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ntercultural education is one of the new focuses of the 21stcentury. We try to understand what intercultural education is and how it can be integrated into foreign language classes. We are interested in the ways in which teaching methods can be adapted to accomplish intercultural education and what teaching methods can be used to include both foreign language teaching and intercultural education.
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The article addresses a topic related to the complex problem of authorship in the field of popular music today, as well as the challenges of trying to highlight the ‘image’ of the author in the context of the joint and shared creative efforts involved in creating а final music product. The text analyses these issues through the interpretive optics of Professor Will Straw, a contemporary Canadian researcher in the field of media studies. The presented reflections are based on his commentary on the ‘diffused’ image of the author in popular music in view of certain specific developments in the second half of the 20th century.
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The problem of formation of assessment abilities in adolescents for deviations in behaviour through contemporary Bulgarian literature is relevant and insufficiently studied in our country from a pedagogical point of view. Based on an interpretive content analysis of interviews conducted with contemporary Bulgarian authors, summaries and trends about the state of the problem and its application in pedagogical practice are presented.
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Since the 1980s, the cosplay phenomenon has become a significant aspect of popular culture mainly in Japan, but also in other parts of Asia and in the Western world as well. Nowadays, cosplay events are the most common feature of various fan conventions and there are also dedicated conventions, such as local and international competitions. Websites, social networks, and other forms of social media centred on cosplay activities are just as popular places for the presentation of cosplayers work, and also for cosplay fan conventions. We encounter the definition of this phenomenon mainly in sociological studies, but in its definition from a marketing point of view, and also in term of art studies is less frequent in an academic environment. In the presented study, we look at the cosplayer as an artist with the possibility to become a brand. Cooperation with cosplayers is attractive for different categories of products, not only directly connected with popular culture, e.g., cooperation with bank institutions. On the other hand, it is really necessary to underline the connection with products and texts of popular culture. In the case of self-promotion of cosplayers, games, movies and other pop-culture festivals and events take really important place. This study aims to present a theoretical reflection of the cosplay phenomenon from the perspective of art marketing, as a potential basis for the further research in this area. The situation is illustrated by practical examples.
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Lucretius II: An Ethics of Motion (2020), written by Thomas Nail, is an alternative book to approach posthumanism from a philosophical aspect. Its focus on motion correlates posthuman thinking with sociological, political, and philosophical dynamics by applying to Lucretius and continental philosophers. Its philosophical frame allows readers to comprehend posthumanism deeply by applying to ethics. The conceptualization of posthumanism, motion, and ethics is grounded in four fundamental methodologies including historical ontology, close reading, translation, and argumentation. Thus, the abstraction of the book is quite inclusive to envision what philosophical posthumanism is by delving into Lucretius’s philosophy.
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As a repository of culture, language preserves relics of past accounts, animosities and biases formed throughout history. The English language has many examples of offensive, stereotypical or even racist idioms, which have stood the test of time and are still being used today, often with little regard to their original meaning or their defamatory connotations. The purpose of this article is not to offer solutions for racism and discrimination, but to shed some light on the origins of these problematic expressions, which would hopefully, in turn, increase awareness of such sensitive topics.
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Obiektem bliższej obserwacji w niniejszym artykule jest językowa analiza niemieckich kawałów (dowcipów) jako krótkich form humorystycznych, w szczególności analiza zawartych w nich „nieporozumień” językowych, które są strategicznym wyróżnikiem gatunkowym tych tekstów. Ich głównym zadaniem jest zażartowanie z kogoś i rozśmieszenie innych. Przeprowadzona analiza lingwistyczna „nieporozumień” językowych porusza różne aspekty komunikacyjne osadzone w perspektywie społecznej: zarówno pragmatykę komunikacji międzykulturowej, kreatywność w komunikacji wewnątrzkulturowej, jak i humor w kulturze i komunikacji. Materiał badawczy wykorzystany do niniejszej analizy tworzy korpus utworzony z ponad 400 niemieckich kawałów pochodzących z różnych źródeł, w większości zaczerpniętych ze zbiorów internetowych. Celem niniejszego opracowania jest zaprezentowanie różnych perspektyw badawczych i analiza językowych mechanizmów służących tworzeniu „nieporozumień” językowych na podstawie wprowadzonych 13-tu kategorii opisujących bliżej gatunek tekstu ‘kawał’ z uwzględnieniem niemieckiej specyfiki kulturowej. // The main subject of this article is the linguistic analysis of German jokes as the short humorous formats, emphasis is placed on the analysis of various language-related “misunderstandings” found in these jokes, whose are strategic genre differentiator of these texts. Their main function is to make fun of someone and to make others laugh. The analysis of these language-related “misunderstandings” raises various communicative issues that are rooted in the social perspective, such as: pragmatics of intercultural communication, creativity in intracultural communication, or humour in culture and in communication. The research material used for this analysis is composed of over four hundred German jokes coming from various sources, with the largest number of texts from internet sources. The aim of this publication is to present various research perspectives and to analyse linguistic mechanisms used in the creation of language-related “misunderstandings” on the basis of thirteen categories that describe the genre ‘joke’ considering the German cultural specificity.
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In recent years, approaches to audiovisual translation and media accessibility services have shifted from serving one group of viewers only towards a more universal design that takes into account a wider range of users. In line with that approach, some scholars point out, for example, that subtitling for the deaf and hard of hearing (SDH) or accessibility applications created with the blind and partially-sighted in mind could prove beneficial to senior citizens. This group of viewers is likely to experience age-related sensori-motor and cognitive decline, which may significantly influence their film-watching experience as well as their preference for an AVT method. As populations in many countries are aging, senior citizens might be considered an important part of potential cinema clientele. Unfortunately, since studies in AVT have concentrated on younger audiences, little is known about senior citizens’ specific preferences concerning audiovisual translation. The objective of this article is to briefly characterise senior citizens as recipients of audiovisual translation and discuss the possibilities for future studies on the subject.
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There is an ample evidence supporting the benefits of instructional humour, including increased attention and interest, information retention and learning speed, more productive learning environment, a more positive image of the instructor, more efficient acquisition of linguistic and cultural competencies, an increased conversational involvement, enhanced cultural awareness and more stimulated critical thinking. However, most of the research findings rely on what is termed appropriate humour, such as puns, jokes, anecdotes, and alike, while potentially offensive humour that relates to sexual, ethnic, religious, and political identity is generally labelled inappropriate and advised to be avoided in the classroom. It is in this particular context that this study seeks to test the potential of such humour, sexual and ethnic in particular, to act as a tool of increasing cultural awareness and stimulate critical thinking among university students. To do so, the study relies on an experimental class design combining in-class and extracurricular activities created by using sexual and ethnic humour samples.
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Political cartooning was one of many cultural products that colonial rule introduced to India. This British legacy has been used to produce narratives about the nature and history of Indian cartooning. However, these narratives have, invariably, overlooked the distinctly Indian cultural ethos as well as the Indian satirical tradition. This paper proposes an alternative model by positing that in the Indian satirical tradition, the Vidusaka – the comic figure in Sanskrit drama - has been an antecedent to the political cartoonist in terms of social and political roles, as well as in the nature and the purpose of the humour. The paper also locates the principles of caricaturing in precolonial Indian visual arts, and presents the early vernacular cartoons as the point of convergence between the local satirical tradition and the Western format of the political cartoon which laid the foundation for a modern yet specifically Indian sensibility.
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As Chinese people engaged with the Australian cultural scene in recent years, two posts about its humour attracted considerable attention from netizens in the People’s Republic of China. The post authors believed that their firsthand accounts of events demonstrated how Australians used humour to overcome awkward situations and regarded this as an essential national characteristic. In each case, other interpretations were possible if cultural factors had been taken into account, including the contemporary culture of China, Putonghua language usage and the Anglo-centrism that is common to cross-cultural studies. This exploratory generalist textual study concludes that the authors’ interpretations were largely determined by their cultural bias and by traditional regard for ‘face’ and politeness, and reflect the fact that, ultimately, the extent of cross-cultural communication is governed by international politics.
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‘Dame Edna Everage’, a persona originally created by the Australian comedian Barry Humphries in 1955, is a character designed to simultaneously shock and amuse. Dame Edna voices (and satirizes) the discourse of ‘average’, older, politically conservative Anglo- Australians who feel compelled to ‘tell it like it is’ – no matter how offensive their opinions might be. In the Anglosphere, Edna’s humour is well understood and sustained international success has followed Edna for more than 60 years in Britain, Canada, the US and Australia. However, Edna occasionally misfires. In 2003, for instance, Edna’s satire outraged Latinos across the USA, in fulfilment of Poe’s Law (Aikin, 2009). Simply put, Latinos assumed that Edna’s comments satirising negative mainstream attitudes towards them were expressive of Edna’s authentic racism. This paper investigates the Edna joke in the overall context of failed humour and then specifically for the offensiveness it generated amongst the Latino minority in the United States. It then tests whether this reaction was the result of a discursive frame specific to the US context, by conducting an exploratory study amongst a small sample of highly educated Australian bilingual Latin American immigrants and their adult children, to see whether they thought Edna’s joke was funny. These Australian individuals of Latin American heritage responded via an online questionnaire, and an analysis of their responses is presented here. The study’s main finding is that while these individuals generally demonstrated a high comedic literacy across both English and Spanish, including a prior awareness of Edna’s and Australian humour, they overall rejected the intention and humour of Edna’s joke. This paper asserts that, when it comes to humour, some transnational migrant speech community loyalties transcend other notions of identity and language competence.
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This article presents an ethnographic study of Bosnian humour during the siege of Sarajevo. The siege of Sarajevo, which followed the collapse of Yugoslavia, lasted four years. Despite the atrocities and war crimes committed against the residents of Sarajevo during this period, they are known for the spirit they demonstrated, and humour was a crucial element of this spirit. On the basis of two-month fieldwork in Sarajevo, I demonstrate how Bosnians employed humour to comment on this traumatic event, made sense of it, and coped with the experience. Although humour under extreme conditions is mainly viewed as a coping mechanism, by exploring the origins of Bosnian humour and stereotypes about Bosnians, I demonstrate that a notable humorous response to the traumatic events of the 1990s was more than a coping mechanism or just a response to this particular war. As I argue, a humorous attitude toward life in Bosnia belongs to people’s identity; it has developed historically as a response to the sufferings of a peripheral group in the region and, as a result, has become a cultural artifact belonging to Bosnians’ ethnic consciousness. In their attempt to preserve a sense of normalcy and restore dignity during the siege, Sarajevans continued to engage in their traditional humour, as doing otherwise would mean they had lost control over who they were.
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This commentary aims to take up the gauntlet thrown down by Dore (2019) with her article about multilingual humour in the Italian dubbed version of the series Modern Family. She suggested that the scenes included in the article could be analysed in other languages, so it was an interesting proposal to carry out the analysis of the Spanish dubbed version, since the L2 in the source text coincides with the target text language. Thus, this fact makes the translation process an arduous activity in these language combinations. Multilingualism is therefore considered the central element in this study. It is a reflection of the current social movement and the increase of multi-ethnic communities worldwide. This fact leads to citizens who use their knowledge to assert their own identity; as a consequence, audiovisual producers are also aware of this situation and exploit this phenomenon. Modern Family is an example of this reality and introduces characters, like Gloria Delgado-Pritchett, as a role model to show an increasingly common tendency, the use of multilingual and multi-ethnic characters that reflect this new social situation. Thanks to the selected examples, we will see whether the use of multilingualism as a source of humour is also transmitted to the Spanish dubbed version, as it did in the Italian dubbed version studied by the abovementioned scholar.
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The article is devoted to the ideas of the French sociologist and philosopher Emile Durkheim about moral education. Moral education means special care for students, which is also care for the whole society. The influence of individualism as main moral principle of contemporary society is also analyzed. The author traces connections of Durkheim's ideas with the concepts of other thinkers and considers their contemporary influence on the education system. He also argues on the analysis of Durkheim's ideas, the necessity of education and training in ethics in the modern educational process.
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La place et le rôle de Paris et de Berlin en tant que capitales de deux pays importants de l’Europe, mais aussi en tant que capitales des événements culturels dans la première moitié du XXe siècle, et en particulier entre les deux guerres mon- diales, peuvent être étudiés sous différents aspects. Leur énergie créatrice et la forte influence culturelle qu’ils avaient sur le reste du monde sont incontestables, même avant et après cette période. Dans cet article, nous voudrions évoquer les éléments essentiels de leurs activités culturelles, comparer leurs actions culturelles et identi- fier ce qui les a rendus si attrayants pour d’autres pays. Vu les points de départ très différents dans nos relations avec ces pays, le but de cet article est d’analyser leur influence sur la situation culturelle de la Serbie en tant que partie du Royaume de Yougoslavie et plus particulièrement de sa capitale, Belgrade. Alors que la France était un allié traditionnel et un grand ami après la Première Guerre mondiale, l’attitude à l’égard de l’Allemagne a été sensiblement différente et alourdie par les conflits de guerre et les souffrances du peuple serbe. Il est possible de conclure que, dans la période donnée, l’influence culturelle de la France a été dominante, ce pays passant pour un ami à qui certaines omissions pouvaient être pardonnées, tandis que, d’autre part, l’Allemagne a été longtemps considérée avec suspicion, puis une plus grande confiance et une coopération se sont développées, pour être finalement remises en question à la veille d’une nouvelle guerre mondiale.
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