237 research outputs found
André Breton’s Nadja: A \u3cem\u3eVagabonde\u3c/em\u3e in a \u3cem\u3eFemme Fatale’s\u3c/em\u3e Narrative
No full textThrough diverse styles of written and visual text (diary and pseudo-autobiographical narrative, drawings and photographs), André Breton—the narrative agent of Nadja (1928, revised by the author, 1962) who happens to share the author\u27s name—sets forth to recount his interactions with a mysterious âme errante whom he follows literally down a myriad of Parisian streets and figuratively to diverse avenues of self-understanding. However, if Breton initially finds himself intrigued—dare we say obsessed—by the eponymous Nadja, as the narrative progresses her aimless wandering, telepathic powers and free association speech eventually bore, unnerve and even frighten him. In fact, Nadja\u27s errant words and actions become so threatening for Breton that he ceases to see her in the best interest of his own wellbeing. At the work\u27s conclusion, Nadja\u27s wandering is put to an end when she is interned in an insane asylum; as if to underline his change of heart, Breton does nothing to free or even visit Nadja, preferring instead to pursue a far safer and less enigmatic love interest
From Epistemology to Practice: How Datafication and AI Shape Inequities in Journalism
No full textDatafication and artificial intelligence have changed the ways journalists gather information, decide what stories they should pursue, how to produce and distribute news, and commodify products. Technological innovations have been used in journalism to hold power to account, expose injustices, and understand audiences’ diverse information needs and interests. However, they also have implications for power relationships in newsrooms, between news organizations, between news organizations and tech corporations, and between journalists and their audiences. Against this backdrop, this dissertation asks how datafication and AI structure journalism’s ways of knowing (epistemology) and ways of doing (practice), and what their implications for equity are. The central argument is that inequalities and socio-technological change in journalism are not separate issues. Rather, socio-technological change should be understood as shaping power dynamics, as it restructures journalism’s way of knowing and doing. In some contexts, this has created new opportunities to address and reduce inequities in journalism. In others, it has amplified existing power asymmetries. The dissertation contributes to a more thorough understanding of the underlying logics and conditions of these processes. Empirically, it comprises four studies, using semi-structured interviews, ethnographic observations, as well as qualitative and quantitative textual analysis. It draws on experiences and perspectives of 87 news professionals situated in 27 countries in Europe, the Americas, and the APAC region. Applying a critical data perspective, the work explicitly foregrounds questions of power and discusses socio- technological change in journalism on three levels: the individual, the organizational, and the socio-institutional
'The Hate in Our Midst' : The 2017 Unite the Right Rally and Representations of Voice, Race, and Emotions in CNN International and Al-Jazeera English
No full textAlthough the 'affective turn' in social sciences lead to a new understanding of the effects of emotions on society, the role of emotions in media remains scarcely researched. Purpose of this study is to shed light on emotions in global television news and the ways in which gendered and racialized power relations may shape, and may be shaped by, emotional practices and discourses. Precisely because emotions play a significant function in discourses of political conflict, focus here is the coverage of political dissent, specifically the coverage of the 2017 Unite the Right rally in the two global television channels CNN International and Al-Jazeera English. The study thus builds on literature on emotions and political struggles, and literature on emotions in the media, to apply the questions posed therein to the medium global television. Analyzing broadcast items, this study employs a mixed method approach that combines a quantitative content analysis with a qualitative analysis of broadcast items grounded in Teun A. van Dijk’s tradition of critical discourse analysis, within an analytical framework that privileges emotions. The findings reveal an unequal distribution of voice in the coverage of both channels, which in connection with emotion practices and discourses, establishes a marginalization of voice along the lines of race, class, and gender. Accordingly, the study gives an account of the representation of voice, race, and emotions in the coverage of the Unite the Right rally, and establishes the importance of studying emotions in media in relation to these concepts.
’Words Transcend Borders?’ Proper distance and global news coverage of the ‘migration crisis’ of June 2018
No full textThe point of departure for this paper is the intersection of two mutually dependent crises - that of migration, and the crisis of public discourse characterized by a rise in incivility and dissemination of false claims about threats to national societies. The aim is to compare coverage of migration issues in three global television news channels: Al Jazeera English, BBC World and CNN International in June 2018 in ordeer to problematize the role of global journalism in a context of information warfare. The results of the analysis of 108 news reports provide evidence for the argument that the approaches of the three outlets differ in thought-provoking ways, and that the consumer of global news is given far-from-simple answer to the question of whether the refugee crisis is about politics, humanity or morality.</p
Стратегии конструирования идентичности в мусульманском хип-хопе. Разносторонний анализ творчества немецкого рэпера Сахиры
No full textThe aim of Nadja Thoma's paper is to explore how young Muslim artists construct identity within contemporary hip-hop culture in Germany. Using the example of the rapper Sahira,the author focuses on the following questions: Which strategies are used to express religious identities in hip-hop? Which modifications of the traditional hip-hop culture can be observed within and through elements of Muslim culture and religion? The data used in the paper ranges from visual resources (a CD cover and the logo of the record label) to song lyrics and interview excerpts.In the first section of her paper the author offers an orientation towards hip-hop culture, introducing a number of important cultural concepts for the successive discussion. Then she provides an overview of discussions about the permissivity of music, especially hip-hop andIslam. Finally, Thoma deals with identity construction in German hip-hop culture and discusses of how cultural and religious identity is constructed in the work of the German rapper Sahira. At the conclusion, Nadja Thoma states, that multimodal analysis shows that German Muslim rap is the achievement of a recontextualization process, wherein a global cultural model has been adapted to a specific audience in a different reception country. Beyond the mere use of different languages as markers for ethnic belonging, Sahira uses religious visual codes and linguistic phrases in order to transgress ethnic differences and monocultural, monoreligious or Islamophobic conceptions which, in her opinion, could restrict communication. Furthermore, the different visual and linguistic elements are a demonstration of Sahira's ability to insert new elements into the existing hip-hop culture, one of the abilities which label someone a good and real rapper.Надя Тома анализирует в своей статье способы конструирования мусульманской идентичности средствами современной молодежной культуры на примере немецкой хип-хоп-исполнительницы палестинского происхождения Сахиры. Констатируя широкое распространение альтернативной музыкальной культуры, в частности хип-хопа в субкультуре молодых мусульман Германии, автор задается вопросом, какие стратегии используют современные мусульманские рэперы для выражения своей конфессиональной идентичности, как модифицируются стандарты хип-хоп-культуры в преломлении исполнителей мусульман и в соединении с элементами традиционной исламской культуры и религии. Исследуя обширную дискографию немецкого хип-хопа, Тома демонстрирует, что взаимодействие ислама и хип-хопа носит обоюдный характер, что выражается в росте числа принимающих ислам рэперов немусульманского происхождения. Рассматривая пример Сахиры как case-study, исследовательница приходит к выводу, что в этом примере проявляется процесс «реконтекстуализации», когда глобальная культурная модель (в данном случае, музыкальный стиль) адаптируется к потребностям специфической мусульманской аудитории отдельной страны. При этом религиозная символика и знаковая система используется как для преодоления этнолингивистических различий разных групп аудитории исполнителя, так и для разрушения монокультуралистских и исламофобских стереотипов германского общества. Таким образом, Сахира утверждает себя не только как истинная мусульманка, но и как «реальный» рэпер
Moving people : Proper distance and global news coverage of migration in 2019
No full textMoving people comprise both a subject of news reports (of refugees, migrants and other people-on-the-move) and a way of reporting on the issues involved. Viewers can be moved and placed in a discursive relation to the displaced when news stories construct what Arendt called ‘proper distance’. This possibility is explored in the article, which compares coverage of migration issues in 2019 on four global television news channels: Al Jazeera English, BBC World, CNN International and RT. The results provide evidence of approaches that differ in striking and thought-provoking ways, giving global television news consumers different resources for making sense of a complicated global crisis.</p
Imagem e palavra: o jogo surreal das fotografias em Nadja, de André Breton
No full textThis paper aims to understand the inclusion of photographs in the novel Nadja (1928), by André Breton. Although the author states that they would be used to eliminate excess description, one realizes that perform other functions. They may represent a portal between the real world and the surreal present in the novel, forming a parallel between the word and the image. Thus, through an intertextual game they would be the link that refers the reader to the reality, but also induces observe the world from a more unusual point of view, more unusual than the purely documentary photographs.Este trabalho tem por finalidade compreender a inserção de fotografias na obra Nadja (1928), de André Breton. Embora o próprio autor afirme que elas seriam usadas para eliminar o excesso de descrição, percebe-se que desempenham outras funções. Elas podem representar um portal entre o mundo real e o mundo surreal presentes no romance, formando um paralelo entre a palavra e a imagem. Assim, através de um jogo intertextual elas seriam o elo que remete o leitor à realidade, mas também o induz a observar o mundo sob outro ponto de vista, mais inusitado que o das fotografias puramente documentais
Neguentropia e surrealismo. Uma leitura de Nadja, de André Breton
No full textNadja, written by the French author Andre Breton, holds the position of having implemented the aesthetics and semantics proposals of the Surrealist Manifestos, especially the 1924’s, which is a kind of foundation document of the movement. The inspired Breton’s peroration, in the artistic plan, states itself against descriptive and stilted novels, which are based on the idea of illusion of representation, and, on the social plan, challenges the perception of reality as an suprasensible truth by the idea of work and progress, excluding the crazy person from the social enviroment and locking him up in a real Kafkaesque hell, materially and conceptually. In a kind of otherness, Nadja’s protagonist, a Nietszche reader, will be a flaneur, widely aware; it will be up to him to decide whether and how the free association, the childlike simplicity, and the coherency in the madness should be (re)considered. These ideas are the determinants of a new perception of the world to Breton, and even more loyal to the earth than the metanarratives of the West. As opposed to the utensil men, described by Sartre in Aminadab (1947) as those who give themselves up to a tedious/utilitarian life, Breton’s protagonist represents what can be classified as a counterpoint, through the moral of resistance, giving Surrealism the nonentropic job of Modernism as a kind of last breath.Nadja (1928), do francês André Breton, guarda a condição de haver realizado, estética e semanticamente, as propostas advindas dos Manifestos Surrealistas, sobretudo ao de 1924, espécie de documento fundador do movimento. A inspirada peroração de Breton, no plano artístico, volta-se contra os romances descritivos e empolados, claudicados à ideia de ilusão da representação, enquanto, no plano social, contesta a percepção da realidade como uma verdade suprassensível, pelo viés do trabalho e ideia de progresso, excluindo o louco do seio social e trancafiando-o em verdadeiro inferno kafkiano, material e conceitualmente. Como uma espécie de alteridade, o protagonista de Nadja, leitor de Nietzsche, será um flanêur amplamente consciente; caberá a ele estabelecer a medida em que ideias como: livre associação, simplicidade infantil e a coerência na loucura, devam ser (re)consideradas, determinantes de uma nova percepção do mundo, para Breton, muito mais fiel à terra que as metanarrativas estruturais do Ocidente. Em oposição aos homens-utensílios, descritos por Sartre, em Aminadab (1947), como aqueles que se entregam à vida tediosa/utilitária, o protagonista de Breton exerce o que pode ser classificado como um verdadeiro contraponto, pela moral de resistência, dando ao Surrealismo o múnus neguentrópico do Modernismo, como uma espécie de suspiro derradeiro
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