作者: 真 時間: 2025-3-21 23:55
Power,, a discipline-bounded approach alone to understanding the nature of power is inadequate. What is needed is a review of key classical works on power so as to propose a unified understanding of power that evidences the robust nature of power more precisely. With this in place, the systematic empirica作者: 聯(lián)邦 時間: 2025-3-22 03:16
Digital Times,al economy as simultaneously layered, multifaceted, convergent, and in constant flux. This generative complexion can be attributed to the emergence of newer social conditions associated with the digital epoch as well as dramaturgical concerns in everyday practices. In particular, this chapter focuse作者: 出汗 時間: 2025-3-22 07:41
Politics and Social Media in Singapore, the country’s tightly regulated media spaces, the expression of free speech is considerably curbed in the eyes of its critics. It is therefore timely to interrogate the agency of its people in enacting voice in the digital vernacular discourse, particularly in the online subpolitical terrain. By de作者: septicemia 時間: 2025-3-22 09:13 作者: PRO 時間: 2025-3-22 15:36 作者: PRO 時間: 2025-3-22 18:52
,Anton Casey’s Mistake (Singlish 55), second video. The first three parts are similar to the previous chapter. They include the part on the carnivalesque form of the mediatized performance. This is further split into the use of semiotic resources and the aspect of grotesque realism as carnivalesque tools. The second part focuses on the作者: 陳腐思想 時間: 2025-3-22 22:35
Power As Constantly Reconstituting and the Prospects of Carnivalesque Politics,ness of Foucauldian governmentality as a theory of power in explicating the modus operandi of Singapore’s PAP government in curbing free speech in the country’s media space. I then move on to examine the limitations of Foucauldian governmentality and Bourdieusian cultural perspective specifically in作者: 四海為家的人 時間: 2025-3-23 04:35 作者: 交響樂 時間: 2025-3-23 07:04 作者: Longitude 時間: 2025-3-23 10:54 作者: NOVA 時間: 2025-3-23 15:13
Kinetics of Bond Forming and Bond Switching I comment on the character of the carnivalesque performance. Finally, the last part is a synthesis of chapters 6 and 7. In this part, I discuss the manipulation of the carnivalesque form and interrogate the carnivalesque function in the (pseudo)carnivalesque performances of Kim Huat (protagonist in the first video), Casey, and Taxi Driver.作者: kyphoplasty 時間: 2025-3-23 20:42
,Anton Casey’s Mistake (Singlish 55), I comment on the character of the carnivalesque performance. Finally, the last part is a synthesis of chapters 6 and 7. In this part, I discuss the manipulation of the carnivalesque form and interrogate the carnivalesque function in the (pseudo)carnivalesque performances of Kim Huat (protagonist in the first video), Casey, and Taxi Driver.作者: 紳士 時間: 2025-3-24 00:37
Book 2020of comedy as a form of power. It proposes using Bakhtin’s carnivalesque as the analytic tool to distil for readers key differences between humour as banal and humour as critical (and political) in today’s social media..Drawing from critical theory and cultural studies, this book takes an interdiscip作者: eustachian-tube 時間: 2025-3-24 05:17
Power as Performance in the Twenty-First Century Digital Playground,ower relations associated with comedic contents in social media. In particular, this chapter proposes a discourse analytical approach that could afford the necessary lens to examine discursive sociological manifestations of power relations in the digital economy.作者: Indurate 時間: 2025-3-24 07:59
Power,larship (i.e., (neo)Marxist perspectives of power as top-down), the second strand focuses on more culturally oriented conceptualizations of power as relational and nuanced. Collectively, the coalescence of these significant bodies of knowledges affords an understanding of power that is constantly re作者: CURT 時間: 2025-3-24 11:43 作者: 搖曳的微光 時間: 2025-3-24 16:28 作者: abstemious 時間: 2025-3-24 21:18
Carnivalesque as Theoretical Framework, comparative studies, two Singapore-based comedic videos and map out the analytical approach to distinguish comedies that are potentially subpolitical from comedies that are hegemonic in nature. While this proposition may afford an inventive and systematic approach to examine comedic performances, i作者: inferno 時間: 2025-3-25 00:05
mrbrown Show: Who Say We Smelly?,que . of the mediatized performance is examined. This is followed by the examination of the carnivalesque . of the same video. In the final part, the on/off screen personae of the producer is also scrutinized so as to understand the level of careful choreography that goes into the construction of mu作者: podiatrist 時間: 2025-3-25 04:31
Book 2020t the conversation to uncover the evolving voices of (existing and newer) power holders in the shared digital space; and to view current social realities as a continual project in unpacking and understanding the adaptive ways of the human spirit..作者: 淺灘 時間: 2025-3-25 10:51 作者: 博愛家 時間: 2025-3-25 13:39
https://doi.org/10.1007/978-3-642-81482-2larship (i.e., (neo)Marxist perspectives of power as top-down), the second strand focuses on more culturally oriented conceptualizations of power as relational and nuanced. Collectively, the coalescence of these significant bodies of knowledges affords an understanding of power that is constantly re作者: 柔美流暢 時間: 2025-3-25 17:27 作者: gene-therapy 時間: 2025-3-25 21:13
https://doi.org/10.1007/978-3-642-81482-2ate ideologies and the development of its system of political rule in the 54?years of its nationhood. With this background, the chapter then focuses on the modus operandi of the state machineries in regulating free speech in various mediatized spaces. In the second part of the chapter, I consider th作者: GAVEL 時間: 2025-3-26 00:27 作者: contradict 時間: 2025-3-26 04:56
Kinetics of Bond Forming and Bond Switchingque . of the mediatized performance is examined. This is followed by the examination of the carnivalesque . of the same video. In the final part, the on/off screen personae of the producer is also scrutinized so as to understand the level of careful choreography that goes into the construction of mu作者: Instrumental 時間: 2025-3-26 09:57 作者: Notorious 時間: 2025-3-26 15:16 作者: 射手座 時間: 2025-3-26 19:39
https://doi.org/10.1007/978-981-15-2051-8critical discourse analysis; critical digital literacy and cultural studies; carnivalesque politics; ca作者: ZEST 時間: 2025-3-26 23:13 作者: 哪有黃油 時間: 2025-3-27 03:00 作者: 解決 時間: 2025-3-27 05:33
Cultural Studies and Transdisciplinarity in Educationhttp://image.papertrans.cn/d/image/279144.jpg作者: nerve-sparing 時間: 2025-3-27 11:33 作者: 敵意 時間: 2025-3-27 17:41
https://doi.org/10.1007/978-3-642-81482-2, a discipline-bounded approach alone to understanding the nature of power is inadequate. What is needed is a review of key classical works on power so as to propose a unified understanding of power that evidences the robust nature of power more precisely. With this in place, the systematic empirica作者: 樂器演奏者 時間: 2025-3-27 19:21 作者: 步兵 時間: 2025-3-27 23:09
https://doi.org/10.1007/978-3-642-81482-2 the country’s tightly regulated media spaces, the expression of free speech is considerably curbed in the eyes of its critics. It is therefore timely to interrogate the agency of its people in enacting voice in the digital vernacular discourse, particularly in the online subpolitical terrain. By de作者: 我就不公正 時間: 2025-3-28 05:12 作者: Tincture 時間: 2025-3-28 08:57
