Suchergebnisse

We test the hypothesis that COVID‐19 vaccine hesitancy is attributable to distrustful complacency—an interactive combination of low concern and low trust. Across two studies, 9,695 respondents from different parts of Britain reported their level of concern about COVID‐19, trust in the UK government, and intention to accept or refuse the vaccine. Multilevel regression analysis, controlling for geographic area and relevant demographics, confirmed the predicted interactive effect of concern and trust. Across studies, respondents with both low trust and low concern were 10%–22% more vaccine hesitant than respondents with either high trust or high concern, and 26%–29% more hesitant than respondents with both high trust and high concern. Results hold equally among White, Black, and Muslim respondents, consistent with the view that regardless of mean‐level differences, a common process underlies vaccine hesitancy, underlining the importance of tackling distrustful complacency both generally and specifically among unvaccinated individuals and populations.

Los significados de algunos conceptos fundamentales de la política moderna no se fijaron en el imaginario colectivo exclusivamente a través de los distintos tipos de texto y los discursos. Las imágenes desempeñaron un papel esencial en la forma en la que se representaron los conceptos y fueron utilizadas estratégicamente en las luchas políticas por connotar y resignificar esos conceptos. Una tipología de imágenes que adquirió especial relevancia en ese proceso histórico en el que se conformaron las iconografías políticas de los conceptos fundamentales del discurso moderno fueron las caricaturas. Esta tipología de imágenes fue difundiéndose especialmente a través de la prensa, que enriquecida con ilustraciones tuvo una creciente popularidad en su combinación del humor gráfico con la sátira política. Este proceso de construcción histórica de los significados de los conceptos a partir de una narrativa visual, que conjugaba las ideas y sus símbolos, se ejemplifica con un estudio de caso: democracia. Concretamente, se reconstruye el uso de las imágenes de la democracia desde sus primeras alegorías modernas en los tratados de iconología del siglo xvii hasta la II Guerra Mundial, prestando especial atención a varios momentos históricos en los que la concepción de la democracia y su significado experimentaron cambios cruciales. ; The meanings of some modern political key concepts were set in the social imaginary not only by means of different kinds of texts and of speeches. Images also played a key role in the representation of concepts and were strategically used in the political fights aiming to connote and resignify them. Cartoons are a sort of pictures which became especially important during the historical process when the political iconography of key modern concepts was shaped. Cartoons were widely widespread through the illustrated press that combining graphic humor and political satires had an increasing popularity. The historical making of the meanings of the concepts from a visual narrative that blended ideas ...

International audience ; The musical activism of the Italian composer Luigi Nono (1924-1990) is one of the most fascinating examples of the relationship between music and politics in the second half of the twentieth century. A member of the Italian Communist Party (PCI) from 1952, he considered music as a tool for the establishment of socialist hegemony. In this article, I firstly examine how concepts from Antonio Gramsci underlie Nono's political thought, the relationship between his conception of social justice struggles and violence, and the ethic behind his compositional practice. Secondly, I analyse how Nono addressed his political and ethical commitment in his last work for magnetic tape, Für Paul Dessau (1974). This article aims to contribute to the discussion on Nono's appropriation of Gramsci's ideas, shedding light on how Nono addressed the memory of antifascism, Cold War politics, and Third World international liberation struggles in works from the 1950s to the early 1970s.

This article examines the criticism of the political model of humanity, namely a critique of the political activities carried out by Twitter NU Garis Lucu against intolerant groups and the government that ignores human values. This twitter displays a style of criticizing and introducing new models of political values on social media, namely through witty sentences and humor across religions, ethnicities, and cultures. This model of politics becomes very important at a time when social sedia is filled with negative and provocative comments and narratives that endanger human values. As a result of this narrative, people are trapped in a rigid understanding, cannot accept differences, and easily judge other Muslims to be wrong when the latter's opinions do not align with ones own. This attitude in turn leads to an understanding of identity politics based on religion, one that rejects the teaching and symbols of the state, which are in turn considered contrary to the teachings of the shari'a. This research is a descriptive and a qualitative analysis of the many reactions against the NU Garis Lucu twitter handle. The first part relates to the Twitter critique of NU Garis Lucu towards intolerant groups[NP1] . The second relates to the critique that the NU Garis Lucu received with regards to its stance against government and politicians. The results of the study show that the humanitarian politics developed by Twitter NU Garis Lucu by criticizing textual Islamic groups that have the potential to divide the harmony of Islamic society and the birth path of radicalism groups that aspire to uphold Islamic law kaffah. His criticism are manifested in dialogical, witty sentences, with an approach to Islamic teachings that are friendly, tolerant, and accept diversity in religious understanding. He also criticized government policies that were detrimental to the community and politicians who often raised identity politics and ignored its substance in fighting for the interests of the community.Artikel ini mengkaji kritik model ...

The purpose of the article is to reveal the role of I. J. Paderewski in realization the patriotic ideas of Poland's independence through the prism of synthesis of creative and political activity. In accordance with the goal the following tasks were set: to consider the figure's biography in interaction aspect of the basic spheres of functioning; determine the personal prerequisites for national ideas formation; to reveal the practical implementation of life credo; to characterize the historical, social and cultural, artistic contribution. Methodology. In course of the research the following methods were used to reveal the presented problems: historical (study of the life story), source studies (elaboration of existing scientific works on related issues), analytical and structural-logical (coverage of the chronological aspect of the problem, understanding the specifics of activities), method of theoretical generalization (to summarize). The scientific novelty. For the first time in the history of Ukrainian scientific thought the figure of І. J. Paderewski was considered as a complex phenomenon of the interaction of human's radically different spheres of activity. Conclusions. The personality of pianists, public figures, orators, politicians, and philanthropists became a main in both the musical and political life of Poland in the late XIX - early XX century. Thanks to his incredible musical talent and rich concert practice, he brought the problem of Polish national identity to the world level and enlisted the support of the most influential circles in matters of statehood. Paderewski's phenomenon is in his indomitable spirit, faith in the independence of his country, efficiency in all spheres of his life, in the complex unity of poetic art and prudent politics. In the European cultural heritage, this is a unique case of coexistence of contrasting human activities, their mutual functioning in achieving the existential credo of an outstanding person.
Keywords: І. J. Paderewski, political activity, patriotic ideas, artistic heritage.

International audience ; At the time when Irish veterans of the Great War were being demobilized, Ireland was in a period of profound social, political, and cultural change that was irreversibly transforming the island. Armistice and the veterans' relief at having survived the conflict and being back with family could not eclipse the overwhelming political climate they met on their homecoming. This article draws on the 1929 Report by the Committee on Claims of British Ex-servicemen, commissioned by the Irish Free State to investigate whether Irish veterans were discriminated against by the Southern Irish and British authorities. The research also makes use of a range of underexploited primary sources: the Liaison and Evacuation Papers in the Military Archives in Dublin, the collection of minutes of the Irish Sailors' and Soldiers' Land Trust in the National Archives in London, and original material from the Public Record Office of Northern Ireland and the National Archives of Ireland relating to economic programs for veterans. A comparative approach of to the respective demobilizations of veterans in Northern and Southern Ireland in the 1920s reveals that disparities in formal recognition of their sacrifice and in special provision for housing and employment significantly and painfully complicated their repatriation. And when the time came to rejoice over the war's ending, was there anything more tragic than the position of men who had gone out by the thousands for the sake of Ireland to confront the greatest military power ever known in history, who had fought the war and won the war, and who now looked at each other with doubtful eyes?-Stephen Gwynn, "Irish Regiments" 1 W hen Irish veterans were demobilized after World War I, they returned to an Ireland in turmoil, in the midst of profound social, political, and cultural changes that would transform the island. In less than a decade, Emmanuel Destenay is a research fellow in the history department of Sorbonne University and a fellow of the British Higher ...

This article explores Katniss Everdeen's ecofeminist political agency in The Hunger Games film series (2012-2015) in the light of global social movements in the late 2010s. As a young destitute woman who defies the oppressive rules of an oligarchic and patriarchal totalitarian order, Katniss (Jennifer Lawrence) represents the utopian potential of intersectional politics forged across class, gender, racial and geopolitical borders. In opposition to ecocidal and patriarchal conceptions of progress, Katniss's ecofeminist heroism is illustrative of the emergence of cosmopolitan political imaginaries that advocate sustainable, egalitarian collective futures constructed beyond the methodological frameworks of neoliberal globalisation and material dialectics. Contemporary with young activists like Greta Thunberg, one of the founders of the ecological movement Fridays for Future, Katniss can be taken as a cinematic representative of a new generation of utopian political actors for whom individual well-being is tied to ecosocial welfare and cosmopolitan inclusion. Este artículo explora la agencia política ecofeminista de Katniss Everdeen en la serie cinematográfica Los juegos del hambre (2012-2015) en relación con los movimientos sociales globales de finales de la década de 2010. Katniss (Jennifer Lawrence), una mujer joven con escasos recursos que desafía las reglas opresoras de un orden social oligárquico y patriarcal, representa el potencial utópico de políticas interseccionales que trascienden las fronteras geopolíticas, de clase, género y raza. En contraposición a concepciones ecocidas y patriarcales del progreso, el heroísmo ecofeminista de Katniss evoca la aparición de imaginarios políticos cosmopolitas que abogan por futuros colectivos sostenibles e igualitarios, construidos al margen de los marcos metodológicos de la globalización neoliberal y el materialismo dialéctico. Contemporánea de jóvenes activistas como Greta Thunberg, una de las fundadoras del movimiento ecológico Fridays for Future, Katniss puede ser considerada una representante fílmica de una nueva generación de actores políticos utópicos para los que el bienestar individual está vinculado a la prosperidad ecosocial y la inclusión cosmopolita.

El artículo presenta un recuento crítico acerca de varios temas de relevancia para el debate constitucional colombiano, a raíz de las reformas que se han presentado en los últimos años a la Constitución de 1991. El autor ilustra acerca de temas como la relación entre Estado de Derecho y la discrecionalidad política, las responsabilidades jurídica y política, los poderes y funciones de las tres ramas del Estado, la responsabilidad de los medios, las capacidades del Estado asaltado por los desafíos, y la fuerza de la legitimidad constitucional. El análisis de los temas es desde la perspectiva de un observador extranjero, haciendo contrastes comparativos en la medida de lo necesario con elementos del sistema parlamentario alemán y francés. Finalmente, las reflexiones en los temas se extienden a otros tópicos como las razones de Estado, la ley de justicia y paz, así como los votos por bancadas de partidos políticos. ; The article presents a critical account regarding various themes relevant to current Colombian constitutional debate arising from reforms to the 1991 Constitution that have been a risen in recent years. The author illustrates such themes as the relationship between the Rule of Law and political discretion, juridical and political responsibility, the power and functions of the three branches of the state, the responsibility of means, and the capacities of a state assaulted by challenges and the strength of constitutional legitimacy. The analysis of these themes is presented from the perspective of a foreign observer, making comparisons and contrasts as necessary with elements of the German and French parliamentary systems. Finally, the reflections will extend to other topics such as the justification of the state, the Law of Peace and Justice, and the voting blocs of the political parties.

The ripple effects of protracted armed conflicts include: significant gender-specific barriers to accessing essential services such as health, education, water and sanitation and broader macroeconomic challenges such as increased poverty rates, higher debt burdens, and deteriorating employment prospects. These factors influence the wider social and political determinants of health for women and a gendered analysis of the political economy of health in conflict may support strengthening health systems during conflict. This will in turn lead to equality and equity across not only health, but broader sectors and systems, that contribute to sustainable peace building.The methodology employed is a multidisciplinary narrative review of the published and grey literature on women and gender in the political economy of health in conflict.The existing literature that contributes to the emerging area on the political economy of health in conflict has overlooked gender and specifically the role of women as a critical component. Gender analysis is incorporated into existing post-conflict health systems research, but this does not extend to countries actively affected by armed conflict and humanitarian crises. The analysis also tends to ignore the socially constructed patriarchal systems, power relations and gender norms that often lead to vastly different health system needs, experiences and health outcomes.Detailed case studies on the gendered political economy of health in countries impacted by complex protracted conflict will support efforts to improve health equity and understanding of gender relations that support health systems strengthening.

This article discussed street art in Cairo after the Arab Spring ( العربي الربيع ). Revolution took place on Januari 25. 2011 when Egypt was led by the Supreme Council of the Armed Forces (SCAF). This paper was aimed at elaborating how street art in Cairo served as a means of political resistance employed to resist SCAF military government. This study employed a descriptive-qualitative method, Jenkins's (2009) participatory culture theory and Peteet's (1996) art as a means of political resistance. This study found out that, in general, street art or graffiti in Cairo during SCAF military government era emerged in the forms of stencil and mural works. In that era, street art served as a means of political resistance employed for various purposes such as criticizing the regime, telling stories of what was going on, depicting violence and murders committed by the security forces, commemorating martyrs of the revolution and telling stories of struggle, oppression and sexual harassment towards Egyptian women, Street art offered opportunities to the community to participate there so as to express their aspirations and make Cairo's streets and walls public space for 'a participatory culture'. Graffiti or street art found in Cairo served as a means of political resistance. Most of the murals on the walls depicted chaotic situations of that era, commemorated events and martyrs of the revolution, and commented on the social and political situations sharply.KEYWORDS: Street Art, Cairo, Arab Spring, Supreme Council of the Armed Forces

In Cuba, there are no efficient mechanisms for civil society to influence legal norms and thus promote legality with justice. In higher education, the process of formulating standards of conduct has not escaped this reality. ; En Cuba no existen mecanismos eficientes para que la sociedad civil incida en las normas jurídicas y así propender por una legalidad con justicia. En la educación superior el proceso de formulación de normas de conducta no ha escapado a esta realidad.