Suchergebnisse

"This collection invites us to think about how African-descended men are seen as both appealing and appalling, and exposed to eroticized hatred and violence and how some resist, accommodate, and capitalize on their eroticization. Drawing on James Baldwin and Frantz Fanon, the contributors examine the contradictions, paradoxes, and politico-psychosexual implications of Black men as objects of sexual desire, fear, and loathing. Kitossa and the contributing authors use Baldwin's and Fanon's cultural and psychoanalytic interpretations of Black masculinities to demonstrate their neglected contributions to thinking about and beyond colonialist and Western gender and masculinity studies. This innovative and sophisticated work will be of interest to scholars and students of cultural and media studies, gender and masculinities studies, sociology, political science, history, and critical race and racialization. Contributors: Katerina Deliovsky, Delroy Hall, Dennis O. Howard, Elishma Khokhar, Tamari Kitossa, Kemar McIntosh, Leroy F. Moore Jr., Watufani M. Poe, Satwinder Rehal, John G. Russell, Mohan Siddi."--

1.Introduction, Martijn Oosterbaan (Utrecht University, The Netherlands), Linda van de Kamp (University of Amsterdam, the Netherlands), Joana Bahia (State University of Rio de Janeiro, Brazil) -- Part 1: Media, Tourism and Pilgrimage -- 2. How Religions Travel: Comparing the John of God Movement and a Brazilian Migrant Church, Cristina Rocha (Western Sydney University, Australia) -- 3. Appropriating Terra Santa: Holy Land Tours, Ontology, and the 'Judaization' of Pentecostalism in Brazil, Matan Ilan Shapiro (Ben-Gurion University of the Negev, Israel) -- 4."Pray Looking North". Change and Continuity of Transnational Umbanda in Uruguay, Andres Serralta Manssounnier (University of Montevide, Uruguay) -- 5. Structure and Butinage in the Trajectories of the Santo Daime and União do Vegetal between Brazil and Spain, Jessica Greganich (VU University Amsterdam, The Netherlands and State University of Rio Grande do Sul, Brazil) -- Part 2: Human Rights, Gender and Sexuality -- 6. Between Activism and Spiritual Battle: A Transnational Ethnography of a Brazilian LGBT Church, Marcelo Natividade (Federal University of Ceará, Brazil) -- 7. The Brazilian and Iberian-American Missionary Communication of a Human Rights Church in Cuba, Aramis Luis Silva (CEBRAP - Brazilian Center of Analysis and Planning, Brazil) -- 8. Reshaping Transnational Belonging: Meanings and Practices of the Dutch-Brazilian Charismatic Catholic Movement, Andrea Damacena Martins (Pontifical Catholic University of Paraná, Brazil) -- Part 3: Migration, Spirituality, Heritage and Authenticity -- 9. The Transnationalization of Afro-Brazilian Religions in Germany, Joana Bahia (State University of Rio de Janeiro, Brazil) -- 10. Sacred behind Closed Doors: Transnational Narratives and Aesthetics in a Candomblé terreiro in Lisbon, Roberta de Mello Correa (Fluminense Federal University, Brazil) -- 11.The Universal Church of the Kingdom of God in France: Demonization, Prosperity and Globalization, Ronaldo R. M. de Almeida (State University of Campinas, Brazil) and Carlos Gutierrez (State University of Campinas) -- 12.The Universal Church of the Kingdom of God in Angola, Claudia Swatowiski (Federal University of Uberlândia, Brazil) -- 13.The Regulation of Globalized Capoeira Angola's Religious Instantiations: The Relation between the Irmãos Guerreiros Group and the Ilê Obá Silekê in Europe, Celso de Brito (Federal University of Piauí, Brazil) -- Bibliography -- Index

Science: Introduction. The mysteries of light. Illuminating Light. True Colors. Light Dawns. Quantum mechanics, relativity, strings, and time. Nobody Knows the Quantum. Strange Devices. These Georgia Tech Physicists Helped Prove Einstein Right. Quantum Gravity. The Seductive Melody of the Strings. Time Examined and Time Experienced. Solids, liquids, gases, and more. The Six Elements: Visions of a Complex Universe Stealth Science. Froth with Meaning. Everything Worth Knowing About...Ice. Technology. Technology: Introduction. Lasers and space travel. From Ray-gun to Blu-ray How Close are we to Actually Becoming Martians? Ad Astra! To the Stars! Technology in the clinic. Brain Injuries in Soccer When Vision Betrays. Robots and artificial intelligence. John Markoff's Love for Machines Removing Humans from the AI Loop -- Should we Panic? Do We Have Moral Obligations to Robots? Technology, society, and human behaviour. The Internet Before the Internet: Paul Otlet's Mundaneum. The Internet of Things: Totally New and a Hundred Years Old Crimes of the Future How to Understand the Resurgence of Eugenics The Case Against an Autonomous Military. Frankenstein Turns 200 and Becomes Required Reading for Scientists. Can a Physics of Panic Explain the Motions of the Crowd? Future technologies. Fantasy into Science: Invisibility Fantasy into Science: Teleportation Fantasy into Science: Tractor Beams. Culture. Culture: Introduction. Science and scientists meet culture. In Salmon do did Mobile Bond... Laughing by Numbers. Real Physicists Don't Wear Ties. Spelling it Right in Karachi. Brother, Can You Spare a Cyclotron. Cooking with science. Food for (Future) Thought or Star Trek: the Menu. The Future of Meat. Science and art. Art Upsets, Science Reassures. Hubs, Struts, and Aesthetics Inspirational Realism: Chesley Bonestell and Astronomical Art Art, Physics, and Revolution. Mr. Turner, Artist, Meets Mrs. Somerville, Scientist. Science, literature, and the media. Connecting with E. M. Forster Science Fiction Covers the Universe and Also Our Own Little Globe. How Realistic are Movies set in Space? Hollywood Science: Good for Hollywood, Bad for Science? Turing and Hawking, Typical Nerds? Boldly Going for 50 Years Abstract Theory has Real Consequences, in the Past and Today.

This thesis explores the ways in which African filmmakers have historically addressed Christianity and the Bible on the continent. It begins with the premise that on the African continent, marked political films (Mazierska) are embedded in transnational dynamics involving movements of economic and symbolic capital, ideas, discourses and multiple publics. Within these movements, questions of identity, and questions, of the cultural, political or religious are explored in conversation and encounter with Others. With this premise in mind, I ask how the films address Christianity and interpret the Bible; how they frame the religious in relation specific historical, cultural and political contexts; and what are the potential implications of the transnational dynamics and circulation of films. Although much research has focused on the representation of religions in African video and screen media especially in the 2000s, surprisingly little has been dedicated to earlier cinematic expressions and political cinema. To contribute to the history of the cinematic treatment of religion on the continent, four fictional films were chosen as case-studies: La Chapelle, (The Chapel, dir. Jean-Michel Tchissoukou, 1980, Republic of Congo), Au Nom du Christ (In the Name of Christ, dir. Roger Gnoan M'Bala, 1993, Côte d'Ivoire), La Génèse (Genesis, dir. Cheick Oumar Sissoko, 1999, Mali) and Son of Man (dir. Mark Dornford-May, 2006, South-Africa). The analyses reveal that filmmakers have portrayed and interpreted the presence of Christianity and the Bible in relation to legacies of colonialism and decolonisation. Their attitudes narrate the presence of Christianity and the Bible in terms of resistance, suspicion, negotiation, and appropriation. In doing so they oscillate between distancing from and rapprochement with developments in African Christianity and theology. The films' narratives and aesthetics reflect tensions around the creation of discourses of African authenticity, but also around religious modernity. The political framing roots the contextualisation of biblical narratives in social and historical analyses that strive to provide responses to local instances of oppressions as well as a platform for a more universalist reading addressed to global publics. Finally, the films contribute to the construction of African religious realities and imageries and to the broader image of Africa.

In this dissertation, I explore how flamenco performance models intimacy and solidarity in Andalusian communities based in Seville and Morón de la Frontera. The adaptability of flamenco performance underscores the inherent decision-making that goes into determining which physically, socially and affectively constructed environments are appropriate, if not ideal, for making music. Since expression within flamenco is largely based upon collective experience and reciprocal execution, the performance space constitutes a defining element of both social and sonic aesthetics. Drawing from ethnographic fieldwork, I look at how artists and communities are responding to pressing subjects that involve cultural patrimony and protection as well as political corruption and interference. The first two chapters chronicle the maintenance and development of a flamenco guitar tradition in Morón that proliferated into the hands of international students beginning in the 1960s. I analyze how the introduction of recording and sound reproduction technologies in Morón served to create new types of mobility that separate sounds from their original bodies and spaces of production and, in so doing, alter and blur the boundaries between public and private in communities of flamenco performers and listeners. Next, I focus on the work of twenty-first century flamenco group Son de la Frontera, who organized the music of Diego del Gastor into lush and varied arrangements. By tracing this music back through particular genealogies of listening, I reveal how the Morón style has become entangled in larger processes of countercultural and transnational encounters that converge and become audible through the work of Son de la Frontera. In the final two chapters, I discuss how the recent encroachment of institutional capital and decree upon artists and venues has threatened, rather than supported, the local flamenco community in Seville. I demonstrate how members of this community are responding to these attacks through radical forms of performance protest. Highlighting the dangerous and deceptive elements of intangible cultural heritage, I interrogate the ways in which flamenco artists and community members continue to negotiate distinctions between public and private performance in an era of globalized media circulation, neoliberal economic regimes and complex localized structures of kinship and power.

Environmental concern in contemporary societies is a complex phenomenon which is shaped and influenced by a host of different factors. One of the most important of these is the interplay between culture and nature that has taken place during the course of a nation's history and the various 'views of nature' that such interplay has generated. Such views can e.g. manifest themselves in aesthetic judgments of natural scenery or, more generally, in the values that nature is seen to contain or carry. They form the base from which contemporary ideas, conceptions, and evaluations of nature are generated and debated. The five studies that together comprise this thesis explore the socio-cultural background of Icelandic environmentalism from a number of different perspectives. The first study concerns the depiction(s) of nature that can be found in the oldest literary works that have survived in Iceland. The second study deals with the first attempts by an Icelander to visualize nature in his homeland, using photographic media. The third study seeks to compare contemporary views of nature amongst Icelanders, e.g. concerning the appreciation of natural beauty, with those of Swedes and Danes. The fourth study reports the results of an extensive survey which probed the environmental values, knowledge, attitudes and behaviors of present day Icelanders. The fifth study builds on this same survey but focuses on the public understanding and perceptions of sustainable development, and also on the connections between attitudes toward environmental and developmental issues. This overall thesis project was multi-disciplinary in nature, combining theory drawn from environmental philosophy, especially ethics and aesthetics, with the theories and methods of environmental sociology, politics and history. The empirical studies employed, furthermore sought to operationalize certain key theoretical constructs relating to views of nature, such as environmental value orientations and aesthetic appreciation of nature, and thus 'build bridges' between the concerns, theories and methods of the humanities, on one side, and those of the social sciences, on the other.

This article offers a contribution to ongoing philosophical, sociological, and feminist debates about osmetic surgery 1 and is part of a larger project that examines the spatial and temporal aims and effects of cosmetic surgery, using media analysis and interviews with recipients and surgeons. The mother project argues that cosmetic surgery is part of a suite of anti-aging tools—medical, lifestyle, and beauty technologies— that, contrary to popular belief, do not aim to recreate youth but rather are deployed to create a new phase of life identified as the "stretched middle age." However, this article diverts to theorize—experimentally and heuristically—about cosmetic surgery in relation to postmodern architecture. Re-reading Fredric Jameson's 1984 piece about Los Angeles' Westin Bonaventura Hotel while immersed in the larger project led to speculation about how his description might be adopted as an analytical template for an alternative way of approaching cosmetic surgery. Furthermore, criticisms he makes of the Bonaventura as user-unfriendly and superficial are adapted to describe cosmetic surgery as it is currently enacted. This analogy is then extended in regard to another (later) postmodern structure, Melbourne's Federation Square.2 Analysis and description of the site are projected onto cosmetic surgery with the aim of showing that the technology has the possibility of a developmental trajectory similar to the one between the Bonaventura and Federation Square. Rather than snag on the wholly literal—which might attempt to practically describe the experiences of cosmetic surgically–altered has the potential to altered women in various postmodern spaces—this exercise is mainly speculative and metaphoric. The standpoint is intertwined with that of Kathryn Pauly Morgan, arguing that cosmetic surgery could contribute to a celebration of the fully participatory grotesque body as defined by Mary Russo. Some "extreme practitioners" of cosmetic surgery are used as examples of how it has the opportunity to progress in interesting and diverse directions, and these ideas are married with Federation Square's aesthetics in order to imagine a future, possibly utopic, cosmetic surgery.

American Comic Strip Collections. 1884–1939: The Revolutionary Era. Denis Gifford The Great American Comic Strip: One Hundred Years of Cartoon Art. Judith O'Sullivan. Worktowners at Blackpool: Mass‐observation and Popular Leisure in the 1930s. Gary Cross A "Brand" New Language: Commercial Influences in Literature and Culture. Monroe Friedman. Bad Boys and Tough Tattoos. Samuel M. Steward. The Codes of Advertising: Fetishism and the Political Economy of Meaning in the Consumer Society. Sut Jhally. Journal of Popular Culture Association of Japan Propaganda: A Pluralistic Perspective. Ted J. Smith C.G. Jung and the Humanities: Toward a Hermeneutics of Culture. Karin Barnaby and Pellegrino D'Acierno Hideous Progenies: Dramatizations of Frankenstein From the Nineteenth Century to the Present. Prison Life Among the Rebels: Recollections of a Union Chaplain. Edward D. Jervey The Electronic Golden Calf: Images, Religion and the Making of Meaning. Gregor T. Goethals. The Emergence of Folklore in Everyday Life: A Fieldguide and Sourcebook. George H. Schoemaker Le Monde prive des Ouvriers. Hommes et Femmes du Nord. Oliver Schwartz. For Democracy, Workers and God: Labor Song‐Poems and Labor Protest, 1865–95. Clark D. Halker. Popular Leisure in the Lake Counties. Lyn Murfin. Oxford Guide to Card Games. David Parlett. Place Images in Media: Portrayal, Exfierience, and Meaning. Leo Zonn The Casting Couch and Other Front Row Seats: Women in Films of the 1970s and 1980s. Marsha McCreadie. Boomtown Blues: Colorado Oil Shale, 1885–1985. Andrew Gulliford. The Politics of the Textbook. Michael W. Apple and Linda K. Christian‐Smith. Explorations in Film Theory: Selected Essays from Ciné‐Tracts. Ron Burnett China Misperceived: American Illusions and Chinese Reality. Steven W. Mosher. The Comics. 1947. Coulton Waugh. Introd. M. Thomas Inge. The Expanding Vista: American Television in the Kennedy Years. Mary Ann Watson. Body Food, Soul Food: The American Restaurant Then and Now. Richard Pillsbury. The Cognitive Revolution in Western Culture. Don LePan. Ritual Criticism: Case Studies in its Practice, Essays on its Theory. Ronald L. Grimes. An Aesthetics of Junk Fiction. Thomas J. Roberts. Sanity Plea: Schizophrenia in the Novels of Kurt Vonnegut. Lawrence R. Broer. Popular Culture Review——"A Flower Sprouts in the Desert"

Iranian films have been the subject of much critical and scholarly attention over the past several decades, and Iranian filmmakers are mainstays of international film festivals. Yet most of the attention has been focused on a small segment of Iranian film production: auteurist art cinema. Iranian Cinema in a Global Context, on the other hand, takes account of the wide range of Iranian cinema, from popular youth films to low budget underground films. The volume also reassesses the global circulation of Iranian art cinema, looking at its reception at international festivals, in university curricula, and at the Academy Awards. A final theme of the volume explores the intersection between politics and film, with essays on post-Khatami reform influences, representations of ineffective drug policies, and the representation of Jewish characters in Iranian film. Taken together, the essays in this volume present a new definition of the field of Iranian film studies, one that engages global media flows, transmedia interaction, and a heterogeneous Iranian national cinema.

This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself. This title was made Open Access by libraries from around the world through Knowledge Unlatched.--Provided by publisher. ; Includes bibliographical references and index. ; Introduction: China's iGeneration cinema / Keith B. Wagner, Tianqi Yu, Luke Vulpiani -- New Technologies. Tianqi YU: Toward a Communicative Practice: Female First-Person Documentary in Twenty-first Century China -- Paola VOCI: Quasi-Documentary, Cellflix, and Web Spoofs: Chinese Movies? Other Visual Pleasures -- Weihua WU: Individuality, State Discourse, and Visual Representation: The Imagination and Practices of the iGeneration in Chinese Animation -- Bingfeng DONG: Cinema of Exhibition: Film in Chinese Contemporary Art -- Aesthetics. Luke VULPIANI: Goodbye to the Grim Real, Hello to What Comes Next: The Moment of Passage from the Sixth Generation to the iGeneration -- Ling ZHANG: Digitizing City Symphony, Stabilizing the Shadow of Time: Montage and Temporal-Spatial Construction in San Yuan Li -- Dan GAO: From Pirate to Kino-eye: A Genealogical Tale of Film Re-Distribution in China -- Keith B. WAGNER: Xue Jianqiang as Reckless Documentarian: Underdevelopment and Juvenile Crime in post-WTO China -- Social Engagement. Yiman WANG: Of Animals and Men: Toward A Theory of Docu-ani-mentary? -- Ying QIAN: Working with Rubble: Montage, Tweets, and the Reconstruction of an Activist Cinema -- Jia TAN: Provincializing the Chinese Mediascape: Cantonese Digital Activism in Southern China -- Platforms and Politics. Jeesoon HONG with Matthew D. JOHNSON: Shanghai Expo and Screen-Spaces: Big Screens and New Collectivity -- Ma RAN: Regarding the Grassroots Chinese Independent Film Festivals: Regional Assemblage and Abnormal Film Networking? -- Matthew D. JOHNSON: Wu Wenguang and the NGO Aesthetic -- Xiaomei CHEN: The Cinematic Deng Xiaoping: Reform or Restoration? -- Online Audiences -- Ralph parfect: you must believe there is such a person in this world: internet contention of Zhang Yimou's sexual storytelling in under the Hawthorn tree/Shanzhashu Zhi Lian -- Xiao LIU: From the glaring sun to the flying bullets: the dilemma of elliptical memories in "post-" era Chinese cinema. ; This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself. This title was made Open Access by libraries from around the world through Knowledge Unlatched.--Provided by publisher. ; Mode of access: Internet. ; Description based on print version record.

Einleitung ; The discipline of adaptation studies has come a long way from its academic inception in novel-to-film studies. Since George Bluestone's seminal 1957 study Novels into Film, often regarded as the starting point of modern day Anglo-American adaptation studies,[1] the discipline has seen a continual widening of its methodology as well as of the material scholars are willing to regard as adaptations. Particularly since the turn of the 21st century and the increasing institutionalization of the discipline as distinct from literary or film studies, adaptation scholars have widened the scope to include a broad range of media, encompassing not only the traditional adaptations from novels and drama into film, but also novelizations of various other media, video game and comic adaptations, TV series, opera, theme parks and tie in vacations, and many more.[2] Others have included the study of media franchises as dependent on adaptation.[3] As part of this redefinition of the discipline, scholars have also widened their discussion to bring to the centre aspects that were not originally the main focus of adaptation researchers' comparative textual analyses, including industrial structures, legal frameworks, and, most frequently and emphatically, questions of intertextuality and the cultural and ideological embeddedness of adapted texts.[4] Since the late 1990s, cultural and societal questions have occupied particularly those adaptation scholars eager to introduce larger theoretical or cultural studies questions and move away from purely formal analyses.[5] Such questions include what Linda Hutcheon, building on Jill L. Levenson's work, calls processes of "indigenization", i.e. an examination of the ways in which "[c]ultures that adapt stories […] reshape narratives […] according to their own tastes and preoccupation, according to the politics, ethics, and aesthetics of their day".[6] [1] George Bluestone. Novels into Film. Berkeley 1957. Bluestone is most often cited (and misrepresented) as a starting point in a discipline that, as Kamilla Elliott has convincingly shown, suffers from (strategic) amnesia in its attempts to claim novelty for already established concepts (Kamilla Elliott. "Theorizing Adaptation/Adapting Theories." In: Jørgen Bruhn, Anne Gjelsvik, and Eirik Frisvold Hanssen (eds.). Adaptation Studies: New Challenges, New Directions. London et al. 2013, pp. 19-45; esp. pp. 19-31). As Elliott shows, this stands in contrast to older (and significant) contributions to film and adaptation studies, including Vachel Lindsay's The Art of the Moving Picture, Lester Asheim's From Book to Film, or some of Andre Bazin's essays such as "In Defense of Mixed Cinema". Vachel Lindsay. The Art of the Moving Picture. New York 1915. Lester Asheim. From Book to Film: A Comparative Analysis of the Content of Selected Novels and the Motion Pictures Based upon Them. Chicago 1949. André Bazin. "In Defense of Mixed Cinema." In: John Harrington (ed.) Film and/as Literature. Englewood Cliffs, NJ 1977, pp. 13-26. Harrington's Film and/as Literature also collects other significant early texts of adaptation theory, particularly on the relation between literature, film, and theater. [2] E.g. Linda Hutcheon with Siobhan O'Flynn. A Theory of Adaptation. 2nd ed. New York / London 2013. [3] Clare Parody. "Adaptation Essay Prize Winner: Franchising/Adaptation." Adaptation 4, no. 2 (2011): 210–218. [4] It should, once again, be noted that early critics like Bluestone or Bazin were not as oblivious to such issues as they are often portrayed. [5] Cf. Elliott. "Theorizing Adaptation/Adapting Theories." [6] Linda Hutcheon. "Moving Forward: The Next Step in Adaptation Studies." In: Nassim Winnie Balestrini (ed.). Adaptation and American Studies: Perspectives on Research and Teaching, With an Afterword by Linda Hutcheon. Heidelberg 2011, pp. 213-17; p. 217.

Notes on contributors -- Introduction : the veil across the globe in politics, everyday life, and fashion / Anna-Mari Almila -- Politics -- Neoliberalization and homo islameconomicus : the politics of women's veiling in Turkey / Yildiz Atasoy -- Discourses of veiling and the precarity of choice : representations in post-9/11 US / Tabassum F. Ruby -- Wearing a veil in the french context of Laïcité / Anne Fornerod -- 2007/8 : the winter of the veiled women in Israel / Tamar Elor -- Veiling narratives : discourses of multiculturalism, acceptability and citizenship in Canada / Shelina Kassam and Naheed Mustafa -- Veiling and unveiling in Central Asia : beliefs and practices, tradition and modernity / Marianne Kamp and Noor Borbieva -- From politics to fashion -- Iran's compulsory hijab : from politics and religious authority to fashion shows / Faegheh Shirazi -- The fashions and politics of facial hair in Turkey : the case of Islamic men / Nazli Alimen -- Representing the veil in contemporary Australian media : from "ban the burqa" to "hijabi" bloggers / Branka Prodanovic and Susie Khamis -- Fashion and anti-fashion -- Modest fashion and anti-fashion / Reina Lewis -- Veiling, fashion and the (per)formative role of dress in Niger / Adeline Masquelier -- The "discipline of the veil" among converts to Islam in France and Quebec : framing gender and expressing femininity / Géraldine Mossière -- Muslim youth practicing veiling in Berlin : modernity, morality and aesthetics / Synnøve Bendixsen -- Fashioning selves : biographic pathways of hijabi women in Rio de Janeiro, Brazil / Gisele Fonseca Chagas and Solange Riva Mezabarba -- Industries, images, materialities -- Culture industries and marketplace dynamics / Özlem Sandikci -- Images of desire : creating virtue and value in an Indonesian Islamic lifestyle magazine / Carla Jones -- Smart-ening up the hijab : the materiality of contemporary British muslim veiling in the physical and the digital / Shehnaz Suterwalla -- Gender, space, community -- Veiling, gender and space : on the fluidity of "public" and "private" / Anna-Mari Almila -- Spacialised veiling and a critique of the public/private dichotomy : a view from a town in north India / Janaki Abraham -- Hui women and the headscarf in China / Xiaoyan Wang -- Constructions and reconstructions of "appropriate dress" in the diaspora : young somali women and social control in finland / Anu Isotalo -- Cover their face : masks, masking, and masquerades in historical-anthropological context / David Inglis -- The Amish prayer cap as a symbol that bounds the community / Jana M. Hawley -- Veiling studies and globalization studies / David Inglis and Anna-Mari Almila

Abstract. Geotourism has become well-known all around Indonesia as many placessustain distinctive characters – from the environment, aesthetics, culture, toresidents. Keramikan, without exception, located in the borders of Kecamatan Suohand Bandar Negeri Suoh has captured many local tourists by its exceptionalgeological and scientific importance: geothermal site. However, both tourists andthe management have to struggle to enjoy this attractive geosite because of the lackof accessibility and amenity. Therefore, attempt measures were done to exaggeratethe beauty of Keramikan geothermal site as a tourism site or geosite, including a)story-based socialization for locals that they can explain many 'whys' inside the siteto the coming tourists, b) explaining through video the existing condition ofaccessibility and amenity as well as how the management can improve, c) postermaking and distribution to start the health and safety awareness of the public,independent tourism organization, and Keramikan workers, and the government.Although attractions are undeniably appealing for stakeholders and tourists, the factthat accessibility and amenity cannot be improved due to regulation and licenserestrictions will be the downfall for the management. Therefore, this socialization isaimed to educate as well as to address the fundamental problems to the authority.Keywords: geotourism, geosite, Keramikan Suoh, socializationAbstrak. Pesona Wisata Keramikan Suoh, Kabupaten Lampung Barat, eratkaitannya dengan peristiwa vulkanik yang hebat dan berlangsung hingga sekarang.Pengelolaan daerah wisata ini sudah dilakukan, namun perlu dorongan danpengetahuan sebagai upaya meningkatkan daya tarik pengunjung. Upayapeningkatan daya tarik dilakukan dengan menyosialisasikan kejadian KawahKeramikan dan sekitarnya dari sudut pandang geologi dan legenda setempatkepada media massa dan mitra, yaitu Kelompok Sadar Wisata, pengelola, komunitasojek, Kecamatan Suoh, dan Dinas Pariwisata Lampung Barat. Upaya ini dilengkapidengan pembuatan dan menyosialisasi video berisikan aspek atraksi, aksesibilitasdan amenitas. Mitra juga dibekali dengan manfaat-manfaat air panas sertahimbauan kesehatan dan keselamatan kepada pengunjung. Mitra mengalamipeningkatan pemahaman potensi dengan disosialisasikannya potensi pengembangankepada komunitas ojek, pengelola, dan Kelompok Sadar Wisata dari segi atraksi.Namun, pemerintah, Dinas Pariwisata, dan pengelola Wisata Keramikan Suoh tidakdapat melakukan perbaikan akses dan pengembangan fasilitas pendukung(amenitas) karena perizinan. Selain observasi lapangan, metode wawancara jugadilakukan dengan hasil aksesibilitas dan amenitas yang kurang memadai akanmengurangi minat pengunjung walaupun Wisata Keramikan Suoh memiliki atraksikuat. Solusi permasalahan ini tidak dapat langsung dijawab, tetapi potensi dan hal-hal yang menghambat pengembangan wisata sudah diangkat ke pihak-pihak yang berwenang.Kata Kunci: geowisata, Keramikan Suoh, sosialisasi

Violence is complex both in its origins and in its solutions (Gilligan, 1999). It takes manyf orms (Lee, 2019) and can be directed towards oneself, towards others, or perpetrated collectively by a group of individuals towards others (Dahlberg and Krug, 2002). As Spring2021 came to Northern Ireland, the streets of some communities were marred by collective violence. Unusually for riots, these appeared to be structured and coherently organised (Dela Roche, 1996). Scenes of young people throwing bricks and petrol bombs at police were circulated online, as well as through international media. The story of escalating community tensions was reported in the Guardian, Euronews and Al Jazeera. Time Magazine posed the question, 'Is Northern Ireland experiencing the worst violence in years?' In terms of mobilisation, it certainly was the most destructive in recent times. After seven nights of rioting, eighty-eight police officers were injured and several communities were left with significant damage to property (Cross and Rutherford, 2021). As tends to be the case in any conflict, youth are often at disproportional risk of being the perpetrators of violence in addition to being more likely to be the victim of violence (Walsh and Schubotz, 2020). During these Spring riots, it was reported that children as young aseight were actively involved in some of the most violent disturbances. In response, the Commissioner for Children and Young People for Northern Ireland publicly claimed that organised criminals, operating through paramilitary structures were coercing and criminally exploiting young people to engage in the violence (McLafferty, 2021). A few months later, the office of the Commissioner published a government advice paper on the issue of criminal exploitation calling for a whole government approach (NICCY, 2021). The riots took place in largely "loyalist areas" and where communities interfaced. In one of the most well documented interfaces known as the 'brick fields', the predominantly loyalist Shankill Road erupted and the concrete 'peace wall' that separates it from the nationalist Springfield Road was shut. The aesthetics were powerful. Images of the interface showed groups of what appeared to be mostly young people masked and armed with projectiles. Maybe the most striking as well as memorable image, was the public bus that was hijacked and set alight. Against the darkness of the night, the fire illuminated the concrete barrier separating the two communities.

Beksan Lawung Ageng Kraton Yogyakarta tidak hanya kinerja, tetapi juga bimbingan. Ini bimbingan baik untuk para pemain dan audiances. Mereka bisa dilihat dari gerakan heroik. Mereka juga dapat dilihat dari perubahankoreografi yang menceritakan tentang perjalanan hidup manusia dengan masalah. Di masa lalu, Beksan Lawung Ageng adalah media pembangunan karakter satria tama melalui disiplin latihan spiritual dan fisik yang parapenari harus memiliki. Tulisan ini mencoba untuk mengeksplorasi dan memperkenalkan nilai-nilai luhur yang terakumulasi dalam nilai-nilai etika dan estetika tari keraton. Hasil penelitian menunjukkan bahwa cara berpikir,situasi sosial, politik, ekonomi, dan perubahan budaya mempengaruhi kreativitas dan fungsi tarian ini. Namun, bimbingan kehidupan orang Jawa masih prioritas dalam perubahan nilai-nilai tari dan fungsi, perubahan dariistana ritual danceto kesuburan ritual perkawinan anak sultan yang akhirnya dianggap sebagai kinerja yang unik dan artistik. Dari diskusi para pemain dan analis budaya makna, kesinambungan dan perubahan kinerjaistana tari estetik adalah representasi disimbolkan yang harus dipahami dan preservedthat harus menjadi wakil untuk memperkuat karakter bangsa dan iman mulai dari kehidupan pernikahan .Kata kunci: tari Lawung Ageng, simbol, bentuk, fungsi, dan perubahan.The dance Lawung Ageng Kraton Yogyakarta is not only a performance but also as guidance. It is a good guidance for dancers and audiences. It can be seen from the heroic movements and the change of choreography that tells about human life and its problems. In the past, the dance Lawung Ageng represents amedia of character building for the major knight through the disciplined spiritual and physical exercises that the dancers should have. The article tries to explore and introduce noble values accumulated in aestheticvalues and the aesthetics of palace dance. The research finding shows that the mindset, the social, politic, and economic situation, and the cultural change influence the dance creativities and function. But, the guidance to Javanese life still become a priority in the change of dance values and function, the change of palace ritual dance to thefertility of ritual wedding for the Sultan's son supposed to be a unique and artistic work. The discussion of dancers, the cultural analysis of meaning, the continuity and the change ofthe palaceperformance of aesthetic dance represent a symbolized representation that must be understood and preserved to reinforce the nation characteristic and confidence starting from the wedding life.Keywords: dance Lawung Ageng, symbol, form, function, change.