Anthropology of Media

Este artículo explora el concepto de Visión Arcaica de Edgar Morin y su relación con la experiencia cinematográfica. A partir del vínculo entre visión mágica y percepción práctica, se analiza cómo el espectador revive formas ancestrales de percepción al enfrentarse a las imágenes de la pantalla. El cine se presenta como un puente entre lo real y lo irreal, lo tangible y lo onírico, permitiendo reconocer que nuestra comprensión de la realidad está siempre atravesada por elementos simbólicos, míticos y fantásticos. El texto propone que el cine actual reactiva esta visión arcaica y funciona como espejo que proyecta deseos, sueños y motivaciones, mostrando que lo mágico y lo práctico no son instancias separadas, sino dimensiones complementarias de la percepción humana.

This dissertation examines the transition of Homo Sapiens, the thinking human, to Homo Imbecilis, a concept representing the potential regression of cognitive abilities caused by the overwhelming influx of visual images and excessive screen-mediated transactions in modern society. Drawing inspiration from Giovanni Sartori's "Homo Videns" thesis, which discusses the shift from a text-based culture to a visuallyoriented one, this research investigates how the rapid accumulation of data and constant exposure to screens affect our cognitive processes and intellectual capacities. Through a comprehensive analysis of cognitive science research, neurological studies, and behavioral observations, this paper explores the mechanisms by which information overload contributes to cognitive decline, including diminished attention spans, impaired critical thinking abilities, and reduced capacity for deep reflection. The study reveals significant concerns about the erosion of analytical skills, memory consolidation processes, and empathetic responses in digitally saturated environments. However, the research also identifies potential mitigation strategies, including digital literacy education, mindfulness practices, and structured approaches to information consumption. The findings suggest that while technology presents unprecedented challenges to human cognition, conscious intervention and adaptive strategies can help preserve and enhance intellectual capacities. This work contributes to the growing discourse on digital wellness and cognitive preservation in the 21st century.

Der Arbeitskreis Geschichtswissenschaften und digitale Spiele  (AKGWDS), der sich seit Anfang des Jahres in Arbeitskreis Geisteswissenschaften und digitale Spiele umbenannt hat, feiert nächstes Jahr bereits sein zehnjähriges Bestehen und gibt mit diesem Sammelband einen breiten Einblick in die diskursive Arbeit an der Schnittstelle Geisteswissenschaft/ digitale Spiele aus den ersten sieben Jahren seit Gründung, getreu dem Motto: „Digitale Spiele sind […] als eine Form sinnbildender performativer Geschichtspraktiken zu betrachten“ (S.31).

The research is interested in the shift in narrative structures in Nigerian cinema as the digital multimedia space continues to proliferate. In line with the emergence of streaming services and social media, the traditional ways of crafting a narrative within the context of Nigerian films have changed to a significant extent, as they reflect the larger cultural and social landscape. A literary critique of a variety of films has been conducted-from classic Nollywood films to new-age Nigerian digital cinema-and this research aims to answer the question of how global filmmakers respond to the modernisation of the audience without losing the integrity of the culture. Gradations of the situational theme, development of the plot, depiction of characters, and selection of the themes will be underscored as the effects of increased access to the digital space. Besides that, the research considers the issue of a fusion of cultures by mixing genres in relation to filmmakers in the cinema industry. The approach of placing Nigerian films that emerged in the twenty-first century within the angle of modern society aims to aid in the understanding of intricacies in how new forms of digital cinematography have come up and evolved how filmmakers tell the stories creatively while retaining links between the narrative style, cultural essence, and the audience of Nigerian films.

В статье обсуждается лингвистическая теория речевых жанров и эвристические возможности ее применения в фольклористике на материале сказочных текстов, записанных профессиональными собирателями от носителей традиции в условиях интервью. Ставится вопрос о речежанровом статусе сказки и комментариев исполнителя – во-первых, а во-вторых – вопрос об отношениях между этими типами текста и об обусловливающих эти отношения факторах. С помощью методологического инструментария теории речевых жанров рассматривается характерная для «информативного диалога» (make-know discourse, «диалог-1» по Н.Д. Арутюновой) тенденция помещать собственно фольклорный нарратив в «капсулу» автобиографического мемората об истории знакомства рассказчика с текстом. В результате анализа «комментарий» сказочника квалифицируется как элемент (микрожанр) не сказки, а макрожанра «интервью /беседа», прорывающийся в фольклорный текст. При этом разговорный дискурс описывается как речевая среда, в которую погружен фольклорный текст, в рамках которой существует и эксплицируется. Таким образом, теоретические подходы концепции речевых жанров могут быть полезны в сфере изучения текстов устной традиции, позволяя включить фольклорные тексты в единое поле исследования.

Religion and media are both the important themes of the study especially in the modern world and they are linked to each other as well. In the recent year's religion is linked to media to express its message to a great number of audience and viewers. In this regard with the rapid advancement in media especially in the twentieth century 7 , the religion is expressed through various forms of media. The scope of the study of their relation does not seem possible to cover all of its aspects in a single research study because both of them are the vast fields which encompass different aspects of human lives. In this paper we will discuss the study of the relation of both religion and media through four approaches which implicitly indicates towards the role of religion and media to answer the question that how both of them are studied in relation to each other around the globe. These approaches 8 are categorized by Dr Liesbet van Zoonen 9 provide a precise way to the classification of the study of various aspects of relation of religion and media. Furthermore, the paradigm of study for every approach will be elaborated.

HoMER 2025 Conference: Cinema and Conflict
July 8-11, 2025
Galatasaray University

Film censorship in post-2000 Turkey manifests itself in myriad practices operating through direct intervention by state institutions and varying degrees and control mechanisms by state-designated “proxies” (devletin vekilleri). Even in this heterogeneous realm of “censorship habitus,”  I argue that Nejla Demirci’s documentary Kanun Hükmü (The Decree, 2023, 96’) represents a unique case as local administrations and the police have targeted the documentary crew since film production started in 2016. This targeting then evolved and showcased multiple mechanisms of censorship, surpassing the post-production processes, including the editing, distribution, and, ultimately, the festival screenings. The censorship case in the 2023 International Antalya Film Festival and the subsequent screening bans in the 2024 Workers’ (İşçi) Film Festival by local administrations in Ankara and Istanbul sparked controversy in the film industry and the public sphere not only in Turkey but also on an international level.
With an in-depth analysis of the Kanun Hükmü case at the center, I aim to shed light on the complex structures of post-2000 film censorship as to how various financial, cultural, and bureaucratic webs of coalitions, networks, and agreements between state institutions and their proxies effectively operate. I will dwell on ethnographic research data since early 2015, including participant observation and semi-structured interviews, and the self-ethnographic data I constructed on two levels: First, I established rapport with Demirci and helped her projects on several occasions since 2017. Second, I was invited to the post-screening panel in May 2024, prevented by the Beyoğlu Governorship: I, too, experienced censorship.

The article examines the discourses and positions that emerged in the Summer and Autumn of 2020, during the public discussion of bill 44/XIV, which regulated the operation of subscription video on demand (SVOD) services in Portugal. The bill was perceived as a moment of change and impending crisis and divided the film-making sector. Based on a longitudinal ethnographic study of film production practices in Portugal, I ask what made this crisis different from previous and ongoing experiences of crisis. I draw on interviews, informal conversations, participant observation, and published documents to discuss how ideas of the local, national and transnational, discourses of quality and diversity, and practices of future making and life making converged in the defence of a film production culture to which older and younger practitioners attributed a non-economic (or more-than-economic) value considered worth preserving.

This article is a reflective text by an art curator interested in exploring the boundaries between video activism, spectatorship, and pedagogy. It proposes new ways of critically understanding the terms "activist," "participation," and "militancy" in the context of an expanded notion of the image and the role of the spectator. Emerging from field notes, the article narrates and shares the experiences of engaging students at workshops for "Between Broadcasta project around activist videos," held at at fine art academies and universities in Leipzig, Düsseldorf, and Bergamo. The practical aim of the workshops was to introduce and engage students with the subject of so-called activist video clips on YouTube. The students were asked to find, select, and discuss militant videos and, subsequently, to create a montage from them. The conceptual aim of the workshop was to reflect upon video spectatorship online and what that means, the agency of the spectator, and the possibilities of their active participation in the process of viewing. The outcomes of the workshops were the development of critical thinking of the students concerning the subjects of online video, digital empathy, their engagement with videos as individual viewers and as a collective, and the power of montage as a narrative and activist tool.

Providing an overview of media studies generally and studies of new or digital media specifically, I argue that the theories and perspectives of psychological anthropology could bring to media anthropology a more developed understanding of the individual in culture. Furthermore, I argue that psychological anthropology, which like all social science was initially developed in the paradigm of face-to-face, spatially and temporally circumscribed social interaction, could benefit by considering the relationship of existing concepts of personhood, selfhood, identity, and experience to new contexts of mediated communication and interaction.

Sinema ve Tarih Seminerleri Kapsamında ‘Yakın Dönem Türkiye Sinemasında Sansür Yazımına Bakmak’ Semineri
24 Mayıs 2025 — Sinematek Sinema Evi

Özet:  Sinemanın Osmanlı topraklarına 1896’da gelmesi ile eş zamanlı ilerleyen film sansürü, 2000’lerin başına kadar çoğunlukla devletin (ve kurumlarının) tekelinde uygulanmaktaydı. Yakın dönem Türkiye sinemasında sansür vakalarına odaklanan ve süregelen bir çalışmanın envanterini sunmayı hedefleyen bu seminerde, 2000 sonrası dönemde devletin ve kurumlarının gücü baki kalmakla birlikte, kendisine siyasi ve ekonomik yönlerden bağımlı kıldığı ‘vekilleri’ aracılığıyla sansürü nasıl yönettiği irdelenecektir. Devletle çeşitli iş birliği mekanizmalarında yer alan ve koalisyonlar oluşturan bu vekiller sansürü devletle birlikte ya da devlet yerine nasıl uyguluyor? Vakadan vakaya farklı mekanizmalar ve aktörler devreye giriyor mu? 2000 öncesindeki ve sonrasındaki vakalarda tarihsel açıdan devamlılık içeren olgular ya da yeni usuller nedir? Bu ve benzeri sorular eşliğinde, Türkiye sinemasında sansür tarihi yazımının ve araştırmalarının nasıl geliştirilebileceği tartışmaya açılacaktır.

В лекционном курсе рассматриваются основы музыкальной терапии, как одного из видов арт-терапии, в котором музыка используется как основное средство воздействия на психоэмоциональное состояние человека. В первой лекции рассматривается воздействие различных диапазонов акустических волн на много резонансный человеческий организм. Во второй лекции изложены основные принципы музыкальной терапии, включающие индивидуальный подход к каждому пациенту, как дополнение к медикаментозному лечению.
Основная задача лекций – показать влияние музыкальных произведений, их акустических характеристик (громкости, спектров и пр.) на человеческий организм в здоровом и болезненном состоянии и возможности музыкальной терапии на практике.

Данные лекции подготовлены на основе 14 главы книги: В.И.Попов «Основы музыкальной акустики». Рига: РТУ Издательство, 2010, 427 с. и предназначены для студентов ВУЗов и широкой читающей публики.

Tous droits réservés © Cahiers de théâtre Jeu inc., 1986 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

Tous droits réservés © Cahiers de théâtre Jeu inc., 1986 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de

This article is a comprehensive analysis of the British quality press representation of environment activist Greta Thunberg, focusing on the symbolic and mythological dimensions of her public persona. The study explores how the media constructs her image using archetypes that outline her mythological dimension, conferring her a universal and transcendent value, thus facilitating her access to diverse categories of audiences. Through qualitative content analysis of media narratives featuring Greta Thunberg, published between 2018 and 2023 in the progressive publication The Guardian, the analysis aims to identify major themes, dominant symbolic structures and myths that construct the representations of Greta Thunberg. The analysis is grounded on media anthropology, structural, symbolic, and interpretive anthropology, as well as psychoanalytic theories. The study concludes that the media representation of Greta Thunberg is rather a reflection of the collective imaginary and the need for order in the face of societal crisis (climate change), offering a symbolic explanation that addresses the unknown and the inexplicable. Keywords: myths, archetypes, media representation, Greta Thunberg.

In Crashing the party, Heather Gautney provides an 'autopsy' (p. 2) of the presidential election of 2016 in the United States and offers a description of the political dynamics within the Democratic Party that contributed to today's trying political moment. (Note that I initially wrote this review the day after two mass shootings. One of them was perpetrated by a white supremacist who targeted Latinx in the city of El Paso, Texas, because he believed he was helping to deter the 'Hispanic invasion'.) This book offers some answers to the poignant questions that many of us in the United States ask ourselves daily, and especially today: how did we get here, and how do we overcome this moment in history? In this account written from the vantage point of a political insider within Senator Bernie Sanders' primary campaign, Gautney argues that his defeat, and the rise of Trump, shattered the Democratic Party establishment. Sanders' bid shed light on the party's decades-long neglect of working-class interests and voters. Cynical resorts to empty slogans on race and gender equality used as pure marketing tactics and the party's disregard for the popular vote in favour of machine politics resulted in popular discontent. This dissatisfaction, Gautney argues, has taken two different forms. One is the racism and white nostalgia manifest in the support for Donald Trump. The other is a galvanized progressive solidarity movement within the Democratic Party attentive to class, race, gender, and environmental disparities. Sanders, Gautney argues, planted the seeds of that movement. I read Crashing the party in the midst of another Democratic primary where Sanders is, once again (as of early March 2020), trailing behind an establishment candidate, Joe Biden. This time, however, single-payer healthcare, the protection of workers, economic opportunity, and climate readiness are at the centre of the Democratic debates, and other candidates are echoing his proposals. It is stunning that Sanders has made his politics mainstream within the party after years of being side-lined and vilified as a socialist. Gautney provides insight into how his campaign achieved this shift by engaging in a serious grassroots operation, organizing locally, and addressing structural problems head-on with ambitious policy proposals to meet voters where they are rather than expecting them to show up when they have nothing to gain from it. Gautney suggests that establishment Democrats -whose campaigning style the author characterizes as pyramidal, top-down, embedded in deep patronage networks, image-ready, and stylized (see R.K. Nielsen, Ground wars: personalized communication in political campaigns, 2012)need to catch on if they want to have a serious chance at winning the presidential election in 2020. The author effectively demonstrates that during the Democratic primary in 2016, Hillary Clinton's campaign used race and gender to undermine Sanders, painting him as the senator 'from the White state of Vermont' (p. 74) too narrowly focused on economic justice and lacking

The Senegalese philosopher Alioune Diop organized the event under the auspices of Présence Africaine, the journal and publishing house he had founded a decade earlier. The congress included the participation of delegates from twenty-four countries. Present were such luminary figures as Léopold Sédar Senghor, Jean Price-Mars, Richard Wright, Aimé Césaire, and brilliant younger men like Edouard Glissant, Frantz Fanon, James Baldwin, and George Lamming, among many others. While in his opening lecture at the congress, Diop would compare the gathering with the overtly political Bandung Conference 1 of the year before, he had in fact been very careful in emphasizing the congress's interest in exploring and examining in depth the nature of African traditional and diasporic cultures. 2 The congress's preoccupation with the cultures of the African continent and its diasporic offshoots is an extension of Diop's ideological grounding in the 1930s Négritude movement and its ideals, which, under the aegis of the poets Aimé Césaire (Martinique), Léopold Sédar Senghor (Senegal), and Léon Gontran-Damas (French Guiana), 3 considered culture a primary site of the 115

In this paper we discuss some results of the trial of two pedagogical physics workshops, held during the academic year 2014-15 with students of the Undergraduate Program for Elementary/ Kindergarten Teacher Educationat the University of Palermo. One of the workshops was Inquiry Based, while theother was performed by using “traditional” teaching methods. The data, analyzed by using quantitative methods, were obtained by the administration before, during and after the workshop activities of a questionnaire aimed at understanding what are the teaching styles preferred by students, the student motivation in learning and teaching science, and their ideas about the difficulties a teacher meets when designing and trialing with real pupils science-based pedagogical activities. After a short description of the analysis methods we used in our study, the results of the trial are discussed and commented.

Since around 1990s, India’s mainstream media and entertainment industry have liberally used clichéd images of Muslim community to construct stereotypes of their being violent extremists involved in numerous ‘terror attacks’ and other activities ‘disloyal to their homeland’. This typecast image is not only visible in popular cinema produced by the Mumbai industry but also the newspapers and news TV channels. The proliferation of such images in a multi-religious and multi-ethnic country like India not only forms prejudices about Muslims leading to their ‘otherness’ in the larger mainstream, but also enrages them to the extent that many of them feel vicitimised and insecure in their own land, plunging them deeper into their newly formed urban ghettos.  This report looks at some older and recent examples of how mainstream Indian media creates stereotypes out of a community, sometimes even when it is deliberately trying to dissuade from the same process.

Dispersione scolastica e povertà educative rappresentano oggi due aspetti critici che investono il mondo della scuola. Nello specifico la perdita per strada di futuri cittadini non è solo un problema per la scuola secondaria di secondo grado, laddove il fenomeno si manifesta esplicitamente, ma riguarda anche e soprattutto quegli anni di passaggi, cambiamenti e transizioni, dei quali la secondaria di primo grado è scenario centrale. All’interno degli istituti comprensivi e, dunque, nel primo ciclo d’istruzione, clima, approccio e progettualità integrate possono fare la differenza. Da qui è partito il lavoro di gruppo che ha visto costruire un vero e proprio itinerario di cura all’interno di una scuola pugliese; dal dirigente al suo staff, dai docenti al personale tutti in coro per contribuire alla costruzione di una comunità autentica, medicina doloris di ogni difficoltà, culla di attenzione per ogni
singolo alunno. In tre anni, una semplice analisi, tanto dei numeri quanto delle biografie personali, ha restituito un quadro sensibilmente migliorato nel quale la dispersione, anche negli anni a seguire e nel passaggio ad altro ordine, assume carattere assolutamente marginale.

А н н о т а ц и я : Рецензируемая монография посвящена южнокорейской рекламе конца 2000х — начала 2010х гг.
С опорой на материалы мультилокальной этнографии Ольга Федоренко рассматривает южнокорейскую рекламу с по
зиций различных акторов и демонстрирует, как она ситуативно конструировалась на пересечении их интересов. Цент
ральным для работы является вопрос взаимодействия между культурной логикой рекламы, которая определяет ее
воплощение и понимание в конкретных культурных контекстах, и коммерческой логикой. Автор обращает внимание
на те эффекты, которые возникают в рамках взаимодействия между этими логиками и приводят к возникновению
специфических южнокорейских форм рекламных практик и текстов. В рецензии обсуждается вклад автора в совре
менную дискуссию о девестернизации подходов в исследованиях медиа и массовых коммуникаций. Отмечается, что
дифференциация коммерческой и культурной логики рекламы должна рассматриваться не только как основа более
нюансированных исследований медиа, но и как потенциально приводящая к конструированию и воспроизводству
дихотомии коммерческого и культурного

A b s t r a c t : The monograph under review is devoted to South Korean advertising in the late 2000s and early 2010s.
Drawing on multisited ethnography, the author examines how South Korean advertising has been situationally
constructed at the intersection of the interests of different actors. The question of the interaction between cultural logic,
which determines the embodiment and understanding of advertising in specific cultural contexts, and commercial logic is
central to the research. The author draws attention to the effects that arise within the interplay between these logics that
lead to the emergence of specific South Korean forms of advertising practices and texts. The review notes that this
monograph can be seen as part of the current debate on the deWesternisation of media and mass communication studies.
At the same time, it points out that the separation of the commercial and cultural logics of advertising allows for more
nuanced research, but might lead to the construction and reproduction of such a dichotomy

Muslim scholars have long dedicated significant efforts to enhancing the Qur'ān's recitations, employing scientific and technological advancements in the process. This study focuses on the types of colored Qur'āns available that aid in the study of Qur'ānic recitations. While some of these editions specialize in presenting a single narration or recitation, others include the ten minor readings (al-ʿashara al-ṣughrā) according to the al-Shāṭibiyya and al-Durra, or the ten major readings (al-ʿashara al-kubrā) according to the Ṭayyiba al-Nashr, with some even combining the ten major readings with the four irregular (shaadh) ones. Each Qur'ān utilizes unique color-coding systems to distinguish variant readings (farshiyyat) and foundational principles (uṣūl), which are discussed in detail. The research also highlights editions that incorporate examples from al-Shāṭibiyya and al-Ṭayyiba al-Nashr, along with scholarly clarifications (tahqiqaat), making these versions particularly valuable for students. The use of colors in these Qur'ān enhances learning by engaging multiple senses, improving memory retention, and helping students recognize differences within a single recitation or among multiple readings without needing to refer to specialized texts. Additionally, these colored Qur'āns prevent the mixing of recitations and simplify the study of different recitational aspects. The Qur'āns that include the ten major readings and the four irregular readings offer significant value to scholars in various fields, such as Qur'anic Exegesis (tafsir), jurisprudence (fiqh), ḥadīth, and linguistics, by providing a comprehensive resource that eliminates the need to consult classical texts. In conclusion, colored Qur'āns cater to human nature's inherent affinity for visual stimuli, streamlining the learning process and saving time for students, making the study of Qur'ānic recitations (Qirāʾāt) more efficient and accessible.

Using a qualitative content analysis method, this paper analysed aesthetic differences between two Hollywood films (The Protector, The Objective) and two Kannywood films (This Is The Way, Duniya Makaranta) by juxtaposing aesthetic elements of the two film industries in terms of approaches to production, acting, special effects, culture, plotting, camera work, graphics, setting, taste, and Computer Generated Imagery (CGI). The paper was anchored on formalist film theory to establish a justification for human intervention and technological manipulation during film production in order to make the content appealing to the viewers. Findings from the study showed, among other things, that Hollywood employed more aesthetic elements in film production compared to Kannywood even when older Hollywood movies were compared with newer Kannywood productions. The findings also showed that technology like CGI which reduces cost and makes the inclusion of challenging scenes in films stress-free and sophisticated camera work which makes scenes very visually appealing were non-existent in Kannywood films. The paper, therefore, recommended that Kannywood needs to set aside enough money in its budget for the acquisition of sophisticated filmmaking equipment in order to favourably compete with Hollywood. This will help the industry deal with problems like insufficient lighting, inaudible audio and blurry pictures that mar Kannywood movies.

This article outlines a modal anthropology, defined as the ethnographic description of what is possible and necessary for actors operating within a given (technical, aesthetic, ecological) medium. Spanning a wide array of examples, from evolutionary biomechanics to socialist jokes to village feuds, it surveys extant work on modality and its disciplinary antecedents, while examining some of the tricky issues involved in shifting across modes in relation to environmental inputs. Comparing the same act within different possible modes or the different possible actions within the same mode provides a powerful comparative technique for anthropological analysis, one that is particularly relevant in an era of planetary counterfactuals.

While there is a tendency to use the word imaginary loosely in the broader social sciences, often referring to the unrealistic and irrational realms of life, its value as a political currency is palpable. This paper offers takhayyul (tahayyul/تخيل) as a heuristic concept to study imaginative elements in populist Islamist movements. Takhayyul refers to the terrestrial imagination that is realistic and worldly yet also prophetic. It informs doxastic thinking and political action and offers a particular relationship with reality and the ability to comprehend and expand possibilities. This paper explores how this non-Eurocentric theory evolved in the geography that it studies, the Balkans-to-Bengal Complex. In order to develop a theory that can encapsulate the nuances embedded in the intangible aspects of political formations including the imaginaries, cosmological references, and emotive attachments, this paper argues that it is essential to centralize theories that emerge from the very geographies we are ethnographically and historically focusing on.

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This study examines the English pronunciation proficiency of Pentecostal pastors during sermon delivery and its impact on youth engagement in Saki, Oyo State, Nigeria. With the increasing influence of Pentecostal churches among young congregants, effective communication plays a crucial role in sustaining interest and participation. The study focuses on 25 youths from selected Pentecostal churches in Saki town, exploring their perceptions of pastoral pronunciation accuracy, clarity, and its effect on their engagement during sermons. Data were collected through questionnaires. Findings reveal that pronunciation proficiency significantly influences youths' comprehension, interest, and retention of sermon messages. While some youths demonstrate tolerance for minor pronunciation lapses, frequent errors contribute to disengagement and reduced comprehension. The study underscores the importance of linguistic competence in religious discourse and suggests targeted training for pastors to enhance sermon delivery effectiveness.

Atklājot nāves tēmas aktualitāti bērnībā, rakstā tiek meklēta atbilde uz jautājumu, ko bērni iemācās no savas eksistenciālās pieredzes, saskaroties ar nāvi, un kāda ir šīs pieredzes nozīme viņu tālākajā attīstībā. Bērna sastapšanās ar nāves fenomenu skar tādus viņa personības attīstības aspektus kā savas bezpalīdzības un trauksmes pārvarēšana, intelektuālā attīstība, atteikšanās no naidīguma un sociālās destruktivitātes, kā arī atbildība un patstāvība. Tā kā bērna dzīves koncepti, tai skaitā priekšstati par nāvi, veidojas ciešā saistībā ar pieaugušo pasauli, pedagogam ir svarīgi tikt skaidrībā pašam ar sevi, savu attieksmi pret nāvi, nepaļaujoties uz sistēmām un ideoloģijām.

The study aimed at assessing Nollywood audience's overall perception of interpretive journalism's impact on satirical content. Grounded in cultivation and selective perception theories, it employed a cross-sectional survey research design. Virtual-based focus group discussions were conducted, involving twelve participants. Data analysis utilized descriptive statistics. The findings revealed varying levels of familiarity with satirical Nollywood films among participants, and interpretive journalism was not generally understood as a concept. Participants believed that interpretive journalism could enhance the impact of satirical Nollywood films. Opinions on its actual influence on audience perception were diverse, with some recognizing its potential impact. The study underscores the importance of popularizing interpretive journalism and satire as a film genre among journalists and actors. Amongst the recommendations were that efforts should be made to leverage interpretive journalism in enhancing the messaging of Nollywood satirical films. Interpretive journalists should engage media audiences on issues raised by Nollywood satires. In contributing to knowledge, the research highlights how concepts that are regular lexicons to professional could be unknown to those outside the profession and how that could impact the knowledge of the relevance of the concepts and blur understanding This challenge simplistic views of passive media effects theories, such as cultivation theory.

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During Nollywood's formative years, the Nigerian film industry faced significant challenges in formalization. Scholars often classified it as an informal industry due to the short production-to-distribution cycle, insufficient funding, poor record-keeping and accountability, limited archival systems, and the absence of an effective distribution structure. This study critically examines Nollywood's digital transformation and formalization processes, focusing on the impact of platformization on narrative trends. Using critical reviews of scholarly works, participant observation as a filmmaker-researcher, and interviews with key Nollywood filmmakers, the research explores these developments in detail. Additionally, a comparative analysis is conducted between selected Nollywood films from the video's formative years in the 1990s-such as Living in

I focus on Pentecostal genres performed in the market space, a thick religiously plural environment. I look at the ways in which Pentecostal evangelizers (animateurs, a subcategory of the evangelizing ministry in Pentecostal churches) negotiate their public presence in terms of form and style; how they navigate the religious plural market space; and how this navigation is expressed discursively. I study different forms of textual mediation, and the ways in which Pentecostal publics are construed. My main argument is that part of the Pentecostal accommodation is the conscious selection of evangelizing genres that fit the performance context. Animateurs choose evangelizing genres in terms of the performance space. The innovative aspect of this chapter is the social significance of what I call “small Pentecostal genres”, seemingly banal discursive forms, that may escape the scholar’s analytic gaze because they are less dramatic and formalized than the more common genres such as sermons, gospel songs, and testimonies.

This paper's point of departure is the fact that while the "secularization thesis" has been academically swept away and religion has uninterruptedly been occupying modern public sphere, on the one hand; and the emergence of new media undoubtedly paves the way for various religious expressions, on the other hand; few muslims are fully aware regarding another contemporary religious challenge they have to critically as well as emphatically engage with: a shifting religious authority. In recent years, ulama, kiai, ustadz, and ajengan-to mention just few "old" or traditional religious authorities-should share their authorities with "new" religious authorities with their far-reaching new media they effectively use-Youtube, Podcast, X, Facebook, or Instagram. With respect to certain religious controversies, religious authority is consequently highly contested between those with religious intellectual expertise and "lay" people merely well-trained with excellent command in using new media. This challenge has been increasingly becoming more severe as the public sphere for various divergent and conflicting religious understandings widens due to the undeniable globalized human life today and ubiquitous new media as well. In this respect, this paper makes a case that contemporary da'wah should necessarily be equipped with a sophisticated and far-reaching approach derived from a kind of cosmopolitan Islamic worldview through which a pluriversal and peaceful coexistence would possibly prevail. Drawing on progressively more critical and nonessentialist scholarly works on the notion of cosmopolitanism and employing both Taha Abdurrahman's notion of "discursive field" (al-majal al-tadawuly) and Talal Asad's "Islam as discursive tradition" as its theoretical framework as well as critical discourse analysis (CDA) as its method of analysis, this paper seeks to address and sheds its light on the following main questions: how do new media both simultaneously facilitate and posit a critical challenge for contemporary da'wah; and how is cosmopolitan religious consciousness incorporated and nurtured within a pluriversal society and in an era of-what Jurgen Habermas aptly coins as-postsecular age? Against the backdrop of above-mentioned media disruption and undeniable Indonesian socio-cultural pluriversality, this paper contends, a "Rooted-Cosmopolitan Da'wah" is not only possible but also the only academically plausible option to foster.

Productive participation in the emerging innovation-driven knowledge-creation society, one that is oriented toward building a sustainable future, will require cultivation of sophisticated innovative competencies by all citizens and associated identities as potential creators of knowledge Creativity, here, as connected to " knowledge creation " , always involves construction of types of artifacts and externalization. In order to facilitate knowledge-creating competencies, students of primary, secondary and higher education need to encounter with the complexity of the real-world, pursue various types of authentic activities, learn how to act and work effectively, individually or together with others, solving complex problems and creating new knowledge and media. To reach these aims, practices of learning and instruction should be redefined, also following the international community's requirements (EU, 2010; OECD, 2012). In particular, teaching and learning should includ...

This special section reflects upon how divine-human relations are shaped by the socioeconomic and political circumstances in which they are cultivated. The four articles treat God not as a rigidly defined, unchanging being borne of ageless scripture and theology, but a figure who emerges during people’s self-reflection and through their interactions with others in specific settings. The articles explore how human engagements with the divine manifest across a myriad of post–Arab Spring communities, from Syrian Sunni refugees in Jordan to Shi’i Iranians who feel forsaken by their government and God, and from Beiruti Orthodox Christians running a charity clinic to Sunni Muslim women taking Islamic lessons in Dubai. A framework of divine-human relations structures these distinct contributions, and this introduction lays out how the articles intervene in debates around politics, agency, and temporality. Together, the articles offer insight not only into what religiosity and selfhood look like among (dis)believers in the Middle East today, but also what notions of God drive different kinds of (ir)reverence. They also accord ethnographic attention to God, an otherwise marginal figure in much scholarship on religion.