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supplies them with nourishment, not least because people who work with media live and operate within a cultural context, just like everybody else. These people are, in their turn, in constant mediated as well as direct contact with ordinary citizens for tips and ideas about possible follow-ups and further investigation of the scandal. In addition, in everyday life in twenty-first-century Western culture, it has become increasingly difficult to draw clear dividing lines between, for instance, conversations via social media and ‘conversations among people’. The following

in Exposed
Open Access (free)
Art and interpretation

the case: the technical means have massively increased, but what individuals can do with them has not always kept pace. Much contemporary Western culture simply relies on new technical means to dress up what is in fact an impoverished repetition of exhausted cultural forms. How this fact is connected to the relationship between the public and the private is one of the vital questions in contemporary culture. Many of the responses to this question rely on Heidegger’s story of modernity as the era of the technological dominance of being by the subject, a story which I

in Aesthetics and subjectivity

between Eastern and Western culture.’98 In other words, the region itself, situated on a border between East and West, began to carry its own special significance. Firstly, it offered Croats their own divinity, since Mary appeared to them, and not the Serbs. And secondly it also gave them a form of chosenness or divine status preferable to that of the Kosovo myth. As its chroniclers mused aloud: ‘it is intriguing that the central message at Medjugorje was “peace”, whereas Kosovo was revived by the Serbs as a shrine to their military glory’.99 Of course, comparisons

in Balkan holocausts?
Open Access (free)
The cartographic consciousness of Irish gothic fiction

England and Ireland, as conventional readings of the form would suggest. The fair Hibernian (1789), for instance, may be classified as an early example of the national tale and focuses, as Ian Campbell Ross notes, on ‘a clash of cultures – though not, interestingly, the more familiar Irish-English one but rather Irish-French relations’. 80 Owenson's The missionary (1811), subtitled ‘an Indian tale’, but frequently read as a displaced consideration of Irish national politics, envisions a fatal meeting of Eastern and Western cultures in its concentration on

in The gothic novel in Ireland, c. 1760–1829
Britishness, respectability, and imperial citizenship

class of ‘educated natives’ who were nurtured and educated in Western culture through missionary efforts and ‘Anglicisation’ movements. During the nineteenth century, colonial schools such as Elphinstone College in Bombay (f. 1824), the Lovedale Missionary Institution (f. 1840), and Zonnebloem College (f. 1858) in South Africa were founded with distinct if related intentions – namely to ‘civilise’ an

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
Critical and historical contexts of the Lord Mayor’s Show

Shows’ consistent emphasis upon the livery companies’ ‘ethics of community over individualism’, as Andrew McRae puts it, is one of the reasons why they seem to be antithetical to modern commentators, given the sway of individualism in western culture after the early modern period.63 It is my view that one should attempt to interpret the mayoral Shows, and the texts which they generated, in their own terms, as far as this is possible. With that approach in mind, the Lord Mayors’ Shows – especially when studied en masse, as here – can offer us access to a rich range of

in Pageantry and power
Open Access (free)
The beginning of aesthetic theory and the end of art

understanding of the divide between sensuousness and pure thought has dominated Western philosophy and that the divide can be deconstructed by attention to the ineliminable role of metaphor in philosophical discourse.18 That this issue has been a constant problem in Western culture is evident from the following famous example. The origin of what Freud calls the ‘Moses religion’ is, as Kant already argued, linked to the ban on images, which means one is compelled to honour a God one cannot see. For Freud this meant a ‘subordination of sensuous perception to an idea that is to

in Aesthetics and subjectivity
Open Access (free)

Europe. Unable or unwilling, as the case may be, to integrate into the host societies, often jobless, linked up by satellite dishes to the television programmes of their countries of origin, some are choosing to adopt their idea of fundamental Islam. Islamic fundamentalism seemingly shows a way out, by rejecting a Western culture that they feel is rejecting them, and by holding out the prospect of a future where God, Allah, is not relegated to a corner of society, or the mind, but takes control of it. Islamic fundamentalism must also be seen as a reaction against the

in Destination Europe
Open Access (free)

discipline, or of their subsequent generations of students.15 The reorientation to spatialized knowledge diminished the age-old primacy of the human voice, ‘the primordial medium of communication, the basis of all dialogue’.16 A corollary of Ong’s specific conclusion about Ramism, still cast in a McLuhanesque mould, was another, more wide-ranging, thesis: that Western culture had fundamentally shifted at the Renaissance from a primarily auditory perceptual and cognitive mode to a primarily visual one, ‘and that the vehicle for this shift was the invention of printing’.17

in The spoken word
Father– daughter incest and the economics of exchange

Lévi-Strauss’s understanding of the prohibition of incest as creating culture, Matilda’s father suggests that it is only the creation of (Western) culture that demands the incest taboo. 127 Matilda claims repeatedly that the bliss of her and her father’s reunion is ruined by no fault of her own, yet her part in pressing her father to confess his love is a calculated move that renders her self

in Gothic incest