scholarly journals SCANDINAVIAN CRIME FICTION AND POPULAR CULTURE: JO NESBØ'S HARRY HOLE NOVELS

2020 ◽  
Vol 8 (21) ◽  
Author(s):  
Darko М. Kovačević
Keyword(s):  
Popular Culture ◽  
21St Century ◽  
World Literature ◽  
Crime Fiction ◽  
Literary Genre ◽  
Main Character ◽  
Strong Connection ◽  
Typical Representative ◽  
The World ◽  
Full Power

Jo Nesbø is one of the most important and popular crimefiction writers of today, as well as a typical representative of thecontemporary literary genre known as Scandinavian crime fiction.Within the entire literary opus of this writer, the central positionis reserved for the series of novels in which detective Harry Hole isthe main character. Various segments and aspects of these novelsdemonstrate a strong connection and relation with popularculture, and they are identified and discussed in this article.However, before the mentioned identification and discussion,some facts are stated regarding the phenomena of Scandinaviancrime fiction, as a regionally determined literary genre whichemerged to the world literature scene in full power at the end ofthe 20th and the first decades of the 21st century, and its relation topopular culture.

scholarly journals Gender Qualities and Roles of Villains: Presented in North-American Web Comic Homestuck by Andrew Hussie

2021 ◽  
pp. 59-62
Author(s):  
Olga Ilina ◽  
Keyword(s):  
Popular Culture ◽  
21St Century ◽  
North American ◽  
Black And White ◽  
Self Confidence ◽  
The World ◽  
Absolute Good ◽  
Binary Gender

In this article, using the popular North American comic Homestuck by Andrew Hussie (2009-2016), we look at the roles assigned to various antagonistic characters based on their gender. In the 21st century, the world has become more complicated and has ceased to be divided into black and white, absolute good and absolute evil. Literature and popular culture have become more complex, and with it the image of the antagonist has changed, the antagonist has ceased to be just a villain who does evil just because this is his role in the story. The idea of non-binary gender situations, when the usual traditional stereotypes could not describe reality, appeared. A revision of the traditionally masculine and feminine qualities took place, and feminine softness, diplomacy, and compliance began to be viewed not as a weakness, but as a privilege. At the same time, traditionally masculine qualities such as aggressiveness, self-confidence, and intransigence are no longer viewed exclusively in a positive way. This article discusses what the image of modern villains is and how their villainous role relates to their gender qualities.

scholarly journals “Marvel vs. World”

2021 ◽  
pp. 1-24
Author(s):  
Adnan Mahmutović
Keyword(s):  
Popular Culture ◽  
World Literature ◽  
Film Industry ◽  
Current State ◽  
Literary Ecology ◽  
The World ◽  
Great Pressure ◽  
Marvel Comics ◽  
Marvel Cinematic Universe ◽  
World Concept

Abstract Following Eric Hayot’s argument that modernity is a theory of the world as the “universal,” this paper traces the “world concept” in Marvel Comics industry (MC) and its synergy with the film industry of the Marvel Cinematic Universe (MCU). Speaking from the field of World Literature Studies, I show how superhero comics activate the “world concept” through the global dissemination of the infinitely stretchable Marvel Universe. My argument is that by operating in terms of a universe with moldable diegetic rules, the popular culture of MC and MCU does not merely reflect the current state of the world concept, but also affects its evolution and its spread. The universality of the modern worldview has come to be less concerned with the realist effect and more with increasing all-inclusiveness and infinite stretchability. The increased plasticity of the world concept puts a great pressure on world literary ecologies and increasingly expands and shapes what Beecroft called global literary ecology. What Marvel Comics has done in recent decades, especially through the interplay with the film industry, is to show how the expansion of the world concept entails that however large we imagine the world to be, it is always already too small.

scholarly journals Traditional and popular cultural discourses within the post-war development of Japan’s cultural diplomacy

2011 ◽  
Vol 12 (1) ◽  
pp. 105-119
Author(s):  
Aurelijus Zykas
Keyword(s):  
Popular Culture ◽  
21St Century ◽  
Cultural Diplomacy ◽  
Communication Tools ◽  
Cultural Discourses ◽  
Government Institutions ◽  
The World ◽  
Post War ◽  
Important Shift

Vytautas Magnus UniversityThis paper analyses the development of post-war Japan’s cultural diplomacy since 1945, dividing it into four stages. It raises questions about what government institutions have been conducting cultural diplomacy, what the main international challenges have been, what communication tools have been used, and what kind of cultural discourses were prevalent during a particular stage. Special emphasis is put on the division of traditional versus popular cultural discourses within the cultural diplomacy of Japan, mainly concentrating on the important shift in this aspect that occurred at the beginning of the 21st century. This shift was marked by the government’s increasing shift towards popular culture discourse and the deliberate exploitation of that to promote Japan in the world.

scholarly journals Media and communication in Asia in early 21st century: Changes, continuities, and challenges

2017 ◽  
Vol 33 (62) ◽  
pp. 5
Author(s):  
Jun Liu ◽  
Kjetil Sandvik ◽  
Christian Hviid Mortensen
Keyword(s):  
Popular Culture ◽  
21St Century ◽  
Social Transformation ◽  
East Asian ◽  
Communication Studies ◽  
Communication Industry ◽  
Early 21St Century ◽  
South Korean ◽  
The World ◽  
Media And Communication

Asia has some of the largest, most dynamic, diversified, and complicated media industries in the world (McKinsey & Company, 2015). Entering the 21st Century, the rapid economic and political developments of Asia further energize the growth of media locally and globally (for general discussion, see, e.g., Keane [2006]; Thussu [2006], specific discussions on the cases of Korea [Kim, 2013], Japan [Iwabuchi, 2004], China [Sun, 2009]). In a reflection on the increasing importance of Asian players in global communication industry, Keane describes that “Asianness is colonizing international communications markets” (2006: 839-840) with the impacts ranging from the production of hardware (i.e., East Asian technology) to content (e.g., Japanese manga, anime and TV formats and South Korean popular culture) and from the cross-over of directors and actors from Asia to Hollywood and the world. Yet, a lack of timely understanding of media and communication in a fast-changing Asia is hindering not only our interpretation of the significance of media in social transformation in Asia, but also the efforts to de-westernize (e.g., Park & Curran, 2000; Wang, 2010) or internationalize communication studies (Lee, 2014).

scholarly journals MYTHOREALITY AND CULTURAL SUPER-MEMORY IN VICTORIA KING’S NOVEL «RECLUSE»

Keruen ◽  
2020 ◽  
Vol 67 (2) ◽  
Author(s):  
S.V. Ananyeva ◽  
◽  
L. Kotorcha ◽  
Keyword(s):  
Fairy Tales ◽  
World Literature ◽  
The Elderly ◽  
The Novel ◽  
Main Character ◽  
American Writer ◽  
The World ◽  
Save The Children ◽  
Living Organisms ◽  
Deep Relationship

In the world literature, randomly discovered notes, diary and excerpts are widely used as a technique for creating a new artistic text by being its pretext. In the novel of the modern American writer Victoria King «Recluse» in parallel with the narrative line of «found notes» develops the story about the life and fate of the main character Lydia Sergeevna. The text of the novel includes fragments of ancient legends and myths from the book «Legends and Myths of Ancient Greece», in the margins of which one of the heroines of the novel reads a story about another, former life of the 30-50s of the XX century. Introspection and fantasy, intellectual search, aphoristic, figurative style, folklore motifs are successfully combined in the poetics and style of V. King in order to reveal the theme of the deep relationship of all living organisms on planet Earth. Narrative strategy allows the writer to combine three times – mythical, Soviet and post-Soviet. Temporary layers of the narrative intersect, develop in parallel, alternating both in the composition of the novel and in the memory of the characters. The past becomes a myth and suddenly comes to life, sprouting into the fate of the heroes. This is the skill of the writer as a narrator. The heroines of the novel, without hesitation, come to the rescue, stretch a helping hand to the elderly, save the children. Invisible threads in one instant bind the inhabitants of different countries of the world. The cultural super-memory allows the American writer in the pages of the novel to recreate the image of a Kazakh artist, decorator of the Almaty Opera House – Sergei Kalmykov. Imagological discourse is important as a view from abroad. The image of the artist was described, that of fully immersed in his fairy tales, in the memoirs of the main character of the novel, and in the diary entries Darya Belotserkovskaya. The poetics of the novel is characterized by fantasy motifs that reinforce sadness and grief, and folklore elements (song, folk laments, parable). Central is the parable of the old recluse who remains to grieve in the ashes. The measured, unhurried rhythm of the narrative prolongs the simple, unpretentious story. The drama of what is happening is transmitted through the representation of immutability of human essence and the eternal quest of the soul.

scholarly journals Genre Transgression in Contemporary Romanian Crime Fiction

2019 ◽  
Vol 11 (1) ◽  
pp. 21-34
Author(s):  
Roxana Eichel
Keyword(s):  
Cultural Values ◽  
Detective Fiction ◽  
World Literature ◽  
Crime Fiction ◽  
Cultural Identities ◽  
Literary Genre ◽  
Crime Narratives ◽  
Textual Practices ◽  
Romanian Literature ◽  
Gain Access

Abstract Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual “enjeux” of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as “world literature” (Nilsson–Damrosch–D’haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena.1

Psychology from Egyptian, Arab, and Islamic Perspectives

1997 ◽  
Vol 2 (4) ◽  
pp. 356-365 ◽  
Author(s):  
Fouad A-L.H. Abou-Hatab
Keyword(s):  
Professional Identity ◽  
21St Century ◽  
The West ◽  
Islamic Perspective ◽  
National Heritage ◽  
Western Psychology ◽  
The World ◽  
The One

This paper presents the case of psychology from a perspective not widely recognized by the West, namely, the Egyptian, Arab, and Islamic perspective. It discusses the introduction and development of psychology in this part of the world. Whenever such efforts are evaluated, six problems become apparent: (1) the one-way interaction with Western psychology; (2) the intellectual dependency; (3) the remote relationship with national heritage; (4) its irrelevance to cultural and social realities; (5) the inhibition of creativity; and (6) the loss of professional identity. Nevertheless, some major achievements are emphasized, and a four-facet look into the 21st century is proposed.

Dancing Across the World Wide Web: Advocacy in the 21st Century

2009 ◽  
Author(s):  
Blair Williams Cronin ◽  
Ty Tedmon-Jones ◽  
Lora Wilson Mau
Keyword(s):  
World Wide Web ◽  
21St Century ◽  
World Wide ◽  
The World

Globalization and interconfessional communications

2001 ◽  
pp. 13-17
Author(s):  
Serhii Viktorovych Svystunov
Keyword(s):  
21St Century ◽  
Global Economy ◽  
Modern World ◽  
The World ◽  
Target Set ◽  
Almost All ◽  
Over Time ◽  
Rapid Appearance

In the 21st century, the world became a sign of globalization: global conflicts, global disasters, global economy, global Internet, etc. The Polish researcher Casimir Zhigulsky defines globalization as a kind of process, that is, the target set of characteristic changes that develop over time and occur in the modern world. These changes in general are reduced to mutual rapprochement, reduction of distances, the rapid appearance of a large number of different connections, contacts, exchanges, and to increase the dependence of society in almost all spheres of his life from what is happening in other, often very remote regions of the world.

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