Media, Power And Performativity

The contemporary moment is one of profound risk, and profound import. We have come to live in a unipolar world, where one remaining superpower has the capacity to wield enormous wealth and military force simultaneously, and to penetrate the material and symbolic spaces of the greater part of the globe, without as yet effective challenge. The hallmark of the contemporary global order, under the flagship of the American imperium, is the conjuncture of these elements with the will to intervene and the claim to right, all waved under the banner of freedom and human prosperity, yet actually embedded in a matrix of capitalist accumulation and an insatiable search for profit by corporate conglomerates. There is perhaps a new/old imperial story here. Yet, within the present landscape, the power to mediate knowledge and meaning, to shape imaginaries and provide authoritative frames for affect and opinion, especially within the centres and the sites of influence of capitalist global flows, becomes critical. The peril of the moment resides precisely in the nature of the confluence between the cultural and the political: between mediated cultural production now itself corporatized and globally disseminated, and militarized politics, both articulations of different forms of power, now effectively interlocking through the deployment of the self-same technological advances, and converging to press specific clusters of corporate and state interests

Hollywood’s transnational imaginaries: colonial agency and vision from Indiana Jones to World War Z\u3csup\u3e*\u3c/sup\u3e

© 2018 Informa UK Limited, trading as Taylor & Francis Group. The concept of transnational cinema, in increasing use over the last decade, remains one whose sense and significance in the context of production, thematic organization and reception remains fuzzy, eliciting similar debates as the concept of globalization more generally did before it. The paper attempts to re-specify what the concept of the transnational could mean for film and to locate in the process some distinct variants or modalities of the transnational. The paper does this through an exploration of the production and aesthetics, politics and narrative structure of three Hollywood blockbusters, locating each within distinct global configurations of the contemporary political order, and identifying their isomorphism with wider public discourses and policies. The ‘transnational’ in these specific films describes, not merely a cross-national mix of production locales, actors, narrative elements and distribution venues, but a narrative imaginary that, conjoined with Hollywood’s global reach–its economy of pleasure - can engender a dynamic through which diverse audiences may be drawn into the perceptual and affective space of the neo-colonial or imperial order

The Role of School Administration in Spreading the Culture of Digital Citizenship Among Students of Government Schools in the Directorate of Education of Major General Naour

This study aimed to identify the role of school administration in spreading the culture of digital citizenship among students of public schools in the Directorate of Education of Major General Naour. In the Directorate of Education of the Naour District, and after conducting the statistical analysis, it was found that there is an average role of the school administration in spreading the culture of digital citizenship among students of government schools in the Directorate of Education of the Naour District, and the results also showed no statistically significant differences at the level of significance (α≤0.05). ) in the opinions of the study sample members about the role of school administration in spreading the culture of digital citizenship among students of government schools in the Directorate of Education of the Naour District, according to the variables (gender, educational qualification, number of years of service), and the study recommended a set of recommendations, the most important of which are: Activating the role of civil society institutions in the security, media and technological aspects, and engaging them in promoting the values of digital citizenshi

Letters from the Palestinian Ghetto 8-13th March 2002

The principle of non-simultaneity. It is wonderful to hear children laugh down the stairs of our building. After months in which all sounds were banished from the place, save for the imagined and remembered sounds of shelling from the green-dressed army camp across the valley, the sense of normalcy creeps back, albeit only in doses. But children’s laughter in the here-and-now inhabits one dimension ; normalcy, the taken for granted and yet plannable course of quotidian life, inhabits the poin..

Trends and movements in contemporary Arabic poetry.

This thesis deals with the trends and movements of contemporary Arabic poetry. It is arranged in two parts and comprises an introduction, ten chapters, a conclusion and a bibliography. In the introduction the method followed in writing this work is explained and compared with various methods of writing literary history. Part I, in two chapters, is a study of the cultural roots of contemporary Arabic poetry in the eighteenth and nineteenth centuries. A section depicts the emergence in the nineteenth century of a healthy poetic revival along Classical lines. Part II: The first chapter deals with the confirmation of neo-Classicism, the early infiltration of Romanticism, and the first signs of interest in new ideas and forms. The second chapter examines the poetry of the Immigrant Arab poets in Latin America and the United States, known as Mahjar poetry. The North American contribution, which established the trend of Romanticism in Arabic poetry, is shown to be radically different from the South American, which continued to be mainly along Classical lines. Chapter 3 deals with the change of poetic sensibility and critical criteria in the Arab world. Chapter 4 is dedicated to the discussion of the Romantic movement in the poetry of the Arab East. The achievements of modern Arab Romantics are assessed and the rise of decadent streaks is discussed. Chapter 5 deals with the Symbolist trend in contemporary poetry, assesses the depth and importance of this experiment and shows its relativity to the current poetic scene. The output of critics Mar?n 'Abbad and Muhammad Mandar has been instrumental in bringing about poetic change. Chapter 6 represents a critical evaluation of their roles and methods. Chapter 7 gives an account of the beginning of the free verse movement, the theorisation which accompanied its initial stages, the vehement controversy it produced, and the vital role of avant-garde magazines. The categories of "committed poetry" and "platform poetry" are also dealt with. Chapter 8 is devoted to the technical achievements of contemporary poetry in the sphere of form (with a study of prose poetry); tone; attitude and themes; diction; dramatic poetry; imagery; and obliquities; symbol, allusion, folklore , myth and archetype