Artículos de revistas sobre el tema "Drama – explication"

The development of communicative competence is one of the most distinct priorities in contemporary education system in Lithuania (Lietuvos valstybinė švietimo strategija 2013–2022 m.; Pradinio ir pagrindinio ugdymo bendrosios programos (patvirtinta LR švietimo ir mokslo ministro 2008 m. rugpjūčio 26 d. įsakymu Nr. ISAK-2423). Conception of communicative competence of primary school age students is founded on the communication and competence definitions: communication is the activity of conveying information, based on the principle of dialogue, through the exchange of thoughts, messages, experiences, as by verbal or nonverbal interaction, seeking mutual understanding and competence is the entirety of knowledge, abilities, and valuebased attitudes necessary for successful development / self-development and daily life. The objective to enhance effectiveness of the processes of the development of communicative competence induces turning back to the opportunities proposed by training through arts, specifically through drama activity. Effectively applied, drama activity methods can play importante role in transforming and supporting teaching. Following this we raised the research questions: How to specify activities in the textbooks by identifying the methods of creative activity relevant to the development of communicative competence? How in the textbooks (Lihuanian language, Nature Science and Mathematics) are proposed teaching and learning activities relevant to primary school age student‘s communicative abilities (listening, speaking and reading), and how activities are distributed under classes and object of textbooks? How drama activities are presented in the textbooks on developing students’ communicative abilities? This article covers a comparative analysis of the textbooks of the Lithuanian language, Nature science, Mathematics designed for primary school students. Quantitative research design was used and method was employed content analysis (Bitinas, 2008; Ferari et al., 2010; Kojanitz, 2009) of textbooks: Lithuanian language “Pupa”; Nature science “Gilė” and Mathematics “Riešutas” for the first-fourth grades. Total were analysed 32 textbooks. Provision made for sampling of texts, breakdown into constituent components, their categorization, encoding of text units under semantic categories, and interpretation of the contents categories. Drama activity was analysed under to semantic categories – to perform (lt. vaidinti) and to play (lt. žaisti); communicative abilities and activities were analysed under to sematic categories – reading, speaking and listening. Results of the textbooks analysis highlights the nature of the activities contained in to the textbooks and relationship with drama activities, and with development communicative abilities. It has been established in the textbooks, intended for the first through fourth grades, more attention is given to listening and speaking in first and second grades, while in third and fourth grades focus is replaced upon reading, listening and speaking. Analysis of textbooks has shown that pupils are given sufficient amount of activities that develop their communicative abilities, however, when doing analysis in terms of drama activities (semantic categories of the content), only but few drama activities have been identified. The results showed that the students’ communicative competence are most frequently developed in the class (in the textbooks) of the Lithuanian language and Natural sciences. Drama activities are used not always in a suitable manner, i.e. failing to take advantage of the opportunities provided by drama activities. Drama activities in textbooks normally are limited to reading of texts (in dialog) and, focusing upon memorization and reproduction of a text. It has been found out that textbooks also lack tasks associated with different kind of drama activities, there is shortage of learning resources fir to such activities, such as fairy tales, poems, small form folklore, etc.

The topic of this paper is defining the concept of popular culture and determining its influence on the formations of social connection of dramatic characters of Harold Pinter. The first part of the paper relies on the theories of the renowned sociologists regarding the explication of the concept of popular culture and the determination of its elements, with a special focus on social formations. In the second part of the paper, the comparative method determines and explains the social formations that make up the dramatic characters of Harold Pinter in the dramas: The Dumb Waiter, The Caretaker, Homecoming, No Man’s Land, Betrayal and Celebration. More precisely, the connection of Harold Pinter’s drama charac- ters is classified into: an association which purpose is to achieve individual goals (family, friends, business associates) and an association which purpose is in itself (celebration). The aim of this paper is to determine the extent to which popular culture influences the formations of social associations of the protagonists of Harold Pinter’s drama characters.

The article deals with the public speeches delivered by K. D. Balmont in the early 1903, including his lecture The Calderonian Drama of Personality, and the refl ection of this event in a drawing preserved in the archive of M. A. Voloshin. Balmont’s speeches and lectures are analyzed as an explication of his creative stance that informed his literary contacts with his contemporaries.

This research aims at the explication of Korean drama “Two Weeks” by applying poststructuralism. The structuralists contend to have characters as patterns, which can be incurred as apt as universal identities. The poststructuralist mode of analysis, deconstruction, dismantles it as unstable, and its meanings as not self-sufficient. The focus is on discrete analysis than on a judgemental critique, confers a valuable amount of subject deconstruction, especially the protagonist Jang Tae San that has receded to the dismantling of binary oppositions by playing a hero of what structure amounts to a criminal record. Derridas deconstruction accedes to those limits that are a pivot to render signification in the chain of signifiers. “Two Weeks” is a signifier of the nature that is conducive to exploring this post-structuralist identity. The study deduces that the incumbent visuals extend not merely to commerce upshot, but it is a deconstruction of the text itself.

The topic of this paper is defining the concept of popular culture and determining its influence on the attitude and behavior of Harold Pinter's drama characters in the culture of body and pleasure. The first part of the paper relies on the theories of eminent sociologists regarding the conceptualization of popular culture, with a special focus on the element of popular pleasures and body. The body is viewed from a physical, class and gender perspective of popular culture which differs from the ruling ideology, while the performance of popular pleasures is seen through John Fiske's explication, which supports the view that subordinate social groups create their own meanings of content and develop popular pleasures in contrast to the hegemonic pleasures. Also, the paper studies the culture of pleasure and body from the point of view of Roland Barthes' division of the respective into jouissance and plaisir, as well as from the point of view of carnivalization of Mikhail Bakhtin. In the second part of the paper, the behavior of Harold Pinter's drama characters in the dramas Dumb Waiter, Birthday Party, Caretaker, Homecoming, No Man's Land, and Betrayal, is defined and explained by the comparative method, from the perspective of enjoying pleasures. More precisely, the thinking and acting of Pinter's protagonists are classified as manifestation of popular pleasures of jouissance and plaisir. The aim of the paper is to determine how Harold Pinter's drama characters behave in the culture of body, how they enjoy popular pleasures and to what extent popular pleasures affect their life course.

Abstract This article surveys two types of Modern Irish presentative constructions. These constructions open with a presentative element and introduce an NP (entity) or a nexus (a situation or an event involving an entity) into the discourse. I describe the constructions’ poetic functions in literary narratives by Pádraic Ó Conaire (1882-1928). The first type of presentative construction opens with one of the deictic-presentative elements seo ‘here’, sin ‘there’ or siúd ‘yonder’. The second type of presentative construction features as a presentative element of various forms of perception and cognition verbs, such as d’fheicfeá ‘you’d see’ and shílfeá ‘you’d think’. Presentative constructions in literary narrative are used in several functions: expression of a point of view, either the narrator’s or that of a character, scene-setting, explication, and signalling boundaries in the text in varying degrees of cohesion and delimitation. The latter is also used to ‘sudden effect’, adding drama and speeding up story time.

The claim that More wrote several letters from the Tower with a coal may be taken literally, or as an image of powerlessness, or as a reference to Isaiah’s lips touched with a coal by an angel. The coal is an index of how technologies of writing and reports of speaking inform the Tower letters and those surrounding them. The letter to Frith plays upon the difference between heretical textuality and the simple truth of a Christian woman at prayer, as does the letter to Cromwell concerning More’s knowledge of Elizabeth Barton and the exploration of the difference between evidence and hearsay. The scandal of authorship in Margaret Roper’s letter to Alice Alington likewise concerns the play between male and female voices in the text. More’s explication of the fables recited to Lady Alington by Audley emplies out the notion of the author in favor of the voices, male and female, of conscience and love that play out across the written text of the letters the drama of More’s last days.

In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

The article examines the title of Yulia Pospelova’s monoplay “LYOHA...”. The unique role of the title in the dramatic genre of literature is declared, which is associated with the focus of the drama on stage embodiment and with the structure of the dramatic text. It is shown how the text of the play destroys the seemingly obvious expectation formed by the system of title and subtitle - the one whose name is included in the title of Pospelova’s play is neither the speaker in it nor the main character, acting as a character both off-stage and secondary in relation to others off-stage characters in the play. And the title is given graphically in a very non-trivial way - in quotation marks and with an ellipsis at the end, that is, as a quoted replica. All cases of lexical explication of the title into the text of the play are considered, on the basis of which a completely special semantics of this title in projection onto the text is revealed: the title, taking into account its textual manifestations, is understood as a result as someone else’s word belonging to the character, as a quotation. As a result, the word included in the title of Pospelova’s monoplay actually loses its usual anthroponymic function, turning into a word that most relevantly conveys the state of the characters and their experiences; the title “LYOHA...”, while retaining its function as a condensed text, acquired meanings much deeper than could be expected based on its anthroponymic essence. Thus, in relation to the text under consideration, disappointed expectation acted as a technique. As a result, a conclusion is made about the unique specificity of the title in modern drama, where the destruction of reader and spectator expectations turns out to be constructive destruction, forming completely special meanings.

Literature and revolution are motifs aimed at exploring the enormous contributions and roles played by the study of literature across Africa. This study is mostly centered on the dilemma tales of Ama Ata Aidoo‟s The Dilemma of a Ghost (1965) and Athol Fugard‟s Statement Plays (1972). The paper argues that the discipline is far above bibliolatry and it further examines the authority in which the discipline wields in the society. This preconceived power in the discipline is expressed through the study of themes and dramatic techniques as seen in the plays of the two playwrights from different regions of Africa exploring the socio-political wound that led to the reactions and concern of great writers and playwright like Athol Fugard and Ama Ata Aidoo. Fugard‟s Statement Plays (1972) especially the stapled parts appear to be neglected as a result of its complexities and dynamic socio-political situation that may be summarized as “apartheid”. The Dilemma of a Ghost (1965) delineates on folk drama in modern theatre. It is a dramatic art of storytelling where by the theatre or environment is combined with eating and drinking, poetry reading and plays. It is the techniques and convention that matter most in this kind of drama where issues of morals are examined. This plays can also be classified as dilemma tale; a tale which poses a difficult questions of moral or legal significance on older and younger generation. The two plays therefore are a response to the various anger and attack of different sorts arising from the social and political upheavals in the society. For proper evaluation and explication of this research the theoretical framework adopted for this study is the post-colonial theory which makes the work more relevant and appropriate for the evaluation of the issues that transcends between socio-political and economic life of Africans and further reinstates that literature uses revolution to heal all kinds of debilitating wounds whether political, social or emotional.

In TQ31 (1978), Christophe Campos described an earlier experiment in social theatre by the French playwright-director Armand Gatti – an attempt to politicize through theatre the depressed yet conservative town of Saint-Nazaire. Since that time, Gatti has continued to battle against (and when necessary within) ‘the system’ for his own, unorthodox kinds of theatrical endeavours. His work until the late ‘eighties formed the subject of Dorothy Knowles's pioneering full-length study, Armand Gatti in the Theatre: Wild Duck against the Wind (Athlone Press, 1988), and in the following article she supplements this book with a description and explication of Gatti's latest work, in which he has involved not actors, but ‘actors’ – those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them, together with the dignity of which they have so often been stripped. Whether working within the close confines of a prison, or accommodating the constraints of ‘the system’ at the Avignon Festival, Gatti's voice and theatre is entirely distinctive – as also, paradoxically, is his ability to speak with and for the unheard voices of others. In a long career which has embraced both practical and academic theatre, Dr. Knowles is perhaps best known for her directing and writing in the field of French theatre, and is also the author of French Drama of the Inter-War Years (Harrap, 1967).

The article is considering the roll-calls in the subject structure and in the genre-motive sphere between Lermontov’s drama “Masquerade” and Shakespeare’s dramaturgy (“Othello”, “Cimbeline”, “The Winter’s Tale”).With all the closeness and even partly continuity of personality’s question in the Renaissance and in Romanticism, it is important to note the similarity of Shakespeare and Lermontov’s bringing to the forefront the concept of artistic anthropology. In their works, the image of a person concentrates around itself all the other features of artistic reality. Shakespeare’s balance of the world and man is obvious in the final analysis. While Lermontov confronts the world and man in his dramaturgy. In a holistic autoscript of his behavior, Arbenin, like Othello, also predicts a pessimistic ending ahead of time. There is a certain self-construction of both Othello and Arbenin. The underlying reason for their actions is not “passion”, but their own artificial ideas about how to behave in a given situation, about what certain relationships should be, and so on. The Shakespearean theme of the existential-anthropological experiment in “Cimbeline” portends the image of Pechorin from A Hero of Our Time. Arbenin’s “experiments” are known from his monologues about his past, from the explication of the Unknown’s story; finally, the idea of an “experiment” – revenge inspires the act of the Unknown.The fact of Hermione’s “resurrection” in “The Winter’s Tale” goes back to the concept of the triumph of the implied natural-cosmic harmony and the realization of a universal world utopia. Lermontov, by the death of Nina, demonstrates the irreversibility of individual lives’ catastrophe, the impossibility of changing the past. Being a radical romantic, he sharply contrasts life and death.

A new stage in the development of the humanities is largely connected with the understanding of the consequences of the «anthropological turn», the beginning of which is attributed to the 1960s-70s. Numerous discussions of this period led to the formation of new trends associated with the change of scientific paradigms and the transition to a post-non-classical interpretation of the «human phenomenon». The purpose of this article is to study the possible theoretical and methodological prospects that open up to philosophical anthropology due to the emergence of new explication models and new scientific lexicons. To achieve this goal, we chose the image of the Child, accumulating the most essential features of a person and a human being and interpreted metaphorically, as the starting point of the analysis. The Child is presented as an «anthropological constant» denoting a person’s ability to innovate and operate with imaginary phenomena endowed with the status of real ones. As an «anthropological constant», the Child acquires archetypal features that are significant for understanding the nature and meaning of any human activity and interpreting the processes of patterning human states. The approach developed in the article allows us to make several assumptions. First, the Child should be considered in the context of the drama of human existence, which consists in the infinite variability and fundamental incompleteness of the «human project». In this case, what comes to the fore is not the task of studying the boundaries of the human but the definition of the actual capabilities of a person. Secondly, the image of the Child embodies a state of transience, randomness. This requires a wider use of the method of multiple interpretations and post-phenomenological approaches within the framework of modern philosophical anthropology. Thirdly, the image of the Child embodies an existential conflict, which makes it possible to identify the complex dynamics of human states and describe them contextually.

Closure in dramaIn this article closure is investigated as a strategy in dramatic communication. After explicating the relevant terminology for purposes of intersubjectivity, closure in drama is explained by way of logical analysis. In conclusion this argumentation is empirically tested by confronting it with the independent reading results of selected critics.

Este artigo propõe uma chave explicativa, de fundamento marxiano, para as transformações em curso na sociedade, com base na compreensão do papel produtivo e valorativo da informação e do conhecimento em todas as fases evolutivas do capitalismo industrial. Para isso, rediscute algumas características-chave das relações capital-trabalho ao longo das revoluções industriais anteriores, mostrando como delas emergiram novas relações produtivas e novas indústrias de fronteira, calcadas na informação e na cultura, através das quais o capital segue acumulando e, concomitantemente, gerando novos dramas sociais. A apropriação privada da informação é apontada como o principal problema econômico, social e político a ser enfrentado neste início de século.

<p>The main purpose of this ongoing research is to understand possible function(s) of archaeological artefacts through Reverse Engineering processes. In addition, we intend to provide new data, as well as possible explications of the archaeological record according to what it expects about social activities and working processes, by simulating the potentialities of such actions in terms of input-output relationships.<br />Our project focuses on the Neolithic lakeside site of La Draga (Banyoles, Catalonia). In this presentation we will begin by providing a clear overview of the major guidelines used to capture and process 3D digital data of several wooden artefacts. Then, we shall present the use of semi-automated relevant feature extractions. Finally, we intend to share preliminary computer simulation issues.</p>

<p>The main purpose of this ongoing research is to understand possible function(s) of archaeological artefacts through Reverse Engineering processes. In addition, we intend to provide new data, as well as possible explications of the archaeological record according to what it expects about social activities and working processes, by simulating the potentialities of such actions in terms of input-output relationships. Our project focuses on the Neolithic lakeside site of La Draga (Banyoles, Catalonia). In this presentation we will begin by providing a clear overview of the major guidelines used to capture and process 3D digital data of several wooden artefacts. Then, we shall present the use of semi-automated relevant feature extractions. Finally, we intend to share preliminary computer simulation issues.</p>

Abstract This article analyzes how the photographs of overseas Chinese performing Peking opera projected the Chinese nationalism of the Kuomintang (KMT) across Taiwan (the Republic of China, ROC) and the Philippines during the Cold War. The analysis focuses on images in the periodical Drama and Art (1964–1972), examining theater and photography as mediums that worked together to (re)shape a ROC-approved vision of “Chineseness.” In addition to studying the circulation of these photographs, the discussion further looks into those aspects of the performances rendered invisible by the periodical, explicating how the Chineseness of overseas Chinese was produced and performed based on the KMT’s needs. Peking opera performance also functioned as a form of “emotional compensation” for Chinese-Filipino performers to act out fantasies of power while facing anti-Chinese sentiment in the Philippines. This article therefore argues that Peking opera was intricately linked to the conceptual construction of overseas Chineseness and its embodied practice.

Instruction in Serbian language and literature serves to prepare and in a certain way enable the students to follow other school subjects, which points to its special relevance for total education. Unfortunately, research results indicate that students? knowledge in this field is not entirely satisfactory. One of the reasons maybe the fact that this knowledge is not sufficiently used in practice, which can have an unfavourable impact on students? response to more and more complex demands set by the education system of the 21st century. Additionally, the problem can also be related to the fact that dogmatic-reproductive and reproductive-explicative methodical approaches are still used in the classes of Serbian language and literature, while less attention is paid to creative work, cooperative learning and students? initiative, the competences that should be developed first and foremost during the initial education. This paper aims at pointing to the methods and procedures that contribute to the encouragement of initiative, cooperation and creativity in primary school students in the instruction in Serbian language and literature. Among other tings, we point out to the innovation of the drama method as an integral approach to teaching contents, which serves to adopt more quality knowledge via focused role-playing activities and drama techniques, primarily in the field of literature, and enables the durability and quality of the aesthetic perception and the reception of literature. It is also pointed to the fact that instruction that includes creative work, initiative and cooperative relations enhances student competences not only in knowledge and skills in Serbian language and literature, but also at the level of emotional and social relations between students.

La tierra empezaba arder (2019) de Cynthia Edul (Argentina, 1979) aprovecha de múltiples maneras el motivo del regreso a la tierra de los antepasados: como perspectiva y eco de la escritura, incluso como forma que asume la narración. La novela conecta la condición fantasmal e inestable del retornante con una cuestión urgente del presente: la de los migrantes, los refugiados, las víctimas del terror sistemático, los desposeídos. Si bien el relato familiar es lo que permite conectar el drama íntimo y el desastre humanitario, social y político, la escritura no descansa en esta relación como algo dado, sino como producto de un trabajo de la mirada, una disposición poética, y, al mismo tiempo, un impulso explicativo que busca visibilizar causas, rastrear datos históricos y establecer redes. El pliegue entre lo familiar y lo político se logra en la narración desde una posición de extranjería que habilita el montaje de un “archivo heterogéneo” para dar cuenta de las huellas y persistencias del pasado. El libro recupera de la idea de pliegue una lógica que permite resignificar el ocultamiento como un modo renovado de la exposición.

In this article the author analyses the existential experiences typical of the poetry of Vaidotas Daunys and Valdas Gedgaudas, paying particular attention the question of temporality. The author applies the philosopher Juozas Girnius’s explications of the concepts of existential philosophy to the analysis of poems, revealing these as representations of the philosopher’s reflections on theism and atheism, their drama and tragedy. The experiential reality of being and non-being is disseminated in these poets’ works through the existentially symbolic forms of the seasons and (liturgical) time. For Daunys’s poetic subject, the seasons are a means of surviving existential waiting, the presentness of being, the harmonious relationship between nature and humans. In Gedgaudas’s poetry, the dominating images of fall and winter, and other natural signs of the seasons, express the subject’s radical openness to death, the experiences of a collapsed world order, and the loss of eternity. In Daunys’s poetry, prayer and cultural signs infuse time with meaning and point to the experience of a holy You; this expresses the existential hope that it is possible to know the world and oneself. In the paraphrases of liturgical time characteristic of Gedgaudas’s poetry, the relationship of I to the world is marked by unreality and non-existence. Simultaneously, impossible liturgical time also gains a subjectively stronger dimension of presence. The author comes to the conclusion that while being dominates in Daunys’s poetry and non-being prevails in Gedgaudas’s, existential pathos and the poetics of existential discourse connect their work.

A premissa básica deste artigo é analisar o drama coreano Juvenile Justice a partir dos princípios consagrados no Estatuto da Criança e do Adolescente (ECA). Pesquisas jurídicas recentes indicam que a relação entre os vários tipos de produções artísticas e o Direito podem apresentar discussões sobre temas relevantes para o desenvolvimento da sociedade. Dessa forma, neste artigo pretendemos observar as temáticas abordadas na série e associá-las com a legislação brasileira sob a perspectiva da interdisciplinaridade e do Direito Comparado. O método utilizado foi o dedutivo com abordagem qualitativa, fazendo uso da técnica de pesquisa bibliográfica por meio do nível explicativo. Os resultados indicam que de fato há relação do seriado Juvenile Justice com a temática dos jovens infratores, em que foi observado a riqueza de detalhes na obra cinematográfica, podendo ser feito a relação com diversos eixos do Direito, no caso deste estudo foi feito em relação a infrações praticados por menores, a questão da discriminação existente principalmente entre adolescentes, a postura do juíz mediante problemas que envolvam menores infratores, levando em consideração a humanização desses, bem como levou-se em consideração também as medidas socioeducativas previstas pelo Estatuto da Criança e do Adolescente. Conclui-se, portanto, sobre a importância da pesquisa referente a crianças e adolescentes no que concerne a infrações e medidas de combate a essa criminalidade já presente na infância.

La compagnie britannique Punchdrunk a créé plusieurs productions théâtrales immersives depuis sa fondation en 2000. Sleep No More se distingue de celles-ci puisqu’on y présente le drame de Macbeth de Shakespeare par le truchement de la danse, mais aussi en raison du succès critique et commercial du spectacle. À l’aide des explications de Maxine Doyle, chorégraphe et directrice artistique associée de Sleep No More et des réflexions des performeurs et des spectateurs de la version new-yorkaise, la chercheuse en danse Julia M. Ritter émet l’hypothèse que la popularité de ce théâtre immersif est due en grande partie à la manière dont la danse est conçue et s’avère centrale comme méthode destinée à faciliter l’expérience du spectateur. Selon elle, Sleep No More fonctionne sur le modèle d’une danse en tandem entre les membres de la distribution et les spectateurs. La danse serait le médium structurant du contenu interprété par les danseurs professionnels et elle se déploierait par le biais d’improvisations susceptibles d’inciter les spectateurs à s’y mouvoir. L’auteure montre comment la danse exécutée dans Sleep No More permet au public de transformer en danse son expérience de spectateur tout en lui offrant des moments de découvertes personnelles et en l’amenant à développer une agentivité créative qui le conduit à osciller entre les rôles de participant, créateur, spectateur, curateur et performeur.

Como arte narrativo y centrado en la condición humana, el cine recrea (y, a la vez, interroga) los intrincados modos de afrontar el conflicto en la vida social. Al respecto, la experiencia cinematográfica puede fungir como medio de problematización de las implicaciones éticas que derivan de cierto estilo de conversación, discusión y disputa en diferentes ámbitos, entre ellos el de la esfera íntima. El desgarrador drama del litigio postconyugal es, en tal sentido, un tema revelador del entrecruzamiento fatal de lo privado y lo público. El film de Oscar Noah Baumbach, Marriage History (Historia de un matrimonio) exhibe, a través de la gran pantalla, la compleja constitución de una ecuación alienadora altamente expertocrática que termina colonizando las decisiones de una pareja sobre la custodia de su hijo. En este artículo, intentaré mostrar que las discusiones que mantiene la pareja van siendo permeadas por un ethos epistemicida que calca el uso jurídico del alegato que realizan sus respectivos abogados. Dentro de tal marco, se suscitan argumentaciones impregnadas de vicios epistémicos, con efectos eminentemente devaluadores. A la luz de ciertos posicionamientos recíprocos, los miembros de la pareja (Nicole y Charlie) son instigados a re-narrar la historia de su matrimonio en modos que legitiman los intereses y expectativas propias del escenario del divorcio. La metáfora de la discusión como una guerra constriñe sus esquemas explicativos, al punto de convertir al excónyuge en un acérrimo enemigo. El presente análisis filmográfico tiene el propósito de mostrar el potencial del cine para plantear perspicazmente la cuestión filosófica del desacuerdo y la autonomía epistémica.

This article will discuss the context of the implications and explications of the language spoken in an early episode of a film/lokadrama by a YouTuber who is also a Bayu Skak actor. The data were analyzed with Grice's theory regarding explicators and implicatures. The research method used is descriptive qualitative. The film "Lara Ati" is a typical East Javanese drama with the accent "Urip lan karep ora sedalan" which gives the meaning that life and desires do not always match what is expected. The results of the study show that the speech between characters uses the dialect of everyday language so that it seems as it is and creates implicit meaning from the interlocutor speakers. The forms of implicature found are declarative (confirming) implicature; imperative implicature (giving an order); and interrogative implicature (asking). Based on the implicature function, there are those that show directive (ordering and begging) and expressive (low self-esteem and mocking).Keyword: implicature, explicature, pragmatics, and Lara Ati's film.Abstrak:Artikel ini akan membahas konteks implikasi dan eksplikasi tuturan berbahasa pada sebuah film/lokadrama episode awal garapan seorang youtuber sekaligus pemain film Bayu Skak. Data dianalisis dengan teori Grice terkait eksplikatur dan implikatur. Metode penelitian yang digunakan deskriptif kualitatif. Film “Lara Ati” merupakan lokadrama khas Jawa Timur dengan aksen “Urip lan karep ora sedalan” memberikan makna bahwa hidup dan keinginan tidak selalu sesuai dengan apa yang diharapkan. Hasil penelitian menunjukkan bahwa tuturan antartokoh menggunakan dialek bahasa sehari-hari sehingga terkesan apa adanya dan menimbulkan makna implisit dari penutur petutur. Bentuk implikatur yang ditemukan, yaitu implikatur deklaratif (mengkonfirmasi); implikatur imperatif (memberikan sebuah perintah); dan implikatur interogatif (bertanya). Berdasarkan fungsi implikaturnya, ada yang menunjukkan direktif (menyuruh dan memohon) dan ekspresif (rendah diri dan mengejek).Kata kunci: implikatur, eksplikatur, pragmatik, dan Film Lara Ati.

Em "A obra de arte na era da reprodutibilidade técnica", Walter Benjamin elabora uma teoria da reprodução em massa que é considerada como sendo amplamente explicativa, a despeito de detalhes contraditórios que nela se acumulam insistentemente. Com essa constatação, o autor desenvolve uma crítica ao ensaio de Benjamin, partindo desses detalhes insistentes e encontrando o conceito de reprodução mecânica como seu ponto de convergência. Levando em conta o fato de que tais inconsistências são notadas apenas muito raramente, o autor conclui que o próprio ensaio é aurático, o que contradiz a ideia de Benjamin sobre a relação entre a reprodução mecânica e o esvanecimento da aura. A investigação dessa relação leva à conclusão de que uma aura de autenticidade tal como aquela concebida por Benjamin não é capaz de dar conta do fato de que a reprodução é algo inerente à obra de arte, o que é ilustrado, por exemplo, pelo fato de que os livros necessitam de ser reproduzidos para que possam ser lidos. A aura, então, é algo que ultrapassa a materialidade da obra, e sua força não é necessariamente ausente em uma cópia. Surpreendentemente, essa refutação do argumento de Benjamin se encontra em um livro do próprio autor, a Origem do drama trágico alemão, o que expande o foco do texto para a relação entre o conceito de reprodução mecânica e a obra de Benjamin. Por meio da única leitura formal da reprodução técnica em todo o ensaio, o conceito é entendido como sendo a produção de uma imagem que não é um reflexo do eu, e as contradições entre o ensaio em questão e o conjunto da obra de Benjamin são então concebidas como o resultado da reprodução mecânica: "A obra de arte na era da reprodutibilidade técnica" reproduz mecanicamente os insights anteriores de Benjamin, mas em uma forma vazia de auto-reconhecimento.

Las estrategias metodológicas son las técnicas que permiten construir el aprendizaje de los estudiantes la cual debe ser propuesta adecuadamente por el docente con la finalidad de promover a desarrollar el pensamiento crítico reflexivo, encaminadas a las soluciones de situaciones complejas y toma de decisiones autónomas en cada uno los alumnos. El presente articulo científico tiene como objetivo determinar el efecto que ejerce las estrategias metodológicas activas de aprendizaje en el desarrollo del pensamiento crítico en los estudiantes de zonas urbanas y rurales del nivel secundario de EBR , el método de investigación utilizado es el científico de tipo longitudinal, de nivel explicativo y diseño pre experimental con una muestra seleccionada de 25 estudiantes de zona urbana y 25 estudiantes de zona rural del tercer grado de educación secundaria ,se aplicó una prueba de entrada para determinar el nivel del pensamiento crítico de los estudiantes posteriormente a ello se desarrolló sesiones de aprendizaje , en la que se consideró las metodologías activas como la elaboración de un ensayo, desarrollo de cuestionarios ,socio drama, árbol de problemas, elaboración de textos argumentativos, estudio de casos ,debates ,elaboración de historietas, organizadores(cuadro comparativo, mapa mental ,espina de Ishikawa). Posterior a ello se llevó a cabo la evaluación de salida, la interpretación de los resultados se realizó teniendo en cuenta la estadística descriptiva mediante tablas, los datos cumplen con los criterios de distribución normal y homogeneidad de varianza. Los resultados determinan que si existe diferencia significativa (p=0.00)en el pensamiento crítico (prueba de entrada y salida ,mediante las estrategias metodológicas activas en los estudiantes de tercer grado del nivel secundario de EBR, con un aumento de 20 puntos entre la evaluación de entrada y la evaluación de salida en estudiantes de zona urbana y 18 punto de aumento entre la evaluación de entrada y salida de los estudiantes de la zona rural , por lo que se concluye lo siguiente: las estrategias metodológicas activas de aprendizaje aplicadas en el desarrollo de las sesiones de aprendizaje en los estudiantes de tercer grado del nivel secundaria de EBR si influyen significativamente en el desarrollo del pensamiento crítico

Poetic ekphrasis may be not only simple, like a description of a work of art as a system of images that naturally come to life in an artistic description, but also complex, meaning the stay of exhibits in a museum or gallery. Complex ekphrasis is used also be different, in contrast to the type of contextualization of exhibits in the space intended for them, and a special ekphrasis of movement can be distinguished, where it is not the delay in front of the exhibits that is important, but the experience of the museum space itself as strange, existentially significant and associated with key existential moments in the life of a lyric character. In such a subspecies of ekphrasis, it is not the action of the imagination that is essential, but the skills of orientation in a value-marked space, with signs of up and down, openness and closeness, due to which the return of aesthetic experience in a complex existential situation is thought. The article offers a close reading of several examples of such an ekphrasis of gallery movement. In the poetry of Mikhail Eremin, the Saint Petersburg Hermitage turns out to be, first of all, a place of various forms of reflection, and the overlap between the metaphorical (reflection and attention to the phonetics of speech) and literal (mirror) understanding of reflection forms a mechanism for the quickest transition from spatial confusion to the aesthetic experience of the Hermitage collection. In the poetry of Sergei Stratanovsky, on the contrary, the Hermitage is shown through the eyes of a conventional character, immune to culture, where the mechanisms of such a transition are absent, and any attempt to simplify spatial self-awareness turns into a total immunity to art. In the poetry of Asya Veksler, the Hermitage turns out to be a hero with its own subjectivity, modeled on Petersburg in Anna Akhmatova's Poem Without a Hero, and this allows the episodes of a love drama to be developed as confirmed by various formal decisions and to erase the border between the aesthetics of space premises and the aesthetics of works. All three solutions imply the general properties of a complex ekphrasis of displacement: 1) a presence of an existential basis of a poetic utterance, detached from the usual modes of relations with time, partially blocking the usual modes of aesthetic perception of works of art, 2) a constant search for means of overcoming this blocking, which can be successful, if associated with the acceleration of sensory experiences, and unsuccessful if associated with frustration and/or routine admiration, 3) a situation in which architectural and design decisions are perceived as deeply symbolic and valuable, while works of art remain mysteries among other mysteries, and only the correctly found speed of mental work with the past and the present allows them to be perceived, 4) uses of the names of artists and plots of works not as symbols, but as part of the route, with the ambiguity of this route, the lack of sufficient motivation for it in the plot, but partial support from the book explications or educational habits, 5) an attention to the formal components of both the interior and individual works, as the only key to integrating these solutions into large value oppositions. A close reading of these poems allows for a better understanding of the importance of formal analysis for a comprehensive understanding of fine art and plastics and their reflection in literature as an art that deals with different modes of sensing time.

Nineteenth-century critic Hermann Kretzschmar’s hearing of the first four songs of op. 57 as a “great tragic opera“ offers a fitting starting point for this analytical essay on Brahms’s song, “Ach, wende diesen Blick” (op. 57, no. 4), the very song referenced in Kretzschmar’s remark. This essay demonstrates how Brahms constructs drama through several prominent pitch constructs that unfold as musical representations of the poetic conflict. This will be achieved primarily through voice-leading analysis and explication of an event called amelodic disjunction, a linear construction that arises as a result of Brahms’s complex contrapuntal style. Often composed of more than one strand of linear motion (as in a compound melody), the melodic disjunction features a seemingly anomalous leap or gap that is created when one of these melodic lines is abruptly abandoned, and any residue of melodic implication in the line is not resolved immediately, or at all. Along with several other disruptive pitch events that recur throughout the song, the melodic disjunction in op. 57, no. 4 avoids traditional resolution for dramatic reasons.

Abstract This essay examines tinnitus in Samuel Beckett’s Embers as a hidden audiological disability that informs the core soundscape of the radio drama. Henry’s tinnitus as an invisible condition replaces his voice and transforms into a dramatic and personal anchor, one that parodies conventional radiophonic narratives by explicating how the tics of his ears propel his sonic narrative. Henry’s radiographic quest for silence is not betrayed by the phantom sound or the tic in his ears, or his troupe of phantom characters, but rather by his failure to appreciate, reveal, and prove his disability to his hearing audience. To this end, the article assays and expands key concepts in social understanding of audiological disabilities such as ‘dysconscious audism’, and ‘impaired consciousness’, to address a phonocentric culture that either suppresses or normalizes such otological disorders by disregarding them as invisible personal matters rather than a debilitating handicap.

Resumo: Neste artigo, proponho debater a crítica das crises do capitalismo feita por Nancy Fraser e seus desdobramentos para sua análise das potencialidades do feminismo para 99%, examinando o alcance explicativo e os limites de sua proposta de articulação entre teoria e prática. Pretendo discutir os problemas da universalização dos diagnósticos do feminismo estadunidense, para pensar os dramas, sofrimentos e dilemas vividos pelas mulheres do Sul global. Serão apresentadas pesquisas que discutem as ambiguidades envolvidas no trabalho doméstico e de cuidados, no feminismo do microcrédito e nas políticas públicas voltadas para as mulheres pobres, apontando os entraves e as dificuldades do feminismo para 99%.

Literary criticism evolved slowly in southern Africa. One of the first commentators to write about this topic was the Unitarian minister, Ramsden Balmforth (1861-1941), a native of Yorkshire and Unitarian minister who emigrated to Cape Town in 1897. Eschewing conventional homiletics in its various forms, in dozens of instances he illustrated ethical and spiritual points in his Sunday sermons or ‘discourses’ by discussing their manifestation in literary works. Crucially, these texts did not merely yield illustrations of Biblical themes, but themselves served as the primary written vehicles of moral and ethical principles, and the Bible was rarely mentioned in them. Balmforth’s orations about novels were published in 1912. The following year he preached about selected operas by Richard Wagner, and in the 1920s Balmforth issued two additional series of discourses focusing on dramas. In all of these commentaries he consistently emphasised thematic content rather than narrative and other literary techniques. He extracted lessons which he related to his ethically orientated version of post-orthodox religious faith.

Lately, broadcasts from South Korea have been in great demand in the world, including Indonesia. These shows can be in the form of videos, films, serials and dramas. A presentation displays the behavior or action conveyed through communication between the speaker (speaker) and the listener (opposite), which is referred to as a speech act. One type of speech act is imperative speech act. An imperative speech act is a form of speech in which the speaker demands action from the listener. To understand the broadcast, it through the translation results which are displayed in the form of subtitles. There are many translation strategies that can be used, not only literal strategies, to do the translation. This study aims 1) to reveal translation strategies used to translate imperative utterances in Squid Game episode 1, and 2) to analyze the types of translation strategies used to translate imperative utterances in Squid Game episode 1 dialogue series. This research used descriptive qualitative method. Speech data and translation results were collected through the Language Reactor and analyzed using Salihen Moentaha’s translation strategy theory. The results showed that there were 53 direct imperative utterances found. From the translation of the speech, 8 types of translation strategies were found, namely Literal (23 times), Free Translation (6 times), Paraphrasing (12 times), Replacement (3 times) with word class types (1 time) and replacement of part of the sentence with active operations types. -passive (2 times), Lexical replacement (12 times) with the type of concretization (2 times); Generalization (3 times); Antonym (2 times); Compensation (2 times), Addition (17 Times), Omission (8 Times), Compression (27 Times), Explication (2 Times). The most dominant translation strategy used is the Compression strategy.

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Fremdsprachenlernen als Konstruktion: einige Anmerkungen zu einem viel diskutierten neuen Ansatz in der Fremdsprachendidaktik. [Foreign-language learning as ‘construction’: some remarks on a much-discussed new approach in foreign-language teaching.] Babylonia (Comano, Switzerland), 4 (2002), 7–14.

Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic description]) are resisted in the interests of the quiddity and discreteness of art, the space that each work or action creates around itself. – Ihab Hassan Ihab Hassan’s words, published in 1975, continue to resonate today. How should we approach art? Can an artwork ever really fully be described by its critical review, or does its description only lead to an ever multiplying succession of terms? Michel Foucault spoke of the construction of modern sexuality as being seen as the hidden, irresolvable “truth” of our subjectivity, as that secret which we must constantly speak about, and hence as an “incitement to discourse” (Foucault, History of Sexuality). Since the Romantic period, the appreciation of aesthetics has been tied to the subjectivity of the individual and to the degree an art work appeals to the individual’s sense of self: to one’s personal refinement, emotions and so on. Art might be considered part of the truth of our subjectivity which we seem to be endlessly talking about – without, however, actually ever resolving the issue of what a great art work really is (anymore than we have resolved the issue of what natural sexuality is). It is not my aim to explicate the relationship between art and sex but to re-inject a strategic understanding of discourse, as Foucault understood it, back into commonplace, contemporary aesthetic criticism. The problems in rendering into words subjective, emotional experiences and formal aesthetic criteria continue to dog criticism today. The chief hindrances to contemporary criticism remain such institutional factors as the economic function of newspapers. Given their primary function as tools for the selling of advertising space, newspapers are inherently unsuited to sustaining detailed, informed dialogue on any topic – be it international politics or aesthetics. As it is, reviews remain short, quickly written pieces squeezed into already overloaded arts pages. This does not prevent skilled, caring writers and their editorial supporters from ensuring that fine reviews are published. In the meantime, we muddle through as best we can. I argue that criticism, like art, should operate self-consciously as an incitement to discourse, to engagement, and so to further discussion, poetry, et cetera. The possibility of an endless recession of theoretical terms and subjective responses should not dissuade us. Rather, one should provisionally accept the instrumentality of aesthetic discourse provided one is able always to bear in mind the nominalism which is required to prevent the description of art from becoming an instrument of repression. This is to say, aesthetic criticism is clearly authored in order to demonstrate something: to argue a point, to make a fruitful comparison, and so on. This does not mean that criticism should be composed so as to dictate aesthetic taste to the reader. Instead, it should act as an invitation to further responses – much as the art work itself does. Foucault has described discourse – language, terminologies, metaphorical conceits and those logical and poetic structures which underpin them – as a form of technology (Foucault, Archaeology of Knowledge and History of Sexuality). Different discursive forces arise in response to different cultural needs and contexts, including, indeed, those formulated not only by artists, but also by reviewers. As Hassan intimates, what is or is not “postmodernism”, for example, depends less on the art work itself – it is less a matter of an art work’s specific “quiddity” and its internal qualities – but is, rather, fundamentally dependent upon what one is trying to say about the piece. If one is trying to describe something novel in a work, something which relates it to a series of new or unusual forms which have become dominant within society since World War Two, then the term “postmodernism” most usefully applies. This, then, would entail breaking down the “the space that each work … creates around itself” in order to emphasise horizontal “continuities”. If, on the other hand, the critic wishes to describe the work from the perspective of historical developments, so as to trace the common features of various art works across a genealogical pattern running from Romanticism to the present day, one must de-emphasise the quiddity of the work in favour of vertical continuities. In both cases, however, the identification of common themes across various art works so as to aid in the description of wider historical or aesthetic conditions requires a certain “abstraction” of the qualities of the aesthetic works in question. The “postmodernism”, or any other quality, of a single art work thus remains in the eye of the beholder. No art work is definitively “postmodern” as such. It is only “postmodern” inasmuch as this description aids one in understanding a certain aspect of the piece and its relationship to other objects of analysis. In short, the more either an art work or its critical review elides full descriptive explication, the more useful reflections which might be voiced in its wake. What then is the instrumental purpose of the arts review as a genre of writing? For liberal humanist critics such as Matthew Arnold, F.R. Leavis and Harold Bloom, the role of the critic is straight forward and authoritative. Great art is said to be imbued with the spirit of humanity; with the very essence of our common subjectivity itself. Critics in this mode seek the truth of art and once it has been found, they generally construct it as unified, cohesive and of great value to all of humanity. The authors of the various avant-garde manifestoes which arose in Europe from the fin de siècle period onwards significantly complicated this ideal of universal value by arguing that such aesthetic values were necessarily abstract and so were not immediately visible within the content of the work per se. Such values were rather often present in the art work’s form and expression. Surrealism, Futurism, Supremacism, the Bauhaus and the other movements were founded upon the contention that these avant-garde art works revealed fundamental truths about the essence of human subjectivity: the imperious power of the dream at the heart of our emotional and psychic life, the geometric principles of colour and shape which provide the language for all experience of the sublime, and so on. The critic was still obliged to identify greatness and to isolate and disseminate those pieces of art which revealed the hidden truth of our shared human experience. Few influential art movements did not, in fact, have a chief theoretician to promote their ideals to the world, be it Ezra Pound and Leavis as the explicators of the works of T.S. Eliot, Martin Esslin for Beckett, or the artist her or himself, such as choreographers Martha Graham or Merce Cunningham, both of whom described in considerable detail their own methodologies to various scribes. The great challenge presented in the writings of Foucault, Derrida, Hassan and others, however, is to abandon such a sense of universal aesthetic and philosophical value. Like their fellow travellers within the New Left and soixante huit-ièmes (the agitators and cultural critics of 1968 Paris), these critics contend that the idea of a universal human subjectivity is problematic at best, if not a discursive fiction, which has been used to justify repression, colonialism, the unequal institutional hierarchies of bourgeois democratic systems, and so on. Art does not therefore speak of universal human truths. It is rather – like aesthetic criticism itself – a discursive product whose value should be considered instrumentally. The kind of a critical relationship which I am proposing here might provisionally be classified as discursive or archaeological criticism (in the Foucauldian sense of tracing discursive relationships and their distribution within any given cross-section or strata of cultural life). The role of the critic in such a situation is not one of acknowledging great art. Rather, the critic’s function becomes highly strategic, with interpretations and opinions regarding art works acting as invitations to engagement, consideration and, hence, also to rejection. From the point of view of the audience, too, the critic’s role is one of utility. If a critical description prompts useful, interesting or pleasurable reflections in the reader, then the review has been effective. If it has not, it has no role to play. The response to criticism thus becomes as subjective as the response to the art work itself. Similarly, just as Marcel Duchamp’s act of inverting a urinal and calling it art showed that anyone could be an artist provided they adopted a suitably creative vision of the objects which surrounded them, so anyone and everyone is a legitimate critic of any art work addressed to him or her as an audience. The institutional power accorded to critics by merit of the publications to which they are attached should not obfuscate the fact that anyone has the moral right to venture a critical judgement. It is not actually logically possible to be “right” or “wrong” in attributing qualities to an art work (although I have had artists assert the contrary to me). I like noise art, for example, and find much to stimulate my intellect and my affect in the chaotic feedback characteristic of the work of Merzbow and others. Many others however simply find such sounds to constitute unpleasant noise. Neither commentator is “right”. Both views co-exist. What is important is how these ideas are expressed, what propositions are marshalled to support either position, and how internally cohesive are the arguments supplied by supporters of either proposition. The merit of any particular critical intervention is therefore strictly formal or expressive, lying in its rhetorical construction, rather than in the subjective content of the criticism itself, per se. Clearly, such discursive criticism is of little value in describing works devised according to either an unequivocally liberal humanist or modernist avant-garde perspective. Aesthetic criticism authored in this spirit will not identify the universal, timeless truths of the work, nor will it act as an authoritative barometer of aesthetic value. By the same token though, a recognition of pluralism and instrumentality does not necessarily entail the rejection of categories of value altogether. Such a technique of aesthetic analysis functions primarily in the realm of superficial discursive qualities and formal features, rather than subterranean essences. It is in this sense both anti-Romantic and anti-Platonic. Discursive analysis has its own categories of truth and evaluation. Similarities between works, influences amongst artists and generic or affective precedents become the primary objects of analysis. Such a form of criticism is, in this sense, directly in accord with a similarly self-reflexive, historicised approach to art making itself. Where artists are consciously seeking to engage with their predecessors or peers, to find ways of situating their own work through the development of ideas visible in other cultural objects and historic aesthetic works, then the creation of art becomes itself a form of practical criticism or praxis. The distinction between criticism and its object is, therefore, one of formal expression, not one of nature or essence. Both practices engage with similar materials through a process of reflection (Marshall, “Vertigo”). Having described in philosophical and critical terms what constitutes an unfettered, democratic and strategic model of discursive criticism, it is perhaps useful to close with a more pragmatic description of how I myself attempt to proceed in authoring such criticism and, so, offer at least one possible (and, by definition, subjective) model for discursive criticism. Given that discursive analysis itself developed out of linguistic theory and Saussure’s discussion of the structural nature of signification, it is no surprise that the primary methodology underlying discursive analysis remains that of semiotics: namely how systems of representation and meaning mutually reinforce and support each other, and how they fail to do so. As a critic viewing an art work, it is, therefore, always my first goal to attempt to identify what it is that the artist appears to be trying to do in mounting a production. Is the art work intended as a cultural critique, a political protest, an avant-garde statement, a work of pure escapism, or some other kind of project – and hence one which can be judged according to the generic forms and values associated with such a style in comparison with those by other artists who work in this field? Having determined or intuited this, several related but nominally distinct critical reflections follow. Firstly, how effectively is this intent underpinning the art work achieved, how internally consistent are the tools, forms and themes utilised within the production, and do the affective and historic resonances evoked by the materials employed therein cohere into a logical (or a deliberately fragmented) whole? Secondly, how valid or aesthetically interesting is such a project in the first place, irrespective of whether it was successfully achieved or not? In short, how does the artist’s work compare with its own apparent generic rules, precedents and peers, and is the idea behind the work a contextually valid one or not? The questions of value which inevitably come into these judgements must be weighed according to explicit arguments regarding context, history and genre. It is the discursive transparency of the critique which enables readers to mentally contest the author. Implicitly transcendental models of universal emotional or aesthetic responses should not be invoked. Works of art should, therefore, be judged according to their own manifest terms, and, so, according to the values which appear to govern the relationships which organise materials within the art work. They should also, however, be viewed from a position definitively outside the work, placing the overall concept and its implicit, underlying theses within the context of other precedents, cultural values, political considerations and so on. In other words, one should attempt to heed Hassan’s caution that all art works may be seen both from the perspective of historico-genealogical continuities, as well as according to their own unique, self-defining characteristics and intentions. At the same time, the critical framework of the review itself – while remaining potentially dense and complex – should be as apparent to the reader as possible. The kind of criticism which I author is, therefore, based on a combination of art-historical, generic and socio-cultural comparisons. Critics are clearly able to elaborate more parallels between various artistic and cultural activities than many of their peers in the audience simply because it is the profession of the former to be as familiar with as wide a range of art-historical, cultural and political materials as is possible. This does not, however, make the opinions of the critic “correct”, it merely makes them more potentially dense. Other audiences nevertheless make their own connections, while spectators remain free to state that the particular parallels identified by the critic were not, to their minds, as significant as the critic would contend. The quantity of knowledge from which the critic can select does not verify the accuracy of his or her observations. It rather enables the potential richness of the description. In short, it is high time critics gave up all pretensions to closing off discourse by describing aesthetic works. On the contrary, arts reviewing, like arts production itself, should be seen as an invitation to further discourse, as a gift offered to those who might want it, rather than a Leavisite or Bloom-esque bludgeon to instruct the insensitive masses as to what is supposed to subjectively enlighten and uplift them. It is this sense of engagement – between critic, artist and audience – which provides the truly poetic quality to arts criticism, allowing readers to think creatively in their own right through their own interaction with a collaborative process of rumination on aesthetics and culture. In this way, artists, audiences and critics come to occupy the same terrain, exchanging views and constructing a community of shared ideas, debate and ever-multiplying discursive forms. Ideally, written criticism would come to occupy the same level of authority as an argument between an audience member and a critic at the bar following the staging of a production. I admit myself that even my best written compositions rarely achieve the level of playful interaction which such an environment often provokes. I nevertheless continue to strive for such a form of discursive exchange and bibulous poetry. References Apollonio, Umbro, ed. Futurist Manifestos. London: Thames and Hudson, 1973. Arnold, Matthew. Essays in Criticism. London: Macmillan, 1903-27, published as 2 series. Barthes, Roland. Mythologies. Trans. by Annette Lavers. London: Vintage, 1993. Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead, 1998. Benjamin, Walter. Reflections: Essays, Aphorisms, Autobiographical Writings. Trans. by Edmund Jephcott. New York: Harcourt, 1978. Breton, André. Manifestoes of Surrealism. Trans. by Richard Seaver and Helen Lane. Ann Arbor: Michigan UP, 1972. Eliot, T.S. Collected Poems 1909-1962. London: Faber, 1963. Esslin, Martin. Theatre of the Absurd. Harmondsworth: Penguin, 1968. Foucault, Michel. The Archaeology of Knowledge. Trans. by A.M. Sheridan Smith. London: Tavistock, 1972. ———. The History of Sexuality: Volume I: An Introduction. Trans. by Robert Hurley. London: Penguin, 1990. Fukuyama, Francis. The End of History and the Last Man. London: Penguin, 1992. Graham, Martha. Blood Memory. New York: Doubleday, 1991. Hassan, Ihab. “Joyce, Beckett and the Postmodern Imagination.” Triquarterly 32.4 (1975): 192ff. Jameson, Fredric. “Postmodernism, or the Cultural Dominant of Late Capitalism,” New Left Review 146 (1984): 53-92. Leavis, F.R. F.R. Leavis: Essays and Documents. Eds. Ian MacKillop and Richard Storer. Sheffield: Sheffield Academic Press, 1995. Malevich, Kazimir. In Penny Guggenheim, ed. Art of This Century – Drawings – Photographs – Sculpture – Collages. New York: Art Aid, 1942. Marshall, Jonathan. “Documents in Australian Postmodern Dance: Two Interviews with Lucy Guerin,” in Adrian Kiernander, ed. Dance and Physical Theatre, special edition of Australasian Drama Studies 41 (October 2002): 102-33. ———. “Operatic Tradition and Ambivalence in Chamber Made Opera’s Recital (Chesworth, Horton, Noonan),” in Keith Gallasch and Laura Ginters, eds. Music Theatre in Australia, special edition of Australasian Drama Studies 45 (October 2004): 72-96. ———. “Vertigo: Between the Word and the Act,” Independent Performance Forums, series of essays commissioned by Not Yet It’s Difficult theatre company and published in RealTime Australia 35 (2000): 10. Merzbow. Venereology. Audio recording. USA: Relapse, 1994. Richards, Alison, Geoffrey Milne, et al., eds. Pearls before Swine: Australian Theatre Criticism, special edition of Meajin 53.3 (Spring 1994). Tzara, Tristan. Seven Dada Manifestos and Lampisteries. Trans. by Barbara Wright. London: Calder, 1992. Vaughan, David. Merce Cunningham: Fifty Years. Ed. Melissa Harris. New York: Aperture, 1997. Citation reference for this article MLA Style Marshall, Jonathan. "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/08-marshall.php>. APA Style Marshall, J. (Oct. 2005) "Inciting Reflection: A Short Manifesto for and Introduction to the Discursive Reviewing of the Arts," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/08-marshall.php>.

Until the mid 1980s, Bordo writes, anorexia was considered only in pathological terms (45-69). Since then, many theorists such as Malson and Orbach have described how the anorexic individual is formed in and out of culture, and how, according to this line of argument, eating disorders exist in a spectrum of “dis-order” that primarily affects women. This theoretical approach, however, has been criticised for leaving open the possibility of a more general pathologising of female media consumers (Bray 421). There has been some argument, too, about how to read the agency of the anorexic individual: about whether she or he is protesting against or operating “as if in collusion with,” as Bordo puts it (177), the system of power relations that orients us, as she writes, to the external gaze (27). Ferreday argues that what results from this “spectacular regime of looking” (148) is that western discourse has abjected not only the condition of anorexia but also the anorectic, which in practical terms means that, among other measures, the websites and blogs of anorectics are constantly being removed from the Internet (Dias 36). How, then, might anorexia operate in relation to itself?In the clinical fields the subjectivity of the anorectic has become an important area of study. Norwegian eating disorder specialist Skårderud has discussed what he calls an anorectic’s “impaired mentalisation,” which describes a difficulty, as a result of transgenerationally transmitted attachment patterns, in regulating the self in terms of “understanding other people’s mind, one’s own mind and also minding one’s own body” (86). He explains: “Not being able to feel themselves from within, the patients are forced to experience the self from without” (86). While a Foucauldian approach to eating disorders like Bordo’s might be considered a useful tool for analysing this externalised aspect of the anorexic predicament, anorectics’ difficulty with feeling “themselves from within” remains unexamined in this model. Ferreday has described the efforts, in more recent discourse, to engage with the subjective experience of “anorexic embodiment” (140). She is conscious, however, that an enduring preoccupation with “the relation between bodies and images” has made the relations between embodied selves “almost entirely under-theorized”, and an understanding of the lived experience of eating disorders too often reduced to the totalising representations of “abject spectacle” or “heroic myth” (153). In this context Ferreday has welcomed the publication of Warin’s ethnographic study Abject Relations: Everyday Worlds of Anorexia for providing a point of access to the subjective experience of anorectics. One important aspect of Warin’s findings, though, remains unremarked upon in Ferreday’s review: this is Warin’s astonishing conclusion from her investigations that anorexic practices successfully “removed the threat of abjection” for her participants (127). It is exactly at this point in the current debate about eating disorders and subjectivity, and the role of abjection in that subjectivity, that I wish to draw upon the Gothic. As Hogle maintains, abjection has a significant role to play in the Gothic. Like Warin, he refers to Kristeva’s notion of the abject when he describes the “throwing off” whereby we might achieve, in Hogle’s paraphrasing of Kristeva, “a oneness with ourselves instead of an otherness from ourselves in ourselves” (“Ghost” 498-499). He describes how the Gothic becomes a “site of ‘abjection’” (“Cristabel” 22), where it “depicts and enacts these very processes of abjection, where fundamental interactions of contrary states and categories are cast off into antiquated and ‘othered’ beings” (“Ghost” 499). This plays out, he writes, in a process of what he calls a “re-faking of fakery” that serves “both to conceal and confront some of the more basic conflicts in Western culture” (“Ghost” 500). Here, Hogle might be describing how the abject anorexic body functions in the “spectacular regime of looking” that comprises western discourse, as Ferreday has portrayed it. Skårderud, however, as noted above, has suggested that the difficulty experienced by those with eating disorders is a difficulty that involves a regulation of the self that is understood to occur prior to the more organised possibility of casting off contrary states onto “othered” beings. In short, the eating disordered individual seems to be already an embodied site of abjection, which suggests, in light of Hogle’s work on abjection in the Gothic, that eating disordered experience might be understood as in some way analogous to an experience of the Gothic. Following Budgeon, who has stressed the importance of engaging with individual “accounts of embodiment” as means of moving beyond the current representation-bound impasses in our thinking about eating disorders (51), in this paper I will be touching briefly on “pro-ana” or pro-anorexic Internet material before proceeding to a more detailed analysis of Marya Hornbacher's Wasted: A Memoir of Anorexia and Bulimia. Punter, drawing on trauma theorists Abraham and Torok through Derrida, writes that “Gothic tests what it might be like to be a shell […] a shell which has been filled to the brim with something that looks like ourselves but is irremediably other, to the point that we are driven out, exiled from our home, removed from the body” (Pathologies16). In response, I will be suggesting that the eating disordered voice enacts the Gothic by dramatising “what it might be like to be a shell” since that embodied voice finds itself to be the site of abjection: the site where behind its distractingly visible “shell”, the ego, using anorexic idealisation, is compelled to use anorexic practices that “throw off” in an effort to achieve an ever-elusive sense of oneness. Due to Punter's long familiarity and shared vocabulary with a wide range of post-Freudian psychoanalytic theory, I will be particularly referring to his evocations of the Gothic, which he has characterised as a “kind of cultural threshold” (Introduction 9), to demonstrate how an examination of eating disordered experience alongside the Gothic might promise a more nuanced access to eating disordered subjectivity than has been available hitherto. Marya Hornbacher maintains in her memoir Wasted that anorectics, far from hating food, are in fact thinking about it constantly (151). If anorectics always think about food, the visual content of their Internet sites might seem to suggest otherwise: that their thoughts are mostly occupied by bodies—particularly thin, emaciated bodies—which form the material that these sites call “thinspiration” for the “pro-ana” writer and reader. Thinspiration, although not yet recognised by the Oxford English Dictionary, is understood to designate inspiring words or images of thinness that, further to Hornbacher's observations, might be understood as helping the food-obsessed anorectic to manage that obsession. Many pro-ana sites have their own thinspiration pages which, aside from the disturbing frame of the pro-ana verbal content that can include specifying dangerous techniques for abstaining, vomiting and purging, might be little more distressing to a viewer than any readily accessible fashion imagery. On the pro-ana site, however, whether mixed among the seemingly ordinary images or in a section all on its own,the spectre of the walking dead will often intrude. A “pro ana thinspiration” Google image search might yield, similarly, a small cadaverous corner to the purportedly inspiring imagery. It might also yield a tweeted response, from a pro-ana tweeter, to what might have been similar images of thinspiration which, far from affording inspiration, seem to have prompted intense anxiety: “I see the pictures I put up, then I see the morning thinspo everyone tweets, and I just feel gross ..[sic]”. This admission of despair sends a fearful, anxious affect loose among the otherwise serene uniformity of the “thinspo” imagery from which it had ricocheted, apparently, in the first place. Thinspiration, it seems, might threaten just as often as it assists the eating disordered subject to achieve self-regulation through their anorexic practices and, as this screen shot suggests, the voice can offer the researcher a small but potent insight into the drama of the eating disordered struggle.Psychologists Goldsmith and Widseth have stated that Hornbacher’s Wasted “gives the reader a feel for what it is like to live in an anorexic client’s head” (32). Although the book was a bestseller, newspaper reviews, on the whole, were ambivalent. There was a sense of danger inherent in the turbulent, “lurid” details (Zitin), and unresolved nature of the narrative (MacDonald). Goldsmith and Widseth even refer to Hornbacher's reported relapse and rehospitalisation that followed a “re-immersing” in “the narrative” of her own book (32). Kilgour has observed that the Gothic is a space where effects come into being without agents and creations prosper without their creators (221). While Radcliffe's novels might tend to contradict this claim, it is important to note that it is at the borders between explication and a seeming impossibility of explication that the Gothic imaginary draws its power. Miles, for example, has argued that Radcliffe is concerned not so much with dispelling the supernatural per se but with “‘equivocal phenomena of the mind’” (99-102). In Wasted, Hornbacher writes of her fear of “unsafe” foods whose uncanny abilities include the way they “will not travel through my body in the usual biological fashion but will magically make me grow” (20). Clearly, Hornbacher is not referring here to reasoned premises. Her sense, however, of the ambiguous nature of foodstuffs bears an important relation to Radcliffe's “equivocal phenomena”, and indeed the border-defying aspects of Kristevan abjection. In Abject Relations, Warin discovered that her anorexic participants shared what seemed to be magical beliefs in the ability of foodstuffs to penetrate the body through skin or through the nose via smells (106-127). The specific irrationality of these beliefs were not at issue except that they prompted the means, such as the washing of hands after touching food or shoving towels under doors to impede the intrusion of smells that, along with the anorexic practices of starving, purging and vomiting, served to protect these participants from abjection. When Hornbacher describes her experience of bulimia, the force, textures and sheer weight of the food that she eats in unimaginable, enormous quantities so that it bursts the sewer and floods the basement as vomit (223) become all the more disconcerting when the disgusting effects, whose course through the sewer system cannot be ignored, are preceded by evocations of occasions when she anxiously searches for, buys, consumes and vomits or purges food: “one day you find yourself walking along, and you impulsively stop in a restaurant, order an enormous dinner, and puke in the woods” (120-1). Hornbacher’s eating disorder in fact is figured as an insidious double: “It and I live in an uncomfortable state of mutual antagonism. That is, to me, a far cry better than once upon a time, when it and I shared a bed, a brain, a body” (4). This sense of the diabolical double is most evident when the narrative is traversed by the desperation of an agitated protagonist who seems to be continually moving between the constricted upper spaces of dormitories, rooms and bathrooms, and gaping, sewerage filled basements, and whose identity as either the original or the double to that original is difficult to determine. For Hornbacher, even at the end of her memoir when she is presented as almost recovered from her eating disorders, the protagonist not only continues to be doubled, but also exists in fragments: she speaks to herself "as if [she] were a horse", speaking "severely to [her] heart" who will pull her down "by the hair" into a nightmarish sleep (288-289). Punter has elaborated on the way dream landscapes in the Gothic open space into paradoxically constricted but labyrinthine infinities that serve to complicate what he has referred to as the two dimensions of our quotidian experience (Pathologies 123). In Wasted, beds give way to icy depths of watery sleeps, and numerous mirrors either fragment the body into parts or alienated other selves, or yield so that the narrator might step, suddenly, into “the neverworld” (10). Out of the two in the doubling, it is not so much the eating disorder—the “It”—but the “I” that becomes most monstrous as occasionally this “I” escapes onto the empty streets where, glimpsed crouching, anxious and confused in a beam of headlights, she reminds us of Frankenstein’s creature on the mountainsides or in the wastes since, as her capacity to articulate is lost in that moment, she becomes an “othered” object in the landscape (173). When, one winter, Hornbacher develops an obsession with running up and down the hall at her school at five am, she sprouts fine fur all over her translucent white skin and begins “to look a bit haunted” (109); later, in a moment of horrifying self-awareness, she realises that she “looked like a monster, most of [her] hair gone, [her] skin the gray color of rotten meat” (266). Punter writes that it is in the “dizzying heights and depths” of the Gothic that such agitation can become frantic: “in vertigo, the sense that there is indeed nowhere to go, not up, not down, and also that staying where you are has its own imponderable but terrible dangers” (Pathologies 10). Hornbacher states that the “worst night of [her] entire life” was spent with “the old familiar adrenaline rush pumping through [her] [….] running through the town, stopping here and there and eating and throwing up in alleyways and eating and blacking out” (273). This ceaseless, anxious, movement, where it is not clear who or what is doing the pursuing, but clear that it is a flight from the condition of abjection, is echoed in the very structure of Hornbacher’s memoir, which moves back and forth in time, seemingly at random, always searching for the decisive event that might, at last, explain or give a definitive beginning point to her disorders. Not only is the “beginning” of the disorders—an ultimate explanation or initiating event—sought but never found, but the narrative also concludes with an Afterword in which the narrator is, demonstrably, yet to recover, and even as she lies in bed next to her husband, is unable to rest (289). As Punter writes: “In Gothic, we do not directly ask, What happened? We ask, Where are we, where have we come from—not in the sense of a birth question, but as a question of how it is that we have ‘come adrift’” (Pathologies 209)—a question which, as Hornbacher finds, she is unable to answer, but nonetheless is obsessed with pursuing—to the point where the entire narrative seems to participate in the very pursuit that comprises the agitated perambulations of her eating disordered body. Although the narrator in Hornbacher’s Wasted, is strikingly alone—even at the end of the memoir, when she is represented as married, her husband is little more than a comforting body—throughout the text she is haunted by the a/effects of others. Hornbacher’s family is shown to be a community where the principle of nurturing is turned on its head. The narrator’s earliest evocation of herself presents a monstrous inversion of the expected maternal relationship: “My mother was unable to breast-feed me because it made her feel as if she were being devoured” (12). The mother’s drive to restrict her own eating is implicated in the narrator’s earliest difficulties with food, and the mother’s denials and evasions make it all the harder for the narrator to make any sense of her own experience (156). A fear of becoming fat haunts all of the family on her mother’s side (137, 240-1); the father, conversely, is figured in terms of excess (22). When the two grandmothers care for the narrator, behind their contradictory attentions towards the young Hornbacher—one to put her on a diet, the other to feed her up (24)—lies a dearth of biographical material. The narrator’s attempts to make sense of her predicament, where her assertion, “there were no events in my life that were overly traumatic” (195), sounds the edges of this void and only serves to signal that this discomforting contested empty space is traversed, as Punter might suggest, by “the hidden narrative of abuse” (Pathologies 15). Certainly the vague awareness of a great-grandmother who, “a hefty person, was mocked” (98) hints at the kind of emotional trauma that might be considered too abject to be remembered. Punter observes that in the Gothic we are in the wake of the effects of events that we cannot know have even happened (Pathologies 208), and the remains of history that assault us “are not to be obviously or readily learned from; for they are the remains of the body, they are the imaginary products of vulnerability and fragility, they are the ‘remains’ of that which still ‘remains to us’; or not” (Pathologies 12). Hornbacher’s sense of disassociation from her self as a body, and the specificity of her own feelings, which she is only ever able to describe as “pissed or fine” (203), evokes an over-smooth shell, like the idealised images of thinspiration that both belie and reveal their anxious nether sides. Even at the conclusion of the memoir, the narrator still does not “yet” know what it might mean for her to be “well” or “normal” (283). Hornbacher writes: “I always had this mental image of me, spilling out of the shell of my skin, flooding the room with tears” (25). In eating disorders, the self, which has never been whole and entire, or self-regulated in Skårderud’s terms, struggles to self-regulate against the ever threatening encroachment of the abject in a way that suggests essentially Gothic scenarios; in eating disordered self-narratives like Hornbacher’s Wasted, this struggle is evident in the very Gothic dynamics of the text. Without the Gothic, which affords us a means of perceiving eating disordered subjectivity in all of its detailed and dramatic dimensions—a subjectivity that theorists to date have found difficult to grasp—neither the abjection inherent in the “spilling” nor the anxious idealisation of the very somatic sense of the ego in the “shell” in Hornbacher's statement can be, I would suggest, sufficiently understood. ReferencesAbraham, Nicolas, Maria Torok, and Nicholas T. Rand. The Shell and the Kernel: Renewals of Psychoanalysis. Tr. Nicholas T. Rand. Vol. 1, Chicago: U of Chicago P, 1994. Bordo, Susan. Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley: U of California P, 1993. Bray, Abigail. “The Anorexic Body: Reading Disorders.” Cultural Studies 10.3 (1996): 413-29. Budgeon, Shelley. “Identity as an Embodied Event.” Body and Society 9.1 (2003): 35-55. Dias, Karen. “The Ana Sanctuary: Women's Pro-Anorexia Narratives in Cyberspace.” Journal of International Women's Studies 4.2 (2003): 31-45. Ferreday, Debra. “Anorexia and Abjection: A Review Essay.” Body and Society 18.2 (2012): 139-55. Goldsmith, Barbara L., and Jane C. Widseth. “Digesting Wasted.” Journal of College Student Psychotherapy 15.1 (2000): 31-34. Hogle, Jerrold E. “‘Cristabel’ as Gothic: The Abjection of Instability.” Gothic Studies 7.1 (2005): 18-28. Hogle, Jerrold E. “The Gothic Ghost of the Counterfeit and the Progress of Abjection.” A New Companion to the Gothic. Ed. David Punter. Chichester: Wiley-Blackwell, 2012: 496-509. Hornbacher, Marya. Wasted: A Memoir of Anorexia and Bulimia, New York: HarperCollins Publishers, 1998. Kilgour, Maggie. The Rise of the Gothic Novel. London: Routledge, 1995. MacDonald, Marianne. “Her Parents Always Argued at Meal Times. So, Perched in Her High Chair, She Decided Not to Eat. At all. Marianne MacDonald reviews Wasted: Coming Back from an Addiction to Starvation.” The Observer: Books, 22 Mar. 1998: 016. Malson, Helen. “Womæn under Erasure: Anorexic Bodies in Postmodern Context.” Journal of Community & Applied Social Psychology 9.2 (1999): 137-53. Orbach, Susie. Bodies. London: Profile Books, 2009. Orbach, Susie. Hunger Strike: The Anorectic’s Struggle as a Metaphor for Our Age. New York: Norton, 1986. Punter, David. Gothic Pathologies: The Text, the Body and the Law. Houndsmill: MacMillan P, 1998. Punter, David. Introduction. A New Companion to the Gothic. Ed. David Punter. Chichester: Wiley- Blackwell, 2012: 1-9. Shelley, Mary. Frankenstein; or, The Modern Prometheus (the 1818 Text). Ed. James Rieger. Indianapolis: Bobbs-Merrill, 1974. Skårderud, Finn. “Bruch Revisited and Revised.” European Eating Disorders Review 17.2 (2009): 83-88. Warin, Megan. Abject Relations: Everyday Worlds of Anorexia. New Brunswick: Rutgers U P, 2010. Zitin, Abigail. “The Hungry Mind.” The Village Voice: Books, 3 Feb. 1998: 135.

At the beginning of his recent collection of essays in queer studies, Jeffrey Escoffier makes the assertion at once portentous and banal that “the moment of acknowledging to oneself homosexual desires and feelings … and then licensing oneself to act ... is the central drama of the homosexual self.” That “moment of self-classification,” he explains, “is an emergency – sublime, horrible, wonderful – in the life of anyone who must confront it.” (1) In the theatre of my own biography, I am unsure how or when I first played out this epiphanic drama of queer self-acknowledgment, but I can vividly recall the first time someone else enacted it for me. In elementary school, at the age of ten, a fellow pupil cornered me in the school playground and announced with calculated precocity to anyone who cared to listen that I was, as he put it, “a homo.” Unlike some of my congregated peers whose chorus of “what’s a homo?” provoked a dizzying exchange of infantile misinformation, I was only too well aware of the term’s meaning and, shocked that my queerness should not only be revealed but also be so transparently legible that even a boorish bully might detect it, slid away in fearful embarrassment. What proved most unsettling to me, however, was that my nascent homosexuality should have been evidenced in this playground spectacle of queer exposure, not on the basis of same-sex desire but, rather, on that of passionate devotion to a woman. Earlier that day, our schoolteacher had directed us to write and then read aloud to the class a composition entitled, “My Hero.” Where most of my classmates wrote predictable tributes to normative role models of the time like Neil Armstrong, Greg Chappell, Muhammad Ali, and even Jesus Christ, I penned an effusive homage to, what I described in the essay as, that “radiant star of stage and screen, Miss Julie Andrews”. It was this profession of ardent affection for a female film star that led directly to my schoolyard outing. As my accuser put it when explicating the deductive rationale behind his sexual detection, “Only a homo would love Julie Andrews!” Even at age ten, the paradoxical (il)logic of this formulation was so glaring as to all but slap me hard across the face – an action transposed from the metaphoric to the literal by my playground adversary who, not content to let “the homo” escape too readily or lightly, pursued me across the schoolyard and pushed me face-first into the asphalt. How could my declaration of desire for a female star – which in strictly definitional terms should have seemed, if anything, eminently heterosexual – be taken so assuredly as a marker of homosexuality? Why and how could my loving Julie Andrews provoke such an explosive manifestation of juvenile homophobia? The answers to these questions were already known, if only intuitively and, thus, only partially, to the ten-year old me. Like many other elements of my childhood, my love for Julie Andrews formed part of what I was fast recognizing was an ever-expanding and ever-consolidating category of bad object-choices – a diverse array of cultural and social cathexes variously abjectified, proscribed or deemed otherwise inconsonant with dominant modes of sexual selfhood. Redefined as a symptom of sexual dissonance, my devotion to Andrews suddenly became a catalytic signifier of shame, a palpable marker of my failure to achieve heteronormality and, thus, another attachment to cache away in the cavernous closet of protogay childhood. That this scenario will sound instantly familiar to many is evidence of the extent to which a politics of shame is routinely mobilized – most potently, though by no means exclusively, in childhood – to stigmatize and thus discipline queer subjectivities. Much of the breathtaking success with which mainstream culture is able to install and mandate a heteronormative economy depends directly on its ability to foster a correlative economy of queer shame through which to disgrace and thus delegitimate all that falls outside the narrow purview of straight sexualities. Not that such processes of juridical stigmatization are necessarily successful. Shameful and shameless are, after all, but a suffix apart and a good deal of the productivity of queer cultures – as of queer lives – resides precisely in the extraordinary capacity they obtain for not only clinging stubbornly and defiantly to the outlawed objects of their desire but investing these objects with a near-inexhaustible source of vitalizing energy. The scene of my schoolyard shaming may have effected a public occlusion of my love for Julie Andrews, but it in no way quelled or attenuated that love. Indeed, transformed into a sign of my developing homosexuality, my attachment to Andrews became more than ever an integral component of my subjectivity and an indefatigable resource for survival in the face of what I perceived to be an unaccommodating social world. Eve Kosofsky Sedgwick dubs these survivalist dynamics of queer culture “reparative” in the sense given the term by object-relations theory as an affirmative impulse to repair or make good the losses of subjective constitution. Unlike the competing paranoid positionality which in object-relations theory is understood to fracture the world into colliding part-objects and is marked by “hatred, envy, and anxiety”, the reparative dynamic is marked by love and seeks to reassemble or repair the subject’s world into “something like a whole” that is “available both to be identified with and to offer one nourishment and comfort in turn.” (Sedgwick, 8) For Sedgwick, this idea of a reparative impulse speaks powerfully to the inventive and obstinate ways in which queer subjects negotiate spaces of self-affirmation in the face of a hostile environment, or as she evocatively puts it, the ways in which queer “selves and communities succeed in extracting sustenance from ... a culture whose avowed desire has often been not to sustain them.” (35) As a paradigmatic example of and governing trope for this reparative tradition of queer survivalism, Sedgwick offers, significantly for my purposes, the image of the proto-queer child or adolescent ardently (over)attached to a cultural text or object, passionately investing that text or object with almost talismanic properties to repair or make good a damaged socius . “Such a child,” she writes, “is reading for important news about herself, [even] without knowing what form that news will take; with only the patchiest familiarity with its codes; without, even, more than hungrily hypothesizing to what questions this news may proffer an answer.” (2-3) This characterization of a reparatively positioned proto-queer reader resonates profoundly with my own fiercely loving attachments to Julie Andrews. Much of the energy of these attachments – certainly in childhood and, perhaps less urgently but no less decisively, in adulthood – springs directly from the reparative performances to which this particular star has been cast in the playhouse of my own imaginary. To wit: a cherished ritual from childhood. In the days when I was growing up, the days before VCRs and cable television, my Andrews fandom was of necessity organized not so much around her film texts as around her recordings. While I had seen her films and these were vital, generative sites for my fan passions, the primary focus for those passions – where they were practised, indulged, nurtured – was her vocal recordings. On long, listless afternoons, returned home from school, I would rush to the living room, position myself firmly in front of the family hi-fi and blissfully listen my way through my expansive collection of Julie Andrews LPs. My favourite, without doubt, was the soundtrack recording for The Sound of Music, which I would play and replay for hours on end. I can still recall the palpable sense of breathless anticipation when, unsheathed from its cover and reverently placed on the turntable, the disc would crackle to life. A whispering breath of wind, an echo of birdsong, a rapid swell of violins, and Julie’s inimitable voice would break forth in fortissimo triumph, leaping through the speakers and enveloping the room with melodic abundance. To augment the sense of excitement, I would, while listening, gaze intently at the record cover with its celebrated image of Julie leaping in mid-flight like a preternatural oread, her skirt billowing up with carefree delight, arms swinging open in joyous welcome, effortlessly holding aloft a guitar case and a travelling bag, twin symbols of musical expressivity and liberating escape. Projecting myself into the scene, I would twirl with Julie in imaginary freedom, riding the crest of her crystalline voice in rapturous transport from the suburban mundanity of family, school, and straightness. Invested with the attentive love and astonishing creativity of juvenile fandom, Andrews provided not just the promissory vision of a life different from and infinitely freer than the one I knew, but the fantasmatic means through which to achieve and sustain this process of transcendence. If I loved Julie Andrews as a child it was because that love functioned as a process through which to resist and transfigure the oppressive banalities of the heteronormative everyday. Though unaware of it at the time, my childhood mobilization of a female star as a vehicle of, and for, quotidian transcendence has a long and rich pedigree in queer cultures, especially gay male cultures. From the enthusiasms of the nineteenth century dandies for operatic primi donne and the fervent gay cult followings in the mid-twentieth century of Hollywood stars such as Judy Garland and Bette Davis, to contemporary queer celebrations of dancefloor goddesses, diva worship has been a staple of gay male cultural production where it has sustained a spectacularly diverse array of insistently queer pleasures. While loath to generalize its heterogeneous functions and values, I submit that much of the enduring vitality of diva worship in gay male cultures resides in the commodious scope it affords for reparative cultural labour. Indeed, most critical discussions of gay diva worship posit in some fashion that gay men engage divas as imaginary figures of therapeutic empowerment. “At the very heart of gay diva worship”, opines Daniel Harris, is “the almost universal homosexual experience of ostracism and insecurity” and the desire to “elevate [one]self above [one’s] antagonistic surroundings.” (Harris, 10) Wayne Koestenbaum similarly claims that "gay culture has perfected the art of mimicking a diva – of pretending, inside, to be divine – to help the stigmatized self imagine it is received, believed, and adored." (Koestenbaum, 133) Tuned to the chord of reparative amelioration, diva worship emerges here as a vital practice of affective queer enfranchisement: the restoration of a functional selfhood and the provision of emotional resources through which to transcend – and survive – the often violent deformations of a heteronormative world. That such processes of male homosexual affirmation should be articulated through ardent devotion to a woman might seem a strange paradox. But just as love and sex are never inevitable correspondents, the presence of a heterosexual passion inscribed at the very heart of gay male culture by its long histories of diva worship is a sure – and welcome – sign of the irrepressible waywardness of desire and its stubborn refusal to fit the impoverished scripts that we nominate sexuality. Works Cited Escoffier, Jeffrey. American Homo: Community and Perversity. Berkeley: University of California Press, 1998. Harris, Daniel. The Rise and Fall of Gay Culture. New York: Hyperion, 1997. Koestenbaum, Wayne. The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire. New York: Poseidon Press, 1993. Sedgwick, Eve Kosofsky. “Paranoid Reading and Reparative Reading; or, You’re So Paranoid, You Probably Think This Introduction Is About You.” Novel Gazing: Queer Readings in Fiction. Durham: Duke University Press, 1997. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Farmer, Brett. "Loving Julie Andrews" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/lovingjulie.php>. APA Style Farmer, B., (2002, Nov 20). Loving Julie Andrews. M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/lovingjulie.html

Me? "I" am everywhere. The 'self' permeates contemporary culture. Through capitalist individualism and conservative politics, 'self' must be considered first above the needs of the group - "looking after no. 1". In therapeutic, religious and consumerist discourses of self-improvement, self-help or self-actualisation, 'self' is obscured; an entity which needs to be sought and found, changed or accommodated, an entity which one needs to become "in touch with". Within these permutations "self" carries the assumption of its own existence, as either a stable, unchanging entity or as a contextually sensitive and dynamic identity. We invited submissions on the broad subject of "self" and were overwhelmed by the range and ambition of responses tendered. As a result, the "Self" issue of M/C contains a Feature Article and three sub-sections: 1. Performances and the Public Self, 2. The Self and the Physical, and 3. Representing Selves, Consuming Selves. We are very pleased to have Michael Clyne as the feature writer for this issue. "Saving Us From Them -- The Discourse of Exclusion on Asylum Seekers" is a timely and relevant critique of the rhetoric currently being adopted by Australian political leaders and the media around asylum seekers. Clyne discusses the negative construction of asylum seekers through this public discourse, particularly focussing on various events such as the "children overboard" affair. The use of such terms as "queue jumpers" and "border protection" are examined to reveal an exclusionary and damaging discourse which both reflects and is enacted in public attitudes and ultimately political policy. The first of our sections, "Performance and the Public Self" investigates manifestations of self across film, television, theatre and writing. Sandy Carmago, in "'Mind the Gap': The Multi-Protagonist Film Genre, Soap Opera, and the Emotive Blockbuster" explores the self in American cinema, and more particularly, in "multi-protagonist" or "emotive blockbuster" films, using the example of Magnolia. Carmago argues that although these films represent very different selves to those in mainstream (single-protagonist) action blockbusters, principally via their use of multiple protagonists, ultimately "[t]he emotive blockbuster supports rather than critiques the view of the self as isolated, solipsistic, and focused on personal rather than social distress." "Performing the Self", by Deidre Heddon, surveys performances of self, focusing on performance artists. Counter to critical claims that such autobiographical performances are solipsistic, Heddon seeks to unveil why such criticisms are so commonly levelled at performances of self, using autobiographical criticism and questions of performativity to offer alternative readings. Heddon reveals the politics and complexities of self-performativity through an exploration of personas, multiple selves and self-parody. In "Modernity and the Self: Explorations of the (Non-) Self-determining Subject in South Korean TV Dramas", Angel Lin explores the cultural constructions of self/self-determining subject in popular South Korean television programmes. Lin argues that the programmes create spaces for the contestation of contemporary notions of self, particularly the conflicts between traditional culture and the influences of Western notions of self. "What is Real? Where Fact Ends and Fiction Begins in the Writing of Paul Theroux" is Andie Miller's examination of Paul Theroux's construction of truth and self within his travel writings, particularly Fresh-Air Fiend and My Secret History. Miller describes Theroux's ability to perplex his readers by mixing fact within fiction and fantasy with non-fiction, which then influences the manner in which he is described within reviews and comments on his own public self. The first section concludes with Mark Peterson's "Choosing the Wasteland: The Social Construction of Self as Viewer in the U.S.". In this piece, Peterson attempts to resolve the contradiction between the high level of television consumption in the U.S. and the criticism of television content in individual and public discourse. Peterson suggests that the term "veging out" and its associated discourse provides a window into this paradox by allowing American consumers to construct themselves as "sensible, choice-making persons" whilst also watching large amounts of television. The second section of articles, "The Self and the Physical" revisits the mind/body dichotomy which has perplexed philosophers for thousands of years. This section begins with Paula Gardner's "The Perpetually Sick Self: The Cultural Promotion and Self-Management of Mood Illness". In this article she investigates the cultural promotion of a 'script' that assumes sick moods are possible, encouraging the self-assessment of risk and self-management of dysfunctional mood. Gardner suggests that this form of self assessment has helped to create a new, adjustable subject. Continuing the theme of self health management, Nadine Henley, in her article "The Healthy vs the Empty Self: Protective vs Paradoxical Behaviour", looks at behaviours, such as smoking, and the effectiveness of health promotions based on models which falsely assume that people are motivated to protect themselves from harm. Henley uses Cushman's concept of the hungry, empty self to explain why some people are more susceptible to cravings than others. Kerry Kid brings us back to the self's sickness in "Called to Self-care, or to Efface Self? Self-interest and Self-splitting in the Diagnostic Experience of Depression". She examines one of the primary disorders of self, clinical depression. She suggests that depression is being seen more as a "a trivial, socially manageable adjunct to the human condition of being", resulting in this condition and its drug-focussed becoming normalised. Kid is interested in the dilemma of the mind/body divide and how that affects the self/diagnosis and treatment of depressive disorders. In Derek Wallace's " 'Self' and the Problem of Consciousness" the issue of the link between the physical and cerebral is again examined. Wallace succinctly links the writings of philosophers and neuroscientists on 'self', explicating the emerging view that self is "a biologically generated but illusory construction, an effect of the operation of what are called 'neural correlates of consciousness' ". Wallace supplements this view with a term he coins 'verbal correlates of consciousness' which takes into account much of the recent post-structuralist work on self. The third section of articles, "Representing Selves, Consuming Selves" traverses issues such as self-reflexivity, the socially constructed self, self-identification, consumption and photographic selves. Matt Adams, in "Ambiguity: The Reflexive Self & Alternatives" examines the attention given to reflexivity in recent theoretical accounts of contemporary selfhood, as an "increasingly central organising phenomenon in being a self." Focusing on Anthony Giddens in particular, Adams critically explores this interest in self-reflexivity. He argues that although such accounts reveal important aspects of modern self-identity, they neglect "many areas of experience relevant to the contemporary self - tradition, culture and concepts of fate, the unconscious and emotions". Adams suggests that selves are far more complex and "ambiguous" than Giddens and others suggest. Moving from contemporary selves to Victorian selves -- in "Portrait of the Self: Victorian Technologies of Identity Invention" Gabrielle Dean uses the 19th century daguerreotype to provide a captivating context for examining notions of self. Dean investigates how the photograph affects notions of self – particularly notions of authorship, objectivity, truthfulness and the public self. As Dean suggests, "[w]hat photography mummifies, distorts and murders, among other things, is the sense that the reality of the self resides in the body, the corporeal and temporal boundaries of personhood." The conception of death is irrevocably connected to questions of self. Back in the 21st century, Lelia Green begins her article "Who is Being Helped When We Help Our Self?" by revisiting the continuing dilemma of whether self-deception is possible. Green then examines the plethora of self help literature now available at most bookshops, which she links to the need to cater for "our sense of accelerating change". The final two articles in this section explore questions of self, identity and autonomy. Simone Pettigrew, in "Consumption and the Self-Concept", considers the notion of self via the self that is reflected in "consumption decisions". Pettigrew reviews the research on consumer behaviour that suggests consumer autonomy in consumption decisions. She argues that this research is "simplistic and fails to appreciate the extent to which culture influences individuals' perceptions of the desirability of different 'ways to be'; certain objects are required to communicate particular selves. In "Conflicting Concepts of Self and The Michigan Womyn's Music Festival" Ianto Ware uses the Michigan Womym's Music Festival as a context to explore the difficult socio-biological constructions of gendered selves. Ware explores the gender/identity politics inherent within notions of "collective selves" and assumptions of shared identity. In problematising the continuous creation of new social identities, Ware argues that new approaches are needed for addressing and communicating identities as fluid entities. What this collection of articles succeeds in doing is to demonstrate that the self is multitudinous and changing, along with the various stakeholders invested in these selves. Just as philosophers, social scientists, behavioural and medical scientists have been investigating the existence and significance of individual consciousness, self-perception, self-promotion and other notions of "the self" for centuries, the research included in this feature demonstrates the continuing need to do so. Citation reference for this article Substitute your date of access for Dn Month Year etc... MLA Style Douglas, Kate and Meakins, Felicity. "Editorial" M/C: A Journal of Media and Culture 5.5 (2002). [your date of access] < http://www.media-culture.org.au/mc/0210/Editorial.html &gt. Chicago Style Douglas, Kate and Meakins, Felicity, "Editorial" M/C: A Journal of Media and Culture 5, no. 5 (2002), < http://www.media-culture.org.au/mc/0210/Editorial.html &gt ([your date of access]). APA Style Douglas, Kate and Meakins, Felicity. (2002) Editorial. M/C: A Journal of Media and Culture 5(5). < http://www.media-culture.org.au/mc/0210/Editorial.html &gt ([your date of access]).

Introduction Jerusalema, a song from Mzansi — an informal isiZulu name for South Africa — became a global hit during the Covid-19 pandemic. Set to a repetitive, slow four-to-a-bar beat characteristic of South African house music, the gospel-influenced song was released through Open Mic Productions in 2019 by the DJ and record producer Kgaogelo Moagi, popularly known as ‘Master KG’. The production resulted from a collaboration between Master KG, the music producer Charmza The DJ, who composed the music, and the vocalist Nomcebo Zikode, who wrote the lyrics and performed the song for the master recording. Jerusalema immediately trended on social media and, as a “soundtrack of the pandemic” (Modise), became one of the most popular songs of 2020. Soon, it reached no. 1 on the music charts in Belgium, Romania, the Netherlands, South Africa, and Switzerland, while going triple platinum in Italy and double platinum in Spain (Hissong). By September 2020, Jerusalema was the most Shazammed song in history. To date, it has generated more than half a billion views on YouTube. After its initial success as a music video, the song’s influence was catapulted to a global cultural phenomenon by the #JerusalemaDanceChallenge video posted by the Angolan dance troupe Fenómenos do Semba in 2020, featuring exquisite dance steps that inspired a viral social media challenge. Some observed that footwork in several of the videos posted, suggested dance types associated with pantsula jive and kwaito music, both of which originated from the black townships of South Africa during the apartheid era. Yet, the leader of the Angolan dance troupe Fenómenos do Semba, Adilson Maiza claimed that the group’s choreography mixed kuduro dance steps (derived from the Angolan Portuguese term “cu duro” or “hard ass”) and Afro-beat. According to Master KG, indeed, the choreography made famous by the Angolan dancers conveyed an Angolan touch, described by Maiza as signature ginga e banga Angolana (Angolan sway and swag; Kabir). As a “counter-contagion” in the age of Coronavirus (Kabir), groups of individuals, ranging from school learners and teachers, police officers, and nursing staff in Africa to priests and nuns in Europe and Palestinians in the Old City of Jerusalem were posting Jerusalema dance videos. Famous efforts came from Vietnam, Switzerland, Ireland, Austria, and Morocco. Numerous videos of healthcare workers became a source of hope for patients with COVID-19 (Chingono). Following the thought of Zygmunt Bauman, in this article I interpret Jerusalema as a “re-enchantment” of a disenchanted world. Focussing on the song’s “magic”, I interrogate why this music video could take on such special meaning for millions of individuals and inspire a viral dance craze. My understanding of “magic” draws on the writings of Patrick Curry, who, in turn, bases his definition of the term on the thought of J.R.R. Tolkien. Curry (5) cites Tolkien in differentiating between two ways in which the word “magic” is generally used: “one to mean enchantment, as in: ‘It was magic!’ and the other to denote a paranormal means to an end, as in: ‘to use magic’”. The argument in this article draws on the first of these explications. As a global media sensation, Jerusalema placed a spotlight on the paucity of a “de-spiritualized, de-animated world,” a world “waging war against mystery and magic” (Baumann x-xi). However, contexts of production and reception, as outlined in Burns and Hawkins (2ff.), warrant consideration of social and cultural values and ideologies masked by the music video’s idealised representation of everyday South African life and its glamourised expression of faith. Thus, while referring to the millennia-old Jerusalem trope and its ensuing mythologies via an intertextual reading, I shall also consider the song alongside the South African-produced epic gangster action film Jerusalema (2008; Orange) while furthermore reflecting on the contexts of its production. Why Jerusalema — Why Its “Magic”? The global fame attained by Master KG’s Jerusalema brought to the fore questions of what made the song and its ensuing dance challenge so exceptional and what lay behind its “magic” (Ndzuta). The song’s simple yet deeply spiritual words appeal to God to take the singer to the heavenly city. In an abbreviated form, as translated from the original isiZulu, the words mean, “Jerusalem is my home, guard me, walk with me, do not leave me here — Jerusalem is my home, my place is not here, my kingdom is not here” (“Jerusalema Lyrics in English”). These words speak of the yearning for salvation, home, and togetherness, with Jerusalem as its spiritual embodiment. As Ndzuta notes, few South African songs have achieved the kind of global status attained by “Jerusalema”. A prominent earlier example is Miriam Makeba’s dance hit Pata Pata, released in the 1960s during the apartheid era. The song’s global impact was enabled by Makeba’s fame and talent as a singer and her political activism against the apartheid regime (Ndzuta). Similarly, the South African hits included on Paul Simon’s Graceland album (1986) — like Ladysmith Black Mambazo’s Homeless — emanated from a specific politico-historical moment that, despite critique against Simon for violating the cultural boycott against South Africa at the time, facilitated their international impact and dissemination (Denselow). Jerusalema’s fame was not tied to political activism but derived from the turbulent times of the COVID-19 pandemic, which, according to statistics published by the World Health Organization, by the end of 2020 had claimed more than 3 million lives globally (“True Death Toll of Covid-19”). Within this context, the song’s message of divine guidance and the protection of a spiritual home was particularly relevant as it lifted global spirits darkened by the pandemic and the many losses it incurred. Likewise, the #JerusalemaDanceChallenge brought joy and feelings of togetherness during these challenging times, as was evidenced by the countless videos posted online. The Magic of the Myth Central to the lyrics of Jerusalema is the city of Jerusalem, which has, as Hees (95) notes, for millennia been “an intense marker of personal, social and religious identity and aspirations in words and music”. Nevertheless, Master KG’s Jerusalema differs from other “Jerusalem songs” in that it encompasses dense layering of “enchantment”. In contrast to Ladysmith Black Mambazo’s Awu Jerusalema, for instance, with its solemn, hymn-like structure and close harmonic vocal delivery, Master KG’s Jerusalema features Nomcebo’s sensuous and versatile voice in a gripping version of the South African house/gospel style known affectionately as the “Amapiano sound” — a raw hybrid of deep house, jazz and lounge music characterised by the use of synthesizers and wide percussive basslines (Seroto). In the original music video, in combination with Nomcebo’s soulful rendition, visuals featuring everyday scenes from South African township life take on alluring, if not poetic dimensions — a magical sensory mix, to which an almost imperceptible slow-motion camera effect adds the impression of “time slowing down”, simultaneously “softening” images of poverty and decay. Fig. 1: “Enchantment” and the joy of the dance. Still from the video “Jerusalema”. From a philosophical perspective, Zygmunt Bauman (xi) contends that “it is against a dis-enchanted world that the postmodern re-enchantment is aimed”. Yet, in a more critical vein, he also argues that, within the postmodern condition, humanity has been left alone with its fears and with an existential void that is “here to stay”: “postmodernity has not allayed the fears that modernity injected into humanity; postmodernity only privatized these fears”. For this reason, Bauman believes, postmodernity “had to become an age of imagined communities” (xviii-xxix). Furthermore, he deems that it is because of its extreme vulnerability that community provides the focus of postmodern concerns in attracting so much intellectual and “real-world” attention (Bauman xxix). Most notably, and relevant to the phenomenon of the media craze, as discussed in this article, Bauman defines the imagined community by way of the cogito “I am seen, therefore I exist” (xix). Not only does Bauman’s line of thought explain the mass and media appeal of populist ideologies of postmodernity that strive to “fill the void”, like Sharon Blackie’s The Enchanted Life — Unlocking the Magic of the Everyday, or Mattie James’s acclaimed Everyday Magic: The Joy of Not Being Everything and Still Being More than Enough; it also illuminates the immense collective appeal of the #JerusalemaDanceChallenge. Here, Bauman’s thought on the power of shared experience — in this case, mass-mediated experience — is, again, of particular relevance: “having no other … anchors except the affections of their ‘members’, imagined communities exist solely through … occasional outbursts of togetherness” (xix). Among these, he lists “demonstrations, marches, festivals, riots” (xix). Indeed, the joyous shared expression of the #JerusalemaDanceChallenge videos posted online during the COVID-19 pandemic may well sort under similar festive public “outbursts”. As a ceremonial dance that tells the story of shared experiences and longings, Jerusalema may be seen as one such collective celebration. True to African dance tradition, more than being merely entertainment for the masses, each in its own way, the dance videos recount history, convey emotion, celebrate rites of passage, and help unify communities in one of the darkest periods of the recent global past. An Intertextual Context for Reading “Jerusalema” However, historical dimensions of the “Jerusalem trope” suggest that Jerusalema might also be understood from a more critical perspective. As Hees (92) notes, the trope of the loss of and longing for the city of Jerusalem represents a merging of mythologies through the ages, embodied in Hebrew, Roman, Christian, Muslim, and Zionist religious cultures. Still, many Jerusalem narratives refrain from referring to its historical legacy, which fuelled hostility between the West and the Muslim world still prevalent today. Thus, the historical realities of fraud, deceit, greed, betrayal, massacres, and even cannibalism are often shunned so that Jerusalem — one of the holiest yet most blood-soaked cities in the world (Hees 92, 95) — is elevated as a symbol of the Heavenly City. In this respect, the South African crime epic Gangster Paradise: Jerusalema, which premiered at the Berlin International Film Festival in 2008 and was later submitted to the Academy Awards for consideration to qualify as a nominee for Best Foreign Language Film (De Jager), stands in stark contrast to the divine connotations of Master KG’s Jerusalema. According to its director Ralph Ziman (Stecker), the film, inspired by a true story, offers a raw look into post-apartheid crime and corruption in the South African city of Johannesburg (De Villiers 8). Its storyline provides a sharp critique of the economic inequalities that torment South Africa in post-apartheid democracy, capturing the dissatisfaction and the “wave of violent crimes that resulted from the economic realities at its root” (Azuawusiefe 102). The irony of the narrative resides in the fact that the main protagonist, Lucky Kunene, at first reluctant to resort to a life of crime, turns to car hijacking and then to hijacking derelict, over-crowded buildings in the inner-city centre of Hillbrow (Hees 90). Having become a wealthy crime boss, Johannesburg, for him, becomes symbolic of a New Jerusalem (“Jerusalem Entjha”; Azuawusiefe 103; Hees 91-92). Entangled in the criminal underbelly of the city and arrested for murder, Kunene escapes from prison, relocating to the coastal city of Durban where, again, he envisages “Jerusalem Enthjha” (which, supposedly, once more implies a life of crime). As a portrayal of inner-city life in Johannesburg, this narrative takes on particular relevance for the current state of affairs in the country. In September this year, an uncontainable fire at a derelict, overcrowded hijacked building owned by Johannesburg municipal authorities claimed the lives of 73 people — a tragic event reported on by all major TV networks worldwide. While the events and economic actualities pictured in the film thus offer a realistic view of the adversities of current South African life, visual content in Master KG’s Jerusalema sublimates everyday South African scenes. Though the deprivation, decay, and poverty among which the majority of South Africans live is acknowledged in the video, its message of a yearning for salvation and a “better home” is foregrounded while explicit critique is shunned. This means that Jerusalema’s plea for divine deliverance is marked by an ambivalence that may weaken an understanding of the video as “pure magic”. Fig. 2: Still from the video Jerusalema showing decrepit living conditions in the background. “Jerusalema” as Layers of Meaning From Bauman’s perspective, Jerusalema — both as a music video and the #JerusalemaDanceChallenge — may represent a more profound human longing for imagined communal celebration beyond mass-mediated entertainment. From such a viewpoint, it may be seen as one specific representation of the millennia-old trope of a heavenly, transcendent Jerusalem in the biblical tradition, the celestial city providing a dwelling for the divine to enter this world (Thompson 647). Nevertheless, in Patrick Curry’s terms, as a media frenzy, the song and its ensuing dance challenge may also be understood as “enchantment enslaved by magic”; that is, enchantment in the service of mass-mediated glamour (7). This implies that Jerusalema is not exempt from underlying ideologised conditions of production, or an endorsement of materialistic values. The video exhibits many of the characteristics of a prototypical music video that guarantee commercial success — a memorable song, the incorporation of noteworthy dance routines, the showcasing of a celebrated artist, striking relations between music and image, and flashy visuals, all of which are skilfully put together (compare Korsgaard). Auslander observes, for instance, that in current music video production the appearance and behaviour of artists are the basic units of communication from which genre-specific personae are constructed (100). In this regard, the setting of a video is crucial for ensuring coherence with the constructed persona (Vernallis 87). These aspects come to the fore in Master KG’s video rendition of Jerusalema. The vocalist Nomcebo Zikode is showcased in settings that serve as a favourable backdrop to the spiritual appeal of the lyrics, either by way of slightly filtered scenes of nature or scenes of worshippers or seekers of spiritual blessing. In addition, following the gospel genre type, her gestures often suggest divine adoration. Fig. 3: Vocalist Nomcebo Zikode in a still from the video Jerusalema. However, again some ambiguity of meaning may be noted. First, the fashionable outfits featured by the singer are in stark contrast with scenes of poverty and deprivation later in the video. The impression of affluence is strengthened by her stylish make-up and haircut and the fact that she changes into different outfits during the song. This points to a glamorisation of religious worship and an idealisation of township life that disregards South Africa’s dire economic situation, which existed even before COVID-19, due to massive corruption and state capture in which the African National Congress is fully implicated (Momoniat). Furthermore, according to media reportage, Jerusalema’s context of production was not without controversy. Though the video worked its magic in the hearts of millions of viewers and listeners worldwide, the song’s celebration as a global hit was marred by legal battles over copyright and remuneration issues. First, it came to light that singer-songwriter Nomcebo Zikode had for a considerable period not been paid for her contribution to the production following Jerusalema’s commercial release in 2019 (Modise). Therefore, she resorted to a legal dispute. Also, it was alleged that Master KG was not the original owner of the music and was not even present when the song was created. Thus, the South African artists Charmza The DJ (Presley Ledwaba) and Biblos (Ntimela Chauke), who claimed to be the original creators of the track, also instituted legal action against Kgaogelo Moagi, his record label Open Mic Productions, and distributor Africori SA whose majority shareholder is the Warner Music Group (Madibogo). The Magic of the Dance Despite these moral and material ambiguities, Jerusalema’s influence as a global cultural phenomenon during the era of COVID spoke to a more profound yearning for the human condition, one that was not necessarily based on religious conviction (Shoki). Perhaps this was vested foremost in the simplicity and authenticity that transpired from the original dance challenge video and its countless pursuals posted online at the time. These prohibit reading the Jerusalema phenomenon as pseudo-enchantment driven only by a profit motive. As a wholly unforeseen, unifying force of hope and joy, the dance challenge sparked a global trend that fostered optimism among millions. Fig. 4: The Angolan dance troupe Fenómenos do Semba. (Still from the original #JerusalemaDanceChallenge video.) As stated earlier, Jerusalema did not originate from political activism. Yet, Professor of English literature Ananya Kabir uncovers a layer of meaning associated with the dance challenge, which she calls “alegropolitics” or a “politics of joy” — the joy of the dance ­­— that she links on the one hand with the Jerusalem trope and its history of trauma and dehumanisation, and, on the other, with Afro-Atlantic expressive culture as associated with enslavement, colonialism, and commodification. In her reading of the countless videos posted, their “gift to the world” is “the secret of moving collectively”. By way of individual responses to “poly-rhythmic Africanist aesthetic principles … held together by a master-structure”, Kabir interprets this communal dance as “resistance, incorporating kinetic and rhythmic principles that circulated initially around the Atlantic rim (including the Americas, Europe, the Caribbean, and Africa)”. For her, the #JerusalemaDanceChallenge is “an example of how dance enables convivencia (living together)”; “it is a line dance (animation in French, animação in Portuguese, animación in Spanish) that enlivens parties through simple choreography that makes people dance together”. In this sense, the routine’s syncopated steps allow more and more people to join as each repetition unfolds — indeed, a celebratory example of Bauman’s imagined community that exists through an “outburst of togetherness” (xix). Such a collective “fest” demonstrates how, in dance leader Maiza’s words, “it is possible to be happy with little: we party with very little” (Kabir). Accordingly, as part of a globally mediated community, with just the resources of the body (Kabir), the locked-down world partied, too, for the duration of the magical song. Whether seen as a representation of the millennia-old trope of a heavenly, transcendent Jerusalem, or, in Curry’s understanding, as enchantment in the service of mass-mediated glamour, Jerusalema and its ensuing dance challenge form an undeniable part of recent global history involving the COVID-19 pandemic. As a media frenzy, it contributed to the existing body of “Jerusalem songs”, and lifted global spirits clouded by the pandemic and its emotional and material losses. Likewise, the #JerusalemaDanceChallenge was symbolic of an imagined global community engaging in “the joy of the dance” during one of the most challenging periods in humanity’s recent past. References Auslander, Philip. “Framing Personae in Music Videos.” The Bloomsbury Handbook of Popular Music Video Analysis. Eds. Loria A. Burns and Stan Hawkins. London: Bloomsbury, 2019. 92-109. 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