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This book presents an in-depth, systematic investigation of the reporting of poverty in Wales, discussing findings from a two-year research project funded by the 'Exploring the Narrative Coalition' (a group of 10 Wales-based third sector organisations), the ESRC, and Cardiff University. Examining how poverty news is covered in the English and Welsh languages across broadcast, print and online news, it provides a detailed insight into current journalistic and communications practices on a crucial issue facing Wales. In the wake of a decade of austerity policies, with official measures confirming experiences of poverty and destitution are increasing, the book offers a timely intervention, critically investigating mainstream media narratives on poverty and how these are shaped. The book is based on original research conducted in 2016-7, in a highly eventful period that included the Tata Steel crisis in Port Talbot, South Wales, the Welsh Government elections and the referendum campaign on the UK's membership of the European Union. It addresses how poverty was framed in such nationally significant news about politics, business and economics, as well as more local, personal or community-focused stories about livelihoods and social issues. A quantitative analysis of the key characteristics of coverage across different media types provides a detailed evidence base for understanding how poverty news was represented. This includes examining the major contextualizing themes, social groups and geographical locations most frequently covered, the causes and consequences of poverty, and sourcing. It demonstrates how Wales-based media coverage differs from more negative reporting typical of some sections of the UK national press, especially in terms of stigmatizing discourses surrounding unemployment and welfare. However, important questions are identified about how news narratives convey meaning and, especially, disconnections between the coverage of macro-economic trends or events and their consequences in the lives of ordinary people. Additionally, the book explores why poverty news coverage is constructed in the way that it is, using findings from detailed interviews with journalists and editors about their practice. Through the lens of professional values and experiences, the book examines the challenges thought to affect poverty reporting. Key issues include the contraction of resources and specialist expertise allocated to social affairs journalism, the difficulties of identifying and reaching potentially vulnerable groups across Wales and representing case studies fairly and ethically. A parallel set of interviews conducted with third sector professionals about their engagement with news media and communications practices provides a further insight into the production of poverty news. Here, the pressures in reporting poverty are seen from a different perspective, where seeking to influence the coverage of poverty and respond to news demands can elicit professional tensions between journalists and the third sector and/or productive cooperative relationships positively impacting news narratives. In providing a detailed picture of how and why poverty news narratives are shaped as they are, the book aims to provide an evidence base informing more meaningful, representative and accurate poverty reporting in Wales.

This book presents a detailed and systematic investigation of poverty reporting in Wales, discussing the findings of a two-year research project funded by Exploring the Narrative Coalition (a group of 10 third sector organizations based in Wales ESRC and Cardiff University Exploring how poverty news is covered by broadcast, print and online news in English and Welsh, provides a detailed understanding of current journalism and communication practices on a critical issue. facing Wales. Following a decade of austerity policies, with official measures confirming that experiences of poverty and deprivation are on the rise, the book offers a timely intervention, critically exploring the mainstream media's narratives on poverty and how they experience it shape them. This book is based on original research conducted between 2016-7, during a turbulent period involving the Tata Steel crisis in Port Talbot. South Wales, Welsh Government elections and a referendum campaign for the UK's membership of the European Union. It covers how poverty was framed in the midst of nationally important news about politics, business and the economy as well as more local, personal or community-related stories about livelihoods and social issues. Quantitative analysis of the key features of the approaches across different media types provides a detailed evidence base for understanding how poverty news was represented. This includes looking at the major contextualization themes, social groups and geographical locations that are commonly addressed, the causes and consequences of poverty, and access to information. It demonstrates how the media in Wales responds differently to the more negative reports typical of some UK national press departments, particularly around discourses that cause unemployment and welfare stigma. Nevertheless, there are important questions to be raised about how news narratives convey meaning and in particular the disconnect between the coverage of macroeconomic trends or events and their impact on the lives of ordinary people. In addition, the book explores why coverage of poverty news is shaped as it is, drawing on the findings of in-depth interviews with journalists and editors about their practices. Through a look at professional values ​​and experiences, the book explores the challenges that are likely to affect reporting poverty. Key issues include the use of specialist resources and expertise allocated to social issues journalism, the difficulties in identifying and potentially reaching vulnerable groups across Wales and representing case studies fairly and ethically. We undertook a set of interviews with third sector professionals about their engagement with news media practices and contacts. They offer more information on how news about poverty is shaped. Here, the pressures of reporting poverty are viewed from a different perspective, where trying to influence poverty coverage in the press and responding to news demands can create professional tensions between journalists and the third sector and / or positive productive co-operative relationships that affect news narratives. By providing a detailed picture of how and why poverty news narratives are shaped as they are, the book intends to create an evidence base that will inform more accurate, representative and meaningful reporting of poverty in Wales.

Cover -- Tudalen Deitl -- Tudalen Hawlfraint -- Cynnwys -- Rhagarweiniad -- Yr Awduron -- 1: Edrych yn ôl: Rhai Trobwyntiau Hanesyddol -- 2: Gwyddoniaeth a Diwinyddiaeth: Rhai Seiliau Athronyddol -- 3: Y Glec Fawr, y Cread a Duw -- 4: Siawns, Cynllun ac Anghenraid -- 5: Darwin, DNA a Duw -- 6: Biotechnoleg a Datblygiadau Meddygol -- 7: Y Natur Ddynol -- 8: Glendid Maith y Cread: Cristnogion a'r Amgylchedd -- 9: Credwn yn Nuw -- Llyfryddiaeth Ddethol -- Cyfeiriadaeth -- Mynegai.

Dadansodda'r gyfrol arloesol hon, am y tro cyntaf erioed, ddylanwadau niferus ar dwf yr Ysgolion Cymraeg, gan godi cwestiynau i finiogi meddwl wrth i Gymru wynebu tonnau newydd o sialensau, ac ysbrydoli eraill i ymaflyd yn yr ymgyrchu dros Ysgolion Cymraeg a'n treftadaeth genedlaethol mewn byd plwralistig a chyfnewidiol

Rad počiva na ideji evropskog kulturnog identiteta, pojma koji se, poslednjih decenija posebno, etablirao kao važno uporište evropske političke zajednice, zajedničkih evropskih vrednosti ali i značajnih drugosti koje uprkos heterogenosti i asimetričnosti prisutnih kultura, zajedno tvore jedinstveni evropski kulturno-istorijski prostor Evrope. Različiti integrativni procesi koji se danas sve intenzivnije odvijaju, doprinose brzoj promeni konstelacija društava i re-konfiguraciji geopolitičkog, socio-ekonomskog i kulturnog ambijenta Evrope, tražeći novo sagledavanje tvorbe evropskog kulturnog identiteta koji nastaje kao rezultat tih različitih kretanja. Medij filma stoga, predstavlja idealnu perspektivu sagledavanja tvorbe evropskog transnacionanog kulturnog identiteta. Pitanje (ne)postojanja evropskog identiteta sagledano je kroz korpus teorija studija filma i medija i drugih, a na primerima dvadeset sedam (27) filmova laureata godišnje nagrade za najbolji evropski film (EFAs), Evropske filmske akademije (EFA), u periodu 1989–2014. godine, čiji su autori, između ostalih, Pedro Almodovar (Pedro Almodovar), Mihael haneke (Michael Haneke), Paolo Sorentino (Paolo Sorrentino), Lars fon Trir (Lars von Trier, i drugi. U ovoj disertaciji, evropski kulturni identitet sagledan je kroz filmske i kinematografske upise, preko kategorija identitetske drugosti, akcentovanih i asimilovanih identiteta, kao i preko elemenata (ko)produkcione drugosti. U istraživanju smo pošli od pretpostavke da filmovi nagrađeni za najbolji evropski fil nagradom EFAs nose elemente narativa interne drugosti, duboko podeljene Evrope, koji učestvuju u konstrukciji evropskog kulturno supra-identiteta u/na filmu kao i da se evropksi kulturni identitet u filmskim ostvarenjima laureata EFAs, gradi kroz dijalog Evrope, odnosno Evropske unije sa nacionalnim kinematografijama. Sa tog polazišta pristupilo se i istraživanju fenomena evropskog kulturnog identiteta drugosti. Cilj istraživanja bio je da se u kontekstu društveno-istorijskih i političkih procesa identifikuju i objasne elementi građenja identiteta kao i da se istakne uloga drugosti u formiranju evropskog kulturnog identiteta. Istraživačka pitanja u vezi sa odnosima međuzavisnosti koje formiraju pojmovi Evropa, identitet, drugost, evropski film i evropska nagrada u građenju prepoznatljivog fenomena evropskog kulturnog identiteta i fenomena evropskog filma. Problemska osnova na temelju koje je strukturisana analiza i sistematizovani naslovi nagrađenih filmskih ostvarenja u studiji slučaja, izvedena je iz teorijskih postavki koje se odnose na sledeće fenomene i pojmove: fazu ogledala Žaka Lakana (Jacques Lacan), heterotopije Mišela Fukoa (Michael Foucault), deteritorijalizacije / nomadizma Žila Deleza i Feliksa Gatarija ( Jules Deleuze / Félix Guattari), granice Jurija Lotmana (Yuri Lottman) i liminalnosti Arnolda van Genepa (Arnold van Gennep), kao postuliranje postmodernističkih tendencija u kojima se reflektuje pitanje (evropskog) kulturnog identiteta, primenjeno na polje filmske odnosno ekranske umetnosti. Svedoci smo da se u složenim procesima integracije i previranja nacionalnih i transnacionalnih tokova u Evropi, u periodu nakon pada Berlinskog zida (1989–2014), evropski kulturni identitet u/na filmu iznova konstruisao kroz narative drugosti, rezultirajući višestrukim akcentovanim i asimilovanim identitetima, što se pokazuje na primerima filmskih ostvarenja nagrađenih za najbolji evropski film EFAs. Činjenica je da značajne evrospke institucije u svojim dokumentima evropski identitet navode kao realitet, uprkos činjenici da sama konstrukcija evropskog identiteta ukazuje na (nezavršen) permanentan proces. Temeljne pretpostavke ovog istraživana su stoga: 1. nije reč o (id)entitetu kao o datosti; 2. identitet se gradi u društvenoj interakciji; 3. drugosti su sastavni deo (kulturnog) identiteta; 4. razlikama se obogaćuju i druge kulture; 5. evropski kulturni identitet je proces tj. gradilište u permanentnom nastajanju. Ishod analitičko-istraživačkog procesa je potvrđivanje da evropski kulturni identitet jeste skup različitosti tj. drugosti koje tvore jedan entitet, evropski kulturni identitet, koji međutim nije moguće fiksirati i precizno definisati, te on nadalje ostaje fenomen otvoren za različite interpretacije. ; The work is based on the idea of European cultural identity, a concept that, in recent decades, in particular, has established itself as an important mainstay of the European political community, common European values but also significant otherness which, despite the heterogeneity and asymmetry of present cultures, together form a unique cultural and historical space of Europe. The various integrative processes that are increasingly intensifying nowadays contribute to the rapid change of constellations of societies and re-configuration of the geopolitical, socioeconomic and cultural environment of Europe, seeking a new perception and definition of both national and European cultural identity that ensues from these various developments. The medium of film, therefore, represents an ideal perspective of perceiving the creation of a European transnational cultural identity. The issue of (non)existence of European identity is considered through a corpus of theories of Film and Media Studies and others, and on the examples of twenty-seven (27) films, laureates of the annual award for the best European film (EFAs) of the European Film Academy (EFA) in the period 1989−2014, whose authors are, among others, Pedro Almodovar, Michael Haneke, Paolo Sorrentino, Lars von Trier and others. In this dissertation, European cultural identity is viewed through film and cinematic inscriptions, through the categories of identity otherness, accented and assimilated identities, as well as through the elements of (co)production otherness. In the research we started from the assumption that the films awarded for the best European film by the EFAs award carry elements of narratives of internal otherness, of a deeply divided Europe, which participate in the construction of European cultural supra-identity in/on film and that European cultural identity in the film achievements of EFAs laureates is built through the dialogue of Europe, i.e. the European Union with national cinemas. That was the starting point for the research of the phenomenon of the European cultural identity of otherness. The aim of the research was to identify and explain the elements of identity construction in the context of socio-historical and political processes, as well as to emphasize the role of otherness in the formation of European cultural identity. Research questions are related to the interdependence relations formed by the concepts of Europe, identity, otherness, European film and the European award in building a recognizable phenomenon of European cultural identity and the phenomenon of European film. The problem basis on which the analysis and systematized titles of the awarded film achievements in the case study are structured is derived from theoretical assumptions related to the following phenomena and concepts: Jacques Lacan's mirror phase, Michael Foucault's heterotopias, deterritorialization and the nomadism of Jules Deleuze and Félix Guattari, the boundaries of Yuri Lottman and the liminality of Arnold van Gennep, as a postulation of postmodernist tendencies that reflect the question of (European) cultural identity, applied to the field of film or screen arts. We are witnesses that in the complex processes of integration and turmoil of national and transnational trends in Europe, in the period after the fall of the Berlin Wall (1989–2014), European cultural identity in/on film was reconstructed through narratives of otherness, resulting in multiple accented and assimilated identities, as shown by examples of film achievements awarded with EFAs for the best European film. The fact is that important European institutions recognize European identity as a reality in their documents, despite the fact that the very construction of European identity indicates a(n) (unfinished) permanent process. The basic assumptions of this research are therefore: 1. it is not about (id)entity as a given; 2. identity is built in social interaction; 3. otherness is an integral part of (cultural) identity; 4. differences also enrich other cultures; 5. European cultural identity is a process, i.e. a permanent construction site. The outcome of the analytical-research process is the confirmation that the European cultural identity is a set of differences/othernesses that form one entity, the European cultural identity, which, however, cannot be fixed and precisely defined, and it still remains a phenomenon open to different interpretations.

Dieses Buch befasst sich mit der wichtigen, zeitgenössischen Debatte um die richtige Deutung des von G.E. Moore in den Principia Ethica ›entdeckten‹ Phänomens des Prinzips der organischen Einheit. Es geht um die Frage: Wie kann der Wert eines Ganzen nicht gleich der Summe der Werte der Teile sein? Der Autor zeigt, dass die beiden debattierten Deutungen (G.E. Moore vs. J. Dancy) des Phänomens zwar beide unhaltbar sind, aber auf einer je richtigen Einsicht beruhen. Man kann dem Phänomen nur dann gerecht werden, wenn moralisches Urteilen als holistisch begriffen wird, als substantielle Einheit von Handlungsbewertung und -typisierung. Dies aber bedeutet, dass man den Wert einer Handlung nicht unabhängig von der Frage, ob sie erlaubt, geboten oder verboten ist, bestimmen kann. Damit ist eine besondere Herausforderung an jede konsequentialistische Moraltheorie formuliert, die von der Unabhängigkeit des Guten vom Rechten ausgehen muss. Dieses Buch wendet sich an Interessenten an Moores Moralphilosophie, Metaethik, Werttheorie und der Konsequentialismuskritik