by republican groups and were converted into a visual medium sui generis for their political and ideological claims and demands. Over the years republicans developed this novel communication strategy geared to expressing highly emotional content that served to reflect and influence the sentiments of the communities involved in the conflict. It also served to channel collective memory, recording key events and contributing to the formation of an identity. Intense political disagreements and armed conflict between the Catholic and Protestant communities from 1968 to 1998 led to violent clashes during the period known as “the Troubles”. This complicated time frame has been metaphorically represented in various ways in wall paintings and posters in Northern Ireland. The aim of this paper is to analyze the political and ideological use of visual metaphors in the images of the republican movement during the “Troubles”. More specifically, by applying the most recent methodological tool derived from a socio-cognitive model of discourse analysis, namely Conceptual Metaphor Theory (Lakoff & Johnson, 1980), the purpose is to analyse, both from a qualitative and quantitative point of view, the three different types of Conceptual Metaphorical Schemas: Propositional, Image and Event Schema (Soares da Silva, 2016).

Ideology behind the Naming: On the Origin of Basil II’s Appellation ‘Scythicus’

The paper examines the terminology used by the Byzantine authors of the 10th and 11th century as regards the Samuel’s State, which was largely shaped by the Byzantine ideology and momentary aim of the political propaganda. The analysis of the Byzantine sources shows that by the end of the 10th century Basil II became known as “Scythicus”, because of his military achievements against Samuel’s State. The same context derives from Basil II’s verse Epitaph which contains ideological message about the accomplished mission given to Basil II by Christ himself in defeating the “Scythians”. Hence, Basil II was known and wanted to be remembered, among other, as the victor over the Scythians, thus designating the enemies coming from the Samuel’s State. Following this notion, in his narrative Michael Psellos portrayed Basil II as the vanquisher of the Scythians. Psellos even provided ideological context of the subjugation of the Samuel’s State, remarking that by this Basil II actually converted these people and turned them towards God.

Kokutai Spirit and The Concept of National Identity in Japanese National Policy Film

The Greater East Asia Co-Prosperity Sphere was Japan’s imperialist attempt to control the economies of East Asia and Southeast Asia in the first half of the twentieth century. The constituents of the Sphere included Japan, Korea, China, Manchuria, and some territories in Southeast Asia. To increase agricultural production and strengthen its military force, Japan recruited people from its colonies. As the leader of the Sphere, Japan wished to establish its own identity as distinct from—and superior to—that of the West. Propaganda campaigns and media were carefully prepared to manipulate the thoughts and behavior of the people to contribute to the supposed goal of mutual prosperity in the Sphere, by providing labor power for industry and agriculture as well as the military. Films were central to the Japanese propaganda. From 1936 to 1945, films that contain political and ideological messages of the Japanese leadership were produced and circulated both inside and outside Japan. This research aims to illuminate the identity of the Japanese imperial power that was promoted through the propaganda films and show how the films highlighted nationalism and culture harnessed during the war period as constitutive of Japan’s national identity, or kokutai.

The Silence of Digital Practices in Contemporary Fiction Picture Books


 Contemporary childhood exists in a rapidly changing literacy context in the digital age, where digital devices and technology are progressively used at home (OECD 2019). In the global context, digital technology is greatly emerging in children’s lives, including the way of their play, learning, communicating and entertainment (Marsh et al. 2016). In this paper presentation, the author who is a researcher in the intersection of digital literacy and children’s literature, engages in autobiographical narrative inquiry (Clandinin and Connelly 2000), where she tells and retells her stories of reading contemporary fiction picture books, focusing on digital practices in both written text and illustrations. Such experiences are reflected and compared to her experiences of reading contemporary academic articles and reports on digital literacy studies in early childhood education. She noticed that there is a significant missing of digital lives and practices in contemporary fiction picture books, which contrasts with the prevalence of children’s digital usage in the contemporary post-typographic era.
 
 
 As children’s fiction is infused with ideology, the text instills values and beliefs in young readers, which, further, will shape children’s sociocultural development (Stephens 1992). For this reason, it is critical for future research to examine the ideological message and cultural discourse in relation to digital literacy practices in children’s fiction work. Because the gaps and differences between the ideologies of digital usage in children’s literature and children’s digital literacy practices reality could cause confusion to our young readers.
 
 This article highlights the silence of digital lives and practices in today’s fiction picture books and this research urges writers, illustrators, educators, and parents to pay attention to the gaps between digital practices in today’s children’s real lives and the contemporary fiction picture books.

Mainstream media use for far-right mobilisation on the alt-tech online platform Gab

Far-right movements tend to have an ambivalent relationship with mainstream media. On the one hand, they often express animosity towards traditional media, accusing them of spreading ‘fake news’ and being part of a hostile conspiracy against ordinary (white) people. On the other hand, this often antagonist perception of the media does not stop far-right actors from using mainstream reporting for their ideological online messaging. This contradictory relationship is situated in a broader societal context shaped by, among other factors, widespread mistrust towards the media, an increasingly polarised media landscape and the recent proliferation of a hyper-partisan online media ecosystem at the far-right fringes. Against this contextual backdrop, this multimethod study analyses over 45,000 posts from Australian users of the far-right alt-tech online platform Gab to examine the use of mainstream media sources for their ideological messaging. This is complemented by a qualitative in-depth analysis of 298 posts that share mainstream media content, identifying posting patterns of incorporating or reframing mainstream media outputs that seek to communicate far-right ideologies within the ideologically charged online community on Gab.

Gender Representations in the Greek Primary School Language Textbooks: Synthesizing Content with Critical Discourse Analysis

School textbooks are media of communicating a large amount of knowledge and teachers rely their teaching practices and schedule their instructions upon them. Except for knowledge on school subjects, textbooks also promote various ideological messages, including gender representations. This study explores gender representations in the Greek primary school language textbook addressed to the first grade, which is currently being taught. For this purpose, Content Analysis and Critical Discourse Analysis are employed in synergy, as Content Analysis on its own is insufficient to fully explore gender representations and the ideologies of school textbook discourse. The results showed clearly that traditional gender representations are reproduced in the particular textbook, by presenting men dominating in the public sphere, and leading women’s lives and their families.

The abortive revolution: The South China Film Company in early Cold War Hong Kong (1949–1952)

Although existing scholarship is paying increasing attention to leftist cinema in Cold War Hong Kong, few works fully examine the Chinese Communist Party’s (CCP’s) revolutionary filmmaking practices during the early Cold War. Centering on the short-lived leftist studio South China Film Company (1949–1952), this paper argues that the studio’s development epitomized the CCP’s efforts to transform cinematic representation for multiple revolutionary purposes and strengthen the Party’s mobilization of filmmaking communities, which were eventually crushed by escalating conflicts between colonial authorities and the CCP. The films produced by South China Film Company exemplified the CCP’s ambitions to appeal to a Cantonese-speaking local audience and later, to carry out more radical ideological campaigns, influence overseas Chinese in Southeast Asia, and conduct thought reform of intellectuals. Film production was accompanied by mobilization of leftist filmmakers. The ideological message and mobilization led to a crackdown by colonial authorities and further drove the CCP to adopt a more implicit approach to launching ideological campaigns. This paper revises the history of South China Film Company and unsettles the existing historiography of Hong Kong leftist cinema that centers mainly on moderation and balance.

The Witch in the Closet: Disney's Frozen as Adaptation and Its Potential for Queer and Feminist Readings

The Witch in the Closet: Disney's <i>Frozen</i> as Adaptation and Its Potential for Queer and Feminist Readings

RADIO MARYJA AS AN EXAMPLE OF A CATHOLIC FUNDAMENTALIST ENVIRONMENT

The aim of this article was to define the fundamentalist character of the environment concentrated around Radio Maryja the radio station. In the course of consideration an attempt was made to answer the question about the tools and methods which Tadeusz Rydzyk as a charismatic leader used to build one of the biggest fundamentalist Catholic circles not only in Poland, but also in Europe. The author attempts to define the essence of fundamentalism in the ideological dimension, pointing to religion as a sphere of exceptional susceptibility to the formation of circles of this nature. In connection with the specificity of the Polish political scene and the exceptionally strong politicization of religion in recent years, the article also attempts to characterize the Polish social mentality as a phenomenon conducive to the development of religious fundamentalism. A critical analysis of media and political speeches, or press articles related to the activities of Radio Maryja, allowed at the same time to analyze the real consequences of uncritical acceptance of the ideological messages coming from the Torun radio station.

Городской образ жизни в советском художественном кино: к вопросу о методе исследования

The article discusses the methodological problems one faces while working with the feature films in research on Soviet daily urban life. In the cultural anthropology of Soviet society, three methodological concerns should be highlighted. First, feature films are rarely thought of as providing reliable data and play marginal role in anthropological research. Second, the study of Soviet cultural politics in general and feature films in particular, requires bringing diverse disciplines in humanities in a synthesis. Third, the apparent lack of specific methodological guidelines for such analysis can be explained by the ongoing controversies in the theory of cinema and competing approaches to film studies. We found that although in the anthropology of Soviet society feature films are seen as an effective instrument of culture politics, there are but a few cases of studies focusing on feature films. At the same time the expressive potential of cinema and the viewer’s perceptions make films an important source for studying daily city life. On the one hand, the visual imagery of such films contains elements of urban life that are familiar to the viewer and thus provide a context that is understandable and intuitively legible. On the other hand, through the use of various dramatic and cinematographic techniques, certain norms of urban life are established in regard to daily practices, for instance, showcasing desirable images of urban dwellers. Therefore, analysis of feature films can shed light both on the reality of urban life and on its norms constructed in accordance with the goals of culture politics. In order to distinguish these two types of representations of urban living, it is necessary to take into account the conventions of the cinematic language evolved in different periods of Soviet history; the key points of culture policy; the actual social and economic opportunities enjoyed by Soviet urban dwellers. Therefore, findings in the field of film studies, culture studies and history of Soviet society provide the necessary context for the analysis of Soviet cinema as an anthropological source. Semiotics and deconstruction are among the main approaches to the study of elements of the cinematic language and mechanisms underlying the construction of ideological messages that these elements convey. In this study, we relied on protocol schemes developed by Helmut Korte as a methodological tool for film analysis.

Consumption, Wellness, and the Far Right

Consumption, Wellness, and the Far Right

Processes of political, cultural, and social fragmentation: changes in the macro-environment of sport policy and management: c.1980–c.2022

ABSTRACT Research question This paper reviews the period of the last four decades and evaluates the significance of four major themes in the macro-environment of sport management and policy. These themes are (a) the shift in international relations from a bi-polar to a multi-polar model; (b) the challenging of teleological assumptions concerning the development of western models of modernization, and their replacement with accounts of multiple modernities; (c) the emergence of Populism and the changing nature of political Ideology and sport policy; and (d) contemporary notions of language, truth, discourse. Research methods The paper presents a review of relevant literature in the fields of philosophy, politics, policy and discourse analysis, identifying the impact and significance of such changes. Research findings and implications The findings highlight the need for policy and management to adapt to the new realities. (a) First, operating within a multipolar international relations system implies adaptation to the erosion of western hegemony in the international sports economy. (b) Second, challenge to the dominance of the western modernization thesis, by proponents of multiple modernities, implies a requirement to serve needs of heterogeneous markets within culturally diverse societies. (c) Third, the development of the politics of cultural populism, requires managers/policy-makers to understand and resist the use of sport in promoting negative, non-inclusionary ideological messages. (d) Finally, the undermining of notions of truth in public discourse, will require managers to defend evidence-based policy, and publicly acknowledged criteria of truth in decision-making.

The Laws of Hammurabi: At the Confluence of Royal and Scribal Traditions by Pamela Bartash

Reviewed by: The Laws of Hammurabi: At the Confluence of Royal and Scribal Traditions by Pamela Bartash Ben Dewar (bio) The Laws of Hammurabi: At the Confluence of Royal and Scribal Traditions Pamela Bartash Oxford University Press, 2020. x + 320 pp. $99 hardcover. The monograph under discussion is an "histoire totale" (3) of the Laws of Hammurabi and the stele bearing it, investigating the ideological messages present in the text and image, the scribal culture that influenced the text's composition, and the reception of the Laws in later periods. Bartash's core argument is that Mesopotamian law collections were written by taking a series of stock legal situations and improvising a series of statutes based on them that expressed the scribe's own notions of what was fair and just. The Laws merged this tradition with that of royal inscriptions to create an innovative new expression of royal power. In chapter one, Bartash argues that the image on the stele alters the standard investiture scene in several ways to present Hammurabi as closer in status to the god Shamash. Furthermore, pairing this image with an unusually long text in an archaiz generalization ing, top-to-bottom script creates an original and eye-catching monument. Chapter two focuses on three textual traditions relating to justice that were pre-existent when the Laws was written: acts of equity described in royal hymns and inscriptions, social reform edicts, and law collections. Bartash analyses the content and rhetoric of these three types of text, arguing that they all demonstrate the role of justice in royal legitimation, but do so in different ways. Chapters three and four explore how the Laws' author combined the traditions discussed in chapter two into a new expression of royal justice. Chapter three analyses the Laws as a royal inscription, analysing how the author engaged with the discourse practices of Mesopotamian commemorative inscriptions. Chapter four compares the Laws with other law collections to argue that it is more complexly structured than its earlier counterparts. Bartash argues that, like the authors of earlier law codes, the Laws' scribe [End Page 209] improvised a series of example statutes based on his knowledge of legal texts and terminology internalised during scribal education. However, the Laws' scribe innovatively structured their improvised statutes, demonstrating a more complex conceptualisation and systematisation of law and implying a number of legal principles. The Laws therefore marks an important step, Bartash argues, towards the generalization and abstraction of law. Bartash demonstrates the conceptualization and systematization present in the Laws in chapter five, which uses the adoption statutes from the Laws as a case study for the concepts discussed in chapter four. Chapter four ends with an excursus on scribes and their education. The placement of this section is slightly confusing. The excursus outlines scribes' internalisation of the discourse practices and streams of tradition engaged in chapter four. One would therefore expect it to be placed earlier in the book. This is, however, a minor criticism, and the reader does not feel lost for not having read the excursus before chapter four. Chapter six tackles the important question of the legal authority of the Laws. Previous scholarship has often debated whether the Laws represents the law as it was practiced in Mesopotamia by identifying legal cases in royal letters or archival records that mirror circumstances described in the Laws. Bartash argues that this methodology applies modern conceptions of legal precedent to a culture whose legal system did not operate on precedent, and emphasizes the consistency of law while ignoring the need for discretion in the adjudication of individual legal cases. Bartash instead focuses on the flexibility of Mesopotamian law; the Laws is not a written record of the code actually enforced, but one scribe's expression of their own ideas—formed through intensive engagement with pre-existing legal literature—on what is fair and just. This novel approach to the Laws resolves many of the problems surrounding the nature of the Laws, and greatly improves our understanding of Mesopotamian law. Chapter seven explores the reception of the Laws in later periods. First, Bartash considers instances of scribal improvization in later law collections. She argues that the exportation of the...

Degree of political attention towards tourism: An analysis of party manifestos during German federal elections

The attention that political parties pay to the tourism sector’s issues has been an underresearched subject for tourism science. This paper aims to fill the gap by analysing political awareness for tourism-related topics on a national level. It will answer the question of whether tourism plays an important role in parties’ manifestos and in which context it is addressed. To facilitate the research, the paper applies a quantitative content analysis as well as a contextual analysis. Results show that within parties’ manifestos tourism topics are discussed and used for the political debate, not only for their economic aspects but in the context of infrastructure and sustainability as well. It becomes clear that tourism on a national level serves as a vehicle to communicate the general ideological message of the respective political party. The findings of this paper complement earlier studies regarding regional politics and tourism.

Genealogi pendidikan entrepreneurship dalam Islam

&#x0D; &#x0D; &#x0D; &#x0D; The foundation of Islamic education as the basis of Islamic education is the Qur'an, Al Hadith of the Prophet Sholallahu alaihi wasalam. Islamic education in the course of its history is rife with various kinds of ideology that have an impact on the quality of the generation produced. Islam as a plenary religion has actually given an ideological message that the nature of man is a servant while carrying out the mandate of managing, elaborating and optimizing all the potentials of nature and humans. Entrepreneurship, education and economics eventually became an integral link to answer the message of the Caliph facing an educational challenge in the era of disruption. Therefore, it becomes important to be studied in depth related to the genealogy of entrepreneurship education. The purpose of doing this genealogy study is to find out the genealogy of entrepreneurship in the Islamic world specifically the results of research based on a literature review found that entrepreneurship activities had been encountered since the time of the prophet Adam Alaihi as Salam The oldest and most survive entrepreneur activity of all time is agroopreneurship. &#x0D; &#x0D; &#x0D; &#x0D;

Образ святого благоверного князя Александра Невского в русской живописи и печатной графике первой половины XX в.

The paper aims to study artistic interpretations of the image of the Blessed Prince Alexander Nevsky in the Russian visual arts of the first half of the 20th century. Being the patron Saint of the Imperial family Prince Alexander Nevsky becomes one of the Central heroes of the fine arts of the 19th century — temples are actively built in honor of the Saint, monumental paintings are created that popularize him as a Saint, warrior and hero. First half of 20th century — the time of the “revolution” in art, the time of searching for new heroes and methods of creating objects of fine art, and, of course, the time of political events on a global scale. The study focuses on the works of fine art from the point of view of the influence of artistic “isms” and political events on ideological and graphic rethinking of the image of Alexander Nevsky in Russian monumental painting and, actively developing at that time, printed graphics — poster and postcard. The authors examine the works of artists of the Russian style, avant-garde, social realism, define ideological message of the works, and use a selected set of materials to trace the trend of evolution of the image from a Saint to a political leader.

Inter arma silent Musae. Jacka Komudy Lisowski bez światłocienia

The article attempts to analyse and interpret Jacek Komuda’s Samozwaniec. Moskiewska ladacznica [ The Usurper. Moscow Slut ]. It refers to Henryk Sienkiewicz’s works and literary criticism offered by the Sztuka i Naród [ Art and Nation ] journal published during World War Two. The article presents the ideological message conveyed by this historical novel and reconstructs its philosophical position. It raises issues that have not been analyzed so far in the discussion on the work of Jacek Komuda.

ІСТОРІОСОФІЯ КОЗАЦЬКОЇ УКРАЇНИ У ДРАМАТИЧНИХ ЖАНРОВИХ ФОРМАХ XVIII СТ.

Recent scientific intelligence has led to an understanding of the ambiguity of the phenomenon of Cossack Ukraine which is presented in the texts of dramatic works of the XVIII century, which formation was influenced by the specificity of Ukrainian-Russian relations, complex inter-confessional relations and the heterogeneous nature of dramatic genre forms themselves. The study of the dramatic works of the late Baroque period is important and relevant considering revealing the authors' manifestation of their own national identity there, for the representation of which created by the artists of the XVIII century artistic model of the historical fate of Cossack Ukraine played a significant role. On the basis of historical-literary and contextual methods of research, an attempt was made to take into account in these texts their ideological message, inscribed in the traditional baroque dramatic genre forms of school drama (anonymous "Grace of God"), secular verbal dialogue ("Conversation between Velykorossiya and Malorossiya" S. Divovych), humorous interludes to school dramas and traditional Christmas vertep. The conclusions emphasize, that the references of the authors of dramatic works of the XVIII century to the history of the Cossack state, the creation of the cult of Bohdan Khmelnytsky, the image of the Cossack as a defender of the people in the context of sharpening Ukrainian-Russian relations was a topical theme of Ukrainian dramatic creativity. The emergence of such works during the national decline can be interpreted as an attempt of patriotic part of the Ukrainian elite of the XVIII century to draw the public's attention to the problem of restoring Cossack conquests as a guarantee of preserving national identity.

RUSSIAN DRAMA DURING THE CRIMEAN WAR OF 1853–1856

The Crimean War of 1853–1856 became a real challenge for Russian society and was reflected in the culture and art of&#x0D; that time, including drama. Already during the war, plays dedicated to this historical event were being created and staged in&#x0D; theatres. This article analyses four plays – “For the Faith, the Tsar and the Fatherland” by Pyotr Grigor’yev, “The Veteran and&#x0D; the Recruit” by Aleksey Pisemsky, “The Feat of the Mother” by Orest Miller, “The Russians in 1854” by Adelaida Tal’tseva.&#x0D; The general ideological message of those dramatic works included patriotism, glorification of the greatness of the Fatherland&#x0D; and the strength of the Russian people, the Orthodox faith, in connection with which the plays created the image of a&#x0D; Russian soldier for whom participation in the war is a matter of honour and faith. The study establishes the correspondence&#x0D; of dramatic works of the period of the Crimean War of 1853–1856 to the requirements of the time, their close connection&#x0D; with the historical context of the era, as well as an orientation towards ease of perception by the audience. The author of&#x0D; the article defines the general features of patriotic plays of the Crimean War period at the plot and ideological level.

MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it.&#x0D; The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres.&#x0D; A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.