411 research outputs found
Using group improvisation and imaginative listening to nurture creative autonomy in A-level music students: teaching composition for examination purposes in England
This thesis examines the effects of group improvisation and imaginative listening on teaching and learning in the composing component of A-level Music in one school in England. Problems with teaching composition in schools have long been acknowledged, with the same issues raised across studies spanning several years: how to teach it, and how to interpret assessment criteria. In that context, this action research project developed in response to a perceived association between studentsâ behaviours in composition and listening, with cautious, teacher-reliant composers also struggling to listen constructively to music that presented new aesthetic challenges.
As studies with A-level Music students are rare and there is no research connecting listening, improvising, and composing in this context, a wide range of literature, educational and otherwise, was consulted. This scholarship underpins two central studies in this project, undertaken in the academic year 2020-21. The first study aimed to enable students to participate in group improvisation, addressing preconceptions about genre, skills, and expectations. Thematic analysis of data revealed a correlation between reduced self-consciousness and improved expression of observations and interaction when improvising, the latter supporting a view that positive self-constructs and creativity are linked. The second study used group improvisation alongside imaginative listening tasks as part of a developing composition curriculum. Characterful playing in improvisation, curiosity in listening, and a healthy dimension of perfectionism in composition were found to be connected by the attribute of risk-taking. Significant links emerged between behaviours in improvising, composing, and listening, indicating possible ways of indirectly nurturing creative autonomy and positive creative self-concept.
This research informs a potential A-level composition curriculum that interweaves group improvising, listening, and composing. Rather than focussing on skills development, product assessment, or devising a model of the compositional process, this thesis recommends ways to nurture âunteachableâ inner attributes such as intuition, self-trust, and aesthetic awareness, essential qualities in critical and autonomous composers
Decolonising Transculturally via JosĂ© Rizalâs Life & Legacy as Motif
While JosĂ© Rizal was not a separatist, he prompted the development for the Philippine Revolution from colonial Spain. His life and legacy are motifs for a movement away from colonial mentalities, which are evidenced in his writings, particularly his novels. This thesis encourages decolonisation as a praxis, by advocating plurilingualism and plurilingual literatures. By juxtaposing Rizalâs life and legacy with theories from (decolonial) thinkers, we may look for a decolonised future beyond nation-ness, nationalism, and sovereignty to create a personal and collective consciousness through enlightenment and empathyâa pluriversal humanity where love is the main cause; the heart as the forerunner for a mental revolution. We engage with creative resistance for plurality from Mikhail Bakhtin and Fyodor Dostoevskyâs âpolyphonyâ or âdialogismâ then delve into Jacques Derridaâs âDeconstruction of Languageâ and his critiques on Emmanuel Levinas; Ădouard Glissantâs Poetics of Relation then NgĆ©gÄ© wa Thiong'o âPolitics of Languageâ, in effect inverting canonical comprehensions of colonialism to reinscribe the linguistically, culturally and discursively marginalised. Imagining the nation as an evolving community of language and culture, this thesis moves normative colonial Western hegemony that occupies the front and centre of thinking and practise through local self-determination while emphasising global decoloniality. This may be achieved primarily through linguistic and transcultural transformation and translation, i.e., plurilingualism. Going beyond our hegemonic monolingual ideologies refracts our consciousness by dislodging the sense of entitlement held by dominant groups and languages. This thesis and poetry collections help through enlightenment of Rizalâs polyglot consciousnessâhis life and legacy, and draws attention for Australians and regions of the world that remain oppressed where colonial subjugation are radically undermining ways of being, thinking, and relating
Worshipping at the Shrine of Wagner: Fandom, Media and Richard Wagner
Nineteenth-century opera composer Richard Wagner has long inspired passionate responses, with contemporary commentators often noting the cult-like reverence with which lovers approached his operas. In the years since, however, interest in Wagnerâs art has not disappeared. In this dissertation, I explore the contours of modern Wagnerism using as my primary case study the Toronto Wagner Society, asking how members incorporate opera into their lives and what Wagner means to them. To do this, I employ a multimethodology of ethnography, an examination of Wagnerâs art and rhetoric, and a consideration of the materiality of opera. These findings are analyzed through a dual lens of fan studies and cultural techniques, with which this dissertation makes two principal moves: first, to highlight how fandom of high culture is different in nature, not in kind to fandom of popular culture; second, to propose a networked model of fandom, one which conceptualizes fandom as a dynamic assemblage of audience, media and text.
Chapter 1 opens by asking what is a fan, which I resolve through the introduction of cultural techniques, and subsequently, my networked model of fandom. I also consider how cultural techniques research might expand to include ethnography. Chapter 2 lays out the main findings of my interview. Particularly, I examine how aging intersects with reception, how fans re-enact the distinction between German and Italian opera, and the joy of opera as an explicitly performance art. Chapter 3 tackles the dual description of Wagner as both âworkâ and âoverwhelming.â By taking seriously Theodor Adornoâs criticism, I illustrate how his music and rhetoric exert their agency onto fans. The final chapter studies the materiality of reception. Employing the metaphor of Michel Serresâ parasite, I analyze how the media which host opera shape reception through an examination of the role of the theatre, and by tracking mentions of Wagner in Torontoâs Globe newspaper in the years 1875â1876
The Tragedy of the Self:Lectures on Global Hermeneutics
Why do human beings interpret their overall experience in terms of selfhood? How was the notion and sense of self shaped at different times and in different cultures? What sort of problems or paradoxes did these constructions face? These lectures address these and related questions by sketching a roadmap of possible theoretical avenues for conceiving of the self, bringing to the foreground its soteriological implications, while also testing this theoretical outlook against insights offered by various disciplines. Exploring the crosscultural spectrum of possible ways of conceiving of the self invites the more existential question of whether any of these possibilities might offer resources for dealing with the tragedies of todayâs world, or maybe even saving it from some of them
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âNothing new under the sunâ: literary allusion, intertextuality, and lyrical performative stylistic allusion in hip hop lyricism
This critical-creative thesis explores how several rap artists from key eras in hip hop culture have utilised the techniques of literary allusion and intertextuality to impact their work in multiple meaningful ways. The creative component of the thesis (comprising a trilogy of rap LPs) provides a template/framework for future research in these areas through a practice-based, creative-led focus on the use of intertextuality in rap to identify and artistically illustrate the sophisticated uses of these techniques. Case studies included in this thesis focus on: Nasâs use of creative patrilineage (Higgins, 2007) to form modes of lyrical transcendence, epistolic legacy, and religious and thematic allusion (Ch. 1); Kendrick Lamarâs engagement with intertextuality to explore loss and trauma, and his revision of the postmortem sampling trope (Williams, 2013) (Ch. 2); and the technique of lyrical performative stylistic allusion through the lyrics of J.I.D., Kemba, Saba, Earl Sweatshirt, and MIKE and Navy Blue (Ch. 3).
Whilst intertextuality in hip hop has been defined in recent years (e.g., Williams, 2013; Diallo, 2015), academic research into how it (alongside literary allusion specifically, and the innovative technique of lyrical performative stylistic allusion) is employed artistically to translate modes of vulnerability such as trauma and grief and affect methods of personal and communal catharsis is limited. Using my own understandings and experiences of loss and trauma, I extend this research by providing a critically-informed personal artistic reflection into universal aspects of the male experience, menâs mental health, and masculinity in contemporary society
YEARBOOK 2019/2020. Arts Museology and Curatorship
Yearbook is the first collection of AMaCâs student projects developed during the first two years of the course. AMaC is a Masterâs degree in Arts, Museology and Curatorship with a clear mission: to educate and train professionals with creative and research skills essential to developing successful arts and cultural heritage strategies. This broad and demanding field requires an engagement with the current debate on common goods, the identity of communities, access to heritage art, and the impact of the arts on society
The Politics of Racial Translation : Negotiating Foreignness and Authenticity in Russophone Intersectional Feminism and Timati's Hip-hop (2012-2018)
Hva skjer med rase-, kjĂžnns- og seksualitetspolitikk i interseksjonell feminisme og hiphop nĂ„r de forflytter seg Ăžstover til postsovjetiske, russisksprĂ„klige kontekster? Denne avhandlingen utforsker oversettelsens betydning i sirkulasjonen av det amerikanske, engelsksprĂ„klige idiomet ârase som motstandâ i russisksprĂ„klige tilpasninger av hiphop og interseksjonalitet i perioden 2012-2018. Ved hjelp av digital etnografi, diskursanalyse og nĂŠrlesing av et utvalg musikkvideoer, analyseres to oversettelsesprosjekter empirisk: en russisksprĂ„klig grasrotside for interseksjonell feminisme, FIO (Feminist Intersectionality Against Oppression), og den â i Russland kontroversielle â tatarisk-jĂždiske hiphop-entreprenĂžren Timati. Denne avhandlingen, som befinner seg i skjĂŠringspunktet mellom kjĂžnns- og seksualitetsstudier, rase- og etnisitetsforskning og postsovjetiske kulturstudier, framhever oversettelse bĂ„de i sitt teoretiske rammeverk og i metodologisk forskningsdesign. Teoretisk er avhandlingens tilnĂŠrming til oversettelse inspirert av feministisk teori, feministisk antropologi og oversettelsesstudier, samt av transnasjonale perspektiver pĂ„ rasialisering og den voksende forskningen pĂ„ rase i Russland. Metodologisk trekker avhandlingen pĂ„ verktĂžy fra oversettelsesstudier og sosiolingvistikk. Ved Ă„ begrepsligjĂžre oversettelse som en forutsetning for geografisk forflytning av ideer, som et sted for forhandling der ting produseres som âfremmedeâ, og som en generativ snarere enn imiterende prosess, spĂžr den hva raseoversettelse frambringer og hvorfor noen oversettelsesprosjekter framstilles som mer fremmede enn andre. Metoden er Ă„ spore hvordan fremmedhet tilskrives ulike objekter, samt Ă„ undersĂžke de oversettelsesstrategiene som brukes i de to nevnte empiriske tilfellene nĂ„r de gjengir engelsksprĂ„klige rasekategorier som âwhiteâ, âblackâ, âpeople of colorâ og âwomen of colorâ. I tillegg til Ă„ undersĂžke hvilke generative effekter oversettelsene har, bruker studien en multimodal tilnĂŠrming som overskrider de semantiske grensene til etnorasekategorier og muliggjĂžr utforsking av rasemessig oversettelse pĂ„ tvers av flere semiotiske moduser. Avhandlingen begrepsligjĂžr rasemessig oversettelse som gjennomsyret av kjĂžnns- og seksualitetsdynamikk, innebygd i geopolitiske konfrontasjoner og informert av russisk imperial arv, og argumenterer for at rasemessig oversettelse er generativ pĂ„ flere sentrale mĂ„ter. Den rasemessige oversettelsen skaper nye og moderne formsprĂ„k (russofon interseksjonell feminisme og russisk kommersiell hiphop), kronotopisk plasserte former for personlighet knyttet til bestemte oversettelsesstrategier eller motstand mot dem, samt affektive responser og bestridelser av oversettelsesvalg og oversettelsesprosjekter som stigmatiseres eller verdsettes som âfremmedeâ. De som oversetter, tilnĂŠrmer seg det engelsksprĂ„klige formsprĂ„ket ârase som motstandâ som âfremmed og moderneâ, og indekserer en avansert tid og et avansert sted, USA, for Ă„ styrke, reparere og modernisere russisksprĂ„klig feminisme og russiske musikkscener. Begge oversettelsesprosjektene posisjonerer fremmedgjĂžring som en kilde til modernisering, noe som forklarer predisposisjonen for fremmedgjĂžrende oversettelsesstrategier. FremmedgjĂžrende
oversettelsesstrategier og motviljen mot bokstavtrohet i postsovjetiske, russisksprÄklige kontekster, kan imidlertid gjÞre oversetterne selv fremmede, noe som fremmer jakten pÄ originalitet, forsÞk pÄ Ä forhandle oversettelsens stigma og Ä reparere kronisk inautentisitet.
PĂ„ nettsidene til det russisksprĂ„klige, interseksjonelle feministiske digitale fellesskapet, skaper moderatorenes tilbĂžyelighet til translitterasjoner en form for uro, beskyldninger om uforstĂ„elighet og en slags motvilje for sprĂ„kblanding. Moderatorenes rolle som en kosmopolitisk, tosprĂ„klig, feministisk elite skiller seg fra vanlige russisksprĂ„klige lesere. Interseksjonalitet sirkulerer som en feministisk kronotop, som FIO ser for seg som en feministisk fremtid, et botemiddel mot den russisksprĂ„klige feminismens rasisme, homofobi og transfobi. Feministiske kronotoper blir brukt i diskusjoner rundt oversettelse og blant annet utnyttet i lokale kronotopiske forestillinger om russisk bakstreverskhet og slavofil trangsynthet. Den bokstavelige oversettelsen av kategorien âhvitâ genererer figurer som âhvit mannâ og âhvite kvinnerâ og inngĂ„r i det russisksprĂ„klige interseksjonelle feministiske formsprĂ„ket. Produksjonen av modererende antirasistisk hvithet-i-oversettelse mobiliserer kronotopiske figurer av tilbakestĂ„ende rasistiske andre som komparativ kontrast til mer moderne kunnskap. Den driver ogsĂ„ frem spĂžrsmĂ„l om grensene for oversettbarheten til kategorien âhvitâ for den situerte antirasistiske post-sovjetiske praksisen i kommentartrĂ„dene, inkludert den skiftende kategorien ĐĐ°ĐČĐșĐ°Đ·ŃŃ/Kaukasiere. Manglende oversettelse av kategoriene âpeople of colorâ og âwomen of colorâ genererer blant annet sĂžken etter en postsovjetisk âwoman of colorâ som et russisksprĂ„klig interseksjonelt feministisk subjekt. Slik kanoniseres ârĂ„â oversettelse, den transsprĂ„klige spredningen av etno-rasistiske kategorier og instrumentaliseringen av figuren âtrans woman of colorâ av russisksprĂ„klige radfem som et tegn pĂ„ den russisksprĂ„klige interseksjonalitetens totale fremmedhet. Begrepet realia brukes i materialet som en sĂžken etter Ă„ lokalisere det amerikanske raseidiomet og for Ă„ belyse sĂŠrtrekkene ved den post-sovjetiske etnorasiske maktdynamikken.
I undersĂžkelsen av raseoversettelse i Timatis hiphop, vises det hvordan Timati, ved Ă„ kombinere amerikansk svart hiphop-estetikk med russisk glamour pĂ„ 2000-tallet, brukte uoversatt amerikansk svarthet som en kosmopolitisk kulturell kapital for Ă„ motvirke volden i den post-sovjetiske rasialiseringen. Ved Ă„ nĂŠrme seg amerikansk svart estetikk gjennom direkte erfaring med âkildenâ, fikk Timati transnasjonal suksess med sin etnorasiale formbarhet og evne til Ă„ formidle mellom postsovjetiske markeder, lokale Ăžkonomiske eliter, amerikansk raseautentisitet og amerikanske hiphop-kjendiser. Han bidro derimot neppe til Ă„ avhjelpe hiphopens kroniske inautentisitet i Russland. ForsĂžk pĂ„ Ă„ hĂ„ndtere stigmaet fremmedhet og imitasjon, og Ă„ oppnĂ„ sterkere hiphop-autentisitet pĂ„ hjemmebane, markerte en reorientering av Timatis prosjekt for rasemessig oversettelse. Fra 2012-2013 figurerer Kaukasus og kaukasiske maskuliniteter som âregionale originalerâ, noe som gjĂžr det mulig for Timati Ă„ oversette den amerikanske svarte maskuliniteten som ligger til grunn for amerikansk hiphop-autentisitet. Han tar i bruk ulike strategier, som âvikarierende autentisitetâ, memetikk og hiphop-homofobi, og skaper en homofobisk hiphop-meykhana-cipher og visuelle, imperiale troper av et kaukasisk sublim. Skjegget som rasemessig/seksuell metonymi er sentralt for Ă„ forstĂ„ Timatis prosjekt for rasemessig oversettelse i 2014-2015, som er involvert i seksuell geopolitikk mellom Ăžst og vest. Gjennom hiphop-modernitet og tvillingfantasien om etnisk raseblanding og sentralasiatiske migranters Ăžkonomiske oppsving i Russland, oppvurderes den etniske andre fra Ă„ vĂŠre symbol pĂ„ en sikkerhetstrussel (skjeggete terrorister) til Ă„ bli moderne, homofob og kul â og slik i stand til Ă„ sikre Russlands organiske og multinasjonale fremtid mot et angivelig korrupt og seksuelt perverst Europa. HĂžydepunktet i Timatis prosjekt for rasemessig oversettelse i 2014-2016 resulterte i oppfinnelsen av en bevisst memetisk karakter, Teymuraz, som iscenesetter rasistiske klisjeer av kaukasiske og sentralasiatiske menn. Teymuraz, som en del av Russlands hybridkulturelle trend med estetisk populisme, resirkulerer elementer fra New East gopnik-stil, sovjetiske og postsovjetiske komedier om menn fra Kaukasus og Sentral-Asia, blander elementer av samfunnskritikk og tilegner seg de subalternes stemmer. Han utgjĂžr med dette et sĂŠregent patriotisk, antirasistisk prosjekt med motstridende implikasjoner. Timatis lekne fremfĂžringer av patriotisme og performativ disidentifikasjon fra USA som kilde til hiphop i 2015 forstĂ„r hiphop-patriotisme som en strategi for Ă„ lokalisere hiphop i den skiftende geopolitiske konteksten av Russlands vending bort fra Vesten. Russiske diskurser om hiphop-autentisitet, som er opptatt av Ă„ oppdage og avslĂžre plagiat i Timatis arbeid, gir stemme til et sĂŠregent arbeid med Ă„ skille âekteâ hiphop fra âfalskâ hiphop. Dette arbeidet bygger pĂ„ rasistiske diskurser om handel og umoral, og markerer Timati som âfremmedâ - bĂ„de utenfor sjangerens og den russiske nasjonens grenser â og avslĂžrer en russisk etnonasjonal skjevhet som ligger til grunn for russiske diskurser om hiphop-autentisitet.
NĂžkkelord: oversettelse, interseksjonalitet, rase, etnorasisk, postsovjetisk, russisk hiphop, rap, russisk rap, grasrotfeminisme, digital feminisme, feministiske kronotoper, feministisk oversettelse, feministisk aktivisme, populĂŠrmusikk, Russland, russofon, oversettelsesstrategier, litteralisme, translitterasjon, homofobi, transfobi, vikarierende autentisitet, memetikk, realia, rasemessig/seksuell metonymi, indeksikalitet, multimodalitet, den kalde krigen, russisk populĂŠrkultur, digital aktivisme, autentisitet, hiphop-maskuliniteter, rasialisering, Kaukasus, Sentral-Asia.What happens to race, gender, and sexuality politics of intersectional feminism and hip-hop when they travel eastwards into post-Soviet Russophone contexts? This thesis explores the role of translation in the circulations of the US Anglophone idiom ârace as resistanceâ in 2012-2018 Russophone adaptations of hip-hop and intersectionality. Drawing on the digital ethnography, discourse analysis, and close reading of a selection of music videos, it empirically analyzes two translation projects: a grassroots Russophone translation-based intersectional feminist page, FIO (Feminist Intersectionality Against Oppression) and â a controversial in Russia â Tatar-Jewish hip-hop entrepreneur, Timati. This thesis, situated at the intersection of gender and sexuality studies, race and ethnicity research, and post-Soviet cultural studies, foregrounds translation in its theoretical framework and methodological research design. Theoretically, the dissertationâs approach to translation is inspired by feminist theory, feminist anthropology, and translation studies, as well as by transnational perspectives on racialization and the growing scholarship on race in Russia. Methodologically it draws on the tools from translation studies and sociolinguistics. Conceptualizing translation as a precondition for travel, as a site of negotiation where things are produced as âforeignâ and as a generative rather than imitative process, this thesis asks what racial translation generates and why some translation projects are rendered as more foreign than others. The method is to track the attributions of foreignness and examine the translation strategies used by the two projects mentioned above when rendering English-language racial categories such as âwhite,â âblack,â âpeople of color,â and âwomen of color.â The study also uses the multimodal approach that goes beyond the limits of the semantics of ethnoracial categories, allowing for the exploration of racial translation across multiple semiotic modes. Conceptualizing racial translation as saturated in gender and sexuality dynamics, embedded in geopolitical confrontations, and informed by Russian imperial legacies, the thesis argues that racial translation is generative in several central ways. It creates novel and modern idioms (Russophone intersectional feminism and Russian commercial hip-hop), chronotopically positioned types of personhood associated with particular translation strategies or resistance to them, as well as affective responses and contestations of translation choices and translation projects stigmatized or valorized as âforeign.â The translators approach the Anglophone idiom of ârace as resistanceâ as âforeign and modern,â indexing advanced time and place, the USA, brought up to invigorate, repair, and modernize Russophone feminisms and Russian music scenes. Both translation projects position foreignization as a source of modernization, explaining the predisposition for foreignizing translation strategies. However, foreignizing translation strategies and the aversion to literalism within post-Soviet Russophone contexts may render translators themselves foreign, propelling the search for originality, the attempts to negotiate the stigma of translation, and to repair chronic inauthenticity.
On the pages of the Russophone intersectional feminist community, the moderatorsâ predisposition to transliterations generates visceral unease, accusations of unintelligibility, anxieties about the language mixing, and the roles of moderators as cosmopolitan bilingual feminist elites different from ordinary Russophone readers. Intersectionality circulates as a feminist chronotope, envisioned by FIO as a feminist future, a remedy against exclusions within Russophone feminisms such as racism, homophobia, and transphobia. Circulating feminist chronotopes are used in contestations around translation, harnessed on local chronotopic imaginaries such as Russian peasant backwardness and Slavophile parochialism. The literal translation of the category âwhiteâ generates figures such as âwhite manâ and âwhite women,â which enter the Russophone intersectional feminist idiom. The production of anti-racist whiteness-in-translation mobilizes chronotopic figures of backward racist others in comparative contrast with more modern bodies of knowledge and types of personhood. It also propels the questioning of the limits of the translatability of the category âwhiteâ for the situated anti-racist post-Soviet praxis in the comment threads, including the shifting category ĐĐ°ĐČĐșĐ°Đ·ŃŃ/Caucasians. Non-translation of the categories âpeople of colorâ and âwomen of colorâ generates, amongst other things, the search for a post-Soviet âwoman of colorâ as a Russophone intersectional feminist subject, the canonization of raw translation, the translingual proliferation of ethnoracial categories and the instrumentalization of the figure of âtrans woman of colorâ by Russophone radfem as a mark of Russophone intersectionalityâs total foreignness. Finally, the term realia emerged in the empirical materials as the quest for localizing the US idiom of race, adjusting intersectionality to the specificities of post-Soviet ethnoracial power dynamics.
Within the project of racial translation in Timatiâs hip-hop, I show how Timati marrying of US black hip-hop aesthetics and Russian glamour in the 2000s deployed untranslated foreign US blackness as a cosmopolitan cultural capital to alleviate the violence of post-Soviet racialization. Approximating US black aesthetics through the direct experience of âthe source,â Timatiâs ethnoracial malleability and capacity to mediate between post-Soviet markets, local economic elites, US racial authenticity, and US hip-hop celebrities brought him international success, yet hardly helped alleviate chronic hip-hop inauthenticity in Russia. Attempts to manage the stigma of foreignness and imitation and hence achieve a stronger hip-hop authenticity domestically marked a reorientation of Timatiâs project of racial translation. From 2012-2013, the Caucasus and Caucasian masculinities figure as âregional originals,â allowing Timati to translate the US black masculinity underpinning US hip-hop authenticity through the strategies of vicarious realness, memetics, and hip-hop homophobia in a gay bashing hip-hop meykhana cipher and visual Imperial tropes of the Caucasian sublime. The beard as racial/sexual metonymy is central for understanding Timatiâs project of racial translation involved in East-West sexual geopolitics in the period of 2014-2015: through hip-hop modernity and the twin fantasy of ethnoracial mixing and Central Asian migrant economic uplift in Russia, the ethnoracial other is revalorized away from the image of the security threat (bearded terrorist) as modern, homophobic and cool, able to secure Russiaâs organic and multinational future against corrupt and sexually perverse Europe. The pinnacle of Timatiâs project of racial translation in 2014-2016 resulted in the invention of a deliberately memetic character, Teymuraz, enacting racialized cliches of Caucasian and Central Asian men. Teymuraz, as part of Russiaâs hybrid cultural trend of aesthetic populism, recycles the elements of New East gopnik style, Soviet and post-Soviet comedies about men from the Caucasus and Central Asia, mixes elements of social critique, and appropriates the voices of the subaltern, performing a peculiar patriotic anti-racist project with contradictory implications. Timatiâs 2015 ludic performances of hip-hop patriotism, coupled with performative disidentifications from the USA as a source of hip-hop, are read as a strategy of hip-hop localization in the changing geopolitical context of Russiaâs turn away from the West. Russian discourses of hip-hop authenticity, preoccupied with detecting and exposing plagiarism in Timatiâs work, serve to discern ârealâ hip-hop from âfakeâ hip-hop. These acts of discernment draw on the racialized discourses of commerce and immorality, marking Timati as âforeignâ - both outside the borders of the genre and the Russian nation â thus exposing the Russian ethnonational bias underpinning Russian discourses of hip-hop authenticity.
Keywords: translation, intersectionality, race, ethnoracial, post-Soviet, Russian hip-hop, hip-hop, rap, Russian rap, grassroots feminism, digital feminism, feminist chronotopes, feminist translation, feminist activism, popular music, Russia, Russophone, translation strategies, literalism, transliteration, homophobia, transphobia, vicarious realness, memetics, realia, racial/sexual metonymy, indexicality, multimodality, Cold War, Russian popular culture, digital activism, authenticity, hip-hop masculinities, racialization, Caucasus, Central Asia.Doktorgradsavhandlin
Brave Spaces and Social Emotional Learning Strategies in the Theatre Classroom: What Do They Mean for All Students, Including Those Who Identify as LGBTQIA+?
The purpose of this study was to examine the high school experiences of theatre students at a large university in Central Florida to determine which of the Collective for Academic and Social Emotional Learning\u27s (CASEL) five social-emotional learning strategies (SEL 5) were remembered (CASEL, 2022). An opt-in focus group of students who identify as lesbian, gay, bisexual, transgender, queer, intersex, or asexual (LGBTQIA+) and were involved in K-12 theatre were interviewed to examine if the SEL 5 strategies being utilized had a distinct impression on this vulnerable population (Krishan, et al., 2016). Due to scheduling, only one student was able to participate in the focus group, a transexual male. In addition, teachers of the same Central Florida county were surveyed to determine the SEL 5 strategies most often used in their classrooms (including rehearsals and extracurricular activities). A content analysis was then performed on this qualitative data and then member-checked through an artificial intelligence program, ChatGPT. Within the SEL 5 framework, parallels were found between the descriptions of the SEL 5 and Arao and Clemens\u27s (2013) description of a Brave Space, who used Augusto Boal and Paolo Freire as inspiration for their social justice framework. Qualitative Analysis was performed on all responses, then member-checked through an Artificial Intelligence (AI) program, ChatGPT. It was found that Self-Awareness, Social Awareness, and Relationship Skills were the SEL 5 ranked highest by not only teachers but students as well. Both groups ranked Self-Management and Responsible Decision Making as the lowest two. Students ranked Relationship Skills higher than Social Awareness. These top three SEL 5 competencies correspond to Challenges, Not Attacks; Mindful Respect; and Conflict with Humanity in the Brave Space model by Arao and Clemens (2013). Now these are known, there is discussion for school leaders to then transform school culture into a place where brave discussions can happen, and respectful behaviors can occur
Age differences in conspiracy beliefs around Covid-19 pandemic and (dis)trust in the government
Objective: Times of societal crisis, such as the COVID-19 pandemic, during which people need to make sense of a chaotic world and to protect their health and lives, according to psychological research, represent suitable ground for the development of conspiracy theories about origins, spread, and treatment of the threat (coronavirus). Although numerous studies have been conducted on this issue since the beginning of the pandemic until today, most of the studies were conducted on the adult population with limited insights into development of the conspiracy beliefs in adolescence or over the lifespan. Objective of this study is precisely to explore how conspiracy beliefs regarding COVID-19 pandemic differentiate between multiple age groups (cross-sectional design), what are their sources and contexts, and how do they relate with the tendency to trust the government.
Methodology: Data were gathered through eight focus group discussions with four age groups (11-12, 14-15, 18-19, 30+) in Serbia.
Results: Based on critical discourse analysis, this paper identifies the differences in content and the
sources of conspiracy thinking and how it relates to trust in the government. Study shows that high
distrust in Serbian government is associated with conspiracy beliefs both within youth and adults.
However, while among adolescents this finding is exclusively related with their beliefs that ruling
structures have financial gain from the pandemic, against the interests of citizens, among adults it is related to the belief that the government (un)intentionally submits to the new global order that is
managed by one or more powerful actors who are coordinated in secret action to achieve an outcome that is of public interest, but not public knowledge.
Conclusion: The results will be discussed within current socio-political climate in Serbia, as well as the basis for understanding psychological factors which may underlie these tendencies in conspiracy theorizing, such as social identification, collective narcissism, authoritarianism, and social dominance orientation
Entertainment in the Perfoming Arts
Alice Marshall mengeksplorasi pertanyaan 'Menurut Anda, apakah hiburan itu?' dengan menantang pembaca untuk mempertimbangkan dan membentuk pandangan mereka sendiri melalui penyediaan wawancara, opini profesional, dan topik yang diteliti. Hiburan dalam Seni Pertunjukan mengeksplorasi berbagai sumber untuk memungkinkan pembaca mengembangkan pengetahuan dan pemahaman mereka sendiri tentang apa yang dimaksud dengan hiburan. ke. Buku ini memberikan titik awal yang bermanfaat, termasuk berbagai perspektif dari seniman yang diwawancarai, untuk memungkinkan pembaca mulai menjawab sendiri pertanyaan kunci ini. Sepanjang bab, pembaca disajikan dengan tugas terpandu untuk memungkinkan perendaman penuh dalam topik yang dibahas. Penulis mengeksplorasi mengapa kita memiliki kebutuhan bawaan untuk menghibur dan dihibur, mengarahkan pembaca melalui peningkatan teknologi yang telah mengubah cara kita melakukannya, membahas bagaimana kepuasan penonton tidak selalu menjadi kunci dalam hiburan dan, lebih jauh lagi, bertujuan untuk menguraikan dengan ahli apa arti kata 'hiburan' secara khusus. Ini adalah teks penting untuk siswa kursus seni pertunjukan, seniman yang bertujuan untuk mengembangkan pemahaman mereka tentang praktik mereka dan bagi mereka yang tertarik dengan hiburan
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