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Art and Culture in the Diplomatic Ceremonial as the Basis of International Relations

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Oksana Zakharova

1Department of Art Management and Technology Events, National Academy of Management of Culture and Arts, Kyiv, Ukraine. E-mail: o.zakharova@tanu.pro

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.16

First published: June 26, 2022 | Area: Performance Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number 2, 2022)
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Abstract

Currently, there is an increased interest in ceremonial culture. A ceremonial is a kind of cultural message from one social group of people to another. The basic idea of behaviour, the inner meaning of secular ceremonial is laid down in church rituals, and external forms of behaviour can be borrowed from the traditions of everyday secular life. Diplomacy as one of the spheres of applied politics is a very complex and responsible type of human activity, which has always had a pronounced ritual character. The conclusion of contracts and alliances took place according to a certain scenario plan, according to which the ceremonial action developed. During the preparation and holding of the ceremony, the exchange of diplomatic letters and embassies continued, solemn meetings were arranged for the honored guests, feasts, theatrical performances, games, and festivities were given in their honor. the purpose of the article is to conduct a comprehensive study of the communicative functions of diplomatic ceremonial in international communication based on the analysis and generalisation of new facts with the involvement of archival materials and other sources introduced into scientific circulation for the first time. In this study, art is considered for the first time from the point of view of the communicative factor of a diplomatic ceremony. A ceremonial is an event in the life of society that has a symbolic meaning. The norms of ceremonial reflect not only ideology but also the social psychology of society, without an adequate interpretation of which it is impossible to correctly understand the behavior of statesmen in specific situations related to their official status.

Keywords: diplomacy; culture; art; political elite; ideology; society.

Introduction

By the beginning of the First World War, the Russian Empire was a state whose opinion could not be ignored. Court ceremonials, which emphasised the strength and power of the ruling dynasty, were the political programmes of the government (Golubev & Nevezhin, 2016; Gould-Davies, 2003). After the February Revolution of 1917, the politicisation of leisure became the most important feature of public life. Not only rituals, but also performances, concerts, and cinema sessions turned into political demonstrations. The Revolution used new artistic forms, decorations of demonstrations, processions, and mass celebrations. The origins of this phenomenon are in the mass celebrations of the French Revolution (Martin & Piller, 2021). The ceremonial action itself is a synthesis of the arts – pictorial design of space, music, choreography, and costume.

Already in the first years of Soviet power, the symbols of power entered “into the struggle for power.” At diplomatic ceremonies, this struggle was in the nature of a confrontation between European protocol traditions and the newly created rules of Soviet diplomatic etiquette by the staff of the Protocol Department of the People’s Commissariat for Foreign Affairs (ICID). The uniform at diplomatic receptions, concert programmes, the list of dishes served – everything had to meet the norms of Bolshevik ideology (Karyagin, 1994; How to Be Diplomatic, 2022). During the leadership of the People’s Commissariat of Foreign Affairs under V. Chicherin, Protocol Department under D.T. Florinsky is a collective of creative personalities who, without being afraid to experiment, developed norms of protocol practice that have been relevant for decades, compiled in 1923 by D.T. Florinsky’s “Brief Instruction on observing the rules of Etiquette adopted in bourgeois society” was taken as a basis for the creation in 1935 of a new manual on the protocol “Diplomatic Technique” (reprinted in 1938) (AVPRF. F. 057. Op. 3. P. 101. D. 1. L. 20-25).

From the first years of its existence, the Protocol Department of the NKID (People’s Commissariat of Foreign Affairs) (until November 12, 1923 – the protocol division (protocol unit), took an active part in the preparation of foreign visits to the RSFSR (Russian Socialist Federative Soviet Republic), and since 1923 – to the USSR (Union of Soviet Socialist Republics). In the 20-30s, Protocol Department employees were literally at the forefront of “diplomatic” relations, forming the foundations of Soviet protocol practice. Reports of D.T. Florinsky and comments on them by G.V. Chicherina are filled with interesting details that convey the atmosphere, and the spirit of the time with a lot of humor and self-irony. Elegant in form, they are very deep in content. Chicherin and Florinsky carefully analyse every situation that arises during visits, not to punish the guilty, but so that in the future such mistakes of the protocol service do not discredit the authorities, for many of whom the European diplomatic protocol is an external manifestation of bourgeois morality (AVPRF. F. 057. Op. 8. P. 106. D. 6. L. 157-159).

In addition to the development of regulatory documents for the preparation and conduct of foreign visits, the Protocol Department staff actively participated in the organisation of diplomatic ceremonies with the participation of diplomats accredited in Moscow and their family members. The peculiarity of the diplomatic corps’ stay in Moscow was that the embassy staff were in an unusual socio-cultural environment, the value system which was formed by the norms of Bolshevik ideology. Using the methods of agitation and propaganda, the authorities sought to form a negative attitude among citizens towards modern European culture, representatives of which were, among others, employees of diplomatic agencies.

Diplomatic life and ceremonial culture after the formation of the USSR

From 1923 to 1929, the diplomatic corps in Moscow was distinguished by the cohesion of its members and at the same time isolation from Russian reality. But at the same time, from the point of view of the development of diplomatic ceremonial culture, the life of the diplomatic corps was very busy. Receptions at embassies were arranged almost daily and were built according to a certain scenario: during lunch – conversations about politics and art, then a dance or concert program. Many accredited diplomats in Moscow were engaged in collecting objects. So, the Ambassador of France, one of the best French journalists J. Erbet acquired a collection of objects from Ural malachite. The head of the German Embassy, Count Brakdorf-Rantzau, collected antique bronze. Norwegian diplomat Dr. Urbi collected icons. Just like the Latvian Ambassador K. Ozols (2026), he believed that a modern diplomat should spend two years in Moscow to consider himself a professional. The embassies of the Baltic states were practically under siege in Moscow, as states that the USSR wanted to seize into its sphere of influence. The aggressive policy of the authorities has led to the fact that the diplomatic corps has become even more united. Receptions were held quite often at the Latvian Embassy, they were attended not only by well-known journalists, but also by representatives of the Soviet elite (Ozols, 2016). The Lithuanian Embassy occupied a special position in Moscow, largely due to the personality of the envoy Jurgis Baltrushaitis – poet, translator of Byron, Ibsen, d Annunzio, Hamsun, Wilde, Strindberg. Of the Soviet diplomats, who also needed to be included in the diplomatic corps, the most significant was G.V. Chicherin, who was a brilliant pianist, a subtle connoisseur of musical culture.

Despite an active diplomatic life, the Italian writer C. Malaparte (2018) calls the Soviet capital a provincial city in which the creativity of European writers was preferred to the creativity of European fashion designers. The Soviet nobility tried to “try on” the lifestyle of the pre-revolutionary elite of Russian society, but copying the form, it did not care about the content, about its moral and spiritual origins. The traditions of pre-revolutionary secular life continued to develop at receptions at embassies, to which representatives of the Soviet creative intelligentsia were invited. Stalin did not take part in the events of the diplomatic corps, but at the same time the entire diplomatic corps “with one voice” praised the lifestyle of the leader, whom he compared to Bonaparte after 18 Brumaire (November 9), 1799, when the Directory was dispersed in France, and the government headed by Napoleon Bonaparte came to power. Stalin was a dictator, the communist nobility was against him, in the late 20s its representatives tried to imitate Paris, London, Berlin or New York manners (Malaparte, 2018). Notably, the embassies of fascist Italy and Nazi Germany were the peculiar centers of the diplomatic life of the capital of the USSR. In the 20s, the Italian Embassy played a leading role in the life of the diplomatic corps, forming programs of diplomatic receptions, in which, for example, dancing was replaced by playing bridge.

Sports, in particular tennis, united members of the diplomatic corps, but did not contribute to their rapprochement with Soviet colleagues, who for the most part came from a working-peasant environment, were neither practically nor psychologically ready to communicate with foreign diplomats. This problem was discussed in the language of art at one of the most striking events of Soviet diplomatic life in the early 30s – the ball at the German mission (1931), at which, during a theatrical performance, the Soviet protocol was criticized for being late, not knowing foreign languages, etc. (AVPRF. F. 057. Op. 11. P. 109. D. 2. L. 73). During this period, ballroom ceremonial ceased to be a component of the state ceremonial culture, but it still remained an important component of European life. In diplomatic Moscow, balls were given not by official Soviet officials, but by members of the diplomatic corps.

It was the ballroom ceremonial, combining various types of arts, that allowed achieving the greatest emotional impact on those present, who, at the same time, were active participants in the ceremonial, owning a whole complex of relevant class norms. Of all the ceremonials, the ball had the utopian function to the greatest extent. Music, choreography, architectural decoration created an ideal environment from the point of view of artistic harmony. In the 30s, the staff of the German Embassy were the leaders of secular life, but at the same time, German diplomats did not seek to isolate the embassy and the entire diplomatic corps from the NKID staff, but were looking for ways to get closer to them. In particular, discussing protocol issues, for example, the appearance of a diplomat at official receptions.

When Hitler came to power in 1933, the music of R. Strauss and all modern German composers was banned in the USSR. Excluded were the repertoire of Wagner’s operas, which were performed on the stage of the Kiev Opera and Ballet Theater – in the 1926-1927 season – “Meistersingers”, in the 1932-1933 season – “Lohengrin” (Stefanovich, 1960). The Soviet-German agreements signed in Moscow in 1939 had a noticeable impact not only on the political, but also on the cultural development of Soviet society. In 1939, during negotiations with the German Foreign Minister in Moscow, the foundations of a new world order were laid and the map of Europe was “reshaped” considering the interests of Nazi Germany and the Soviet Union.

At the end of 1939, the pro-German musical policy began and the reason for this phenomenon was the Molotov-Ribbentrop Pact. But the changes in the foreign policy of the USSR were said in the language of art a few months before the meeting in Moscow, namely on May 5, 1939. On this day, at a concert for the participants of the military May Day parade in Moscow, the “Chorus of Sailors” by R. Wagner was performed in the 3rd department. Symphony orchestras began to perform R. Strauss (Nevezhin, 2011). The Protocol is not only an instrument, but also a kind of indicator of the priorities of the state’s foreign policy, which was especially clearly manifested in the relations of the Soviet leadership with German representatives in Moscow and during the visit of I. von Ribbentrop. The totality of protocol norms as a whole demonstrated the priorities of the Kremlin leaders in the field of international relations. One of the clearest confirmations of the Kremlin’s loyalty to the chosen course aimed at establishing friendly relations with Germany was the decision to stage R. Wagner’s opera “Valkyrie” on the stage of the Bolshoi Theater by the outstanding Soviet film director S. M. Eisenstein, who openly expressed his anti-Nazi views (Golubev & Nevezhin, 2016). On November 21, the premiere of the opera, which was a kind of “greeting” of a delegation that arrived from Berlin after Molotov’s talks with Hitler and Ribbentrop.

During the Soviet period, all the details of state ceremonies were carefully developed, each of which is an illustration of the ethical norms accepted in society. As in the pre-revolutionary period, great importance was attached to the gesture, musical accompaniment, and the language of the costume. Methods of appearance design are important signals, personality signs. Clothes are a business card. The attitude towards a diplomat is related to the perception of the country he represents. In choosing a suit, the personal preferences of a diplomatic employee give way to political expediency. The “expulsion” of the tailcoat, and even earlier the top hat, from Soviet protocol practice was regarded as a victory in the struggle against bourgeois values. Modern European dances were also considered carriers of ethical norms alien to the Soviet citizen. Despite the prohibitions of the authorities, the daily, unofficial life of Soviet people was filled with foxtrot, tango, waltz, which literally “punched” their way into dance halls at different periods of history. Each of them was accused of promoting sexual promiscuity, called obscene and vulgar. And here it is very important to distinguish between the original choreography and the subsequent “processed” by classical choreographers, teachers of ballroom dancing. The ennobled returned dancing to the ballroom floor and became its kings. Each dance in different periods of history had its own semantic meaning, its own intonation at the ball, being not only an organizational link, but also a kind of expression of the basic ideas of banal ceremonial. Diplomatic privileges and immunities extended not only to diplomats, but also to the forms of their leisure, in particular, to the programs of dance evenings. Thus, the foxtrot, banned in the USSR, is performed in embassies not only by foreign diplomats, but also by the head of the protocol department of the NKID, D.T. Florinsky. The 20s were a time of searching for ways to reconcile traditional European protocol norms with the Bolshevik ideology of the Soviet state.

With the expansion of international contacts, the problem of the exchange of commemorative gifts both in the foreign missions of the USSR and in Moscow itself became more acute and urgent. Especially acute was the issue of the relationship between the authorities and the keepers of the cultural heritage of the USSR – museum workers (AVPRF. F. 057. Op. 8. P. 106. D. 10. L. 223, 223 rev). It should be noted that if the interior items that were not returned to the museum storages remained in the USSR, then the works of painting, sculpture, decorative and applied art became the cultural heritage of other states. The canvases of B.M. Kustodiev “The Beauty” (AVPRF. F. 057. Op. 8. P. 105. D.1. L. 128, 129), S.Yu. Zhukovsky “Forest in early spring” (AVPRF. F. 057. Op. 21. P. 115. D. 4. L. 19), V.I. Zarubin “Landscape with three old ladies” (AVPRF. F. 057. Op. 21. P. 115. D. 4. L. 23), K.F. Yuon “Parade on Red Square on November 7, 1941” (AVPRF. F. 057. Op. 31. P. 155. D. 20. L. 48), A.I. Laktionov “Girl for embroidery”, P.P. Konchalovsky “Lilac” (AVPRF. F. 57. Op. 41. P. 198. D. 36. L. 168), I.E. Grabar “Frost, the last rays” were used as diplomatic gifts (AVPRF. F. 57. Op. 41. P. 198. D. 36. L. 169).

Foreign guests were generously gifted with fur products, some of which can rightfully be attributed to works of art. So, in 1943, Molotov’s wife gave the wife and daughter of the representative of the President of the United States (United States of America) Davis’s outfits were made of fox and ermine, and in 1946 a sable fur coat was presented to the Princess of Iran A. Pahlavi personally from I.V. Stalin (AVPRF. F. 057. Op. 26. P. 127. D. 7. L. 18). The range of Kremlin gifts is very diverse. If in 1944 U. Churchill received as an official gift 10 kg of caviar, 15 liters of vodka and 40 packs of cigarettes, then his wife in 1945 – a diamond of 5.58 carats (AVPRF. F. 057. Op. 24. P. 120. D. 7. L. 33; AVPRF. F. 06. Op. 7. P. 22. D. 246. L. 62).”The Prime Minister’s grocery set is rather evidence of special friendly relations, since in 1944 Churchill was still “his boyfriend”, and you can also give vodka to “your own”. In turn, M.A. Churchill earned a diamond for organising Soviet aid during the war. In this regard, the question involuntarily arises – for what merits the wives and daughters of Soviet leaders received very valuable gifts from foreign guests (platinum watches with diamonds of Stalin’s daughter from I.B. Tito, etc.) (AVPRF. F. 057. Op. 26. P. 127. D. 8. L. 32).

The visit of K. Churchill was one of the first independent visits of the wife of a state leader to the USSR. The “women’s visit” forced the staff of the Protocol Department to depart from the “men’s code” of the Soviet protocol, in which the presence of women at official receptions was not welcome. The situation began to change in March 1945 during the visit of Czechoslovak President Benes and his wife to Moscow: members of the delegation were invited to dinner with Stalin (March 28) together with their wives (AVPRF. F. 057. Op. 25. P. 123. D. 8. L. 53.). Ulanova, Maksakova, Kozlovsky, Mikhailov and others performed at the concert in the Central House of the Red Army (CDKA) [25]. The President’s wife visited the Moscow Art Theater (Moscow Art Academic Theater named after M. Gorky) (the play “Russian People”) and the ballet school at the Bolshoi Theater.

It should be noted that in the programs of official foreign visits there is practically no information about the visits of guests to academic drama theaters in Moscow and other cities of the Soviet Union. The reason for this phenomenon probably lies not only in the difficulty of translation – professionals possess a number of artistic techniques that allow not only to understand the meaning of what is happening on stage, but also to feel the atmosphere itself, the mood of the performance. Probably one of the reasons is the repertory policy of theaters, which could not refuse to stage plays by foreign and pre-revolutionary domestic playwrights. But even in the traditional staging of classical works, censorship could detect an encroachment on the foundations of communist morality, at the same time, visiting the Bolshoi Theater was an important component of the programs of foreign visits to the USSR. Great music and choreography, and outstanding performers, greatly contributed to the fact that the ballet “Swan Lake” became a kind of element of Soviet classical diplomacy (Karyagin, 1994).

After the “Basic provisions of Protocol practice in the USSR” approved in 1976 by the Central Committee of the CPSU (Central Committee of the Communist Party of the Soviet Union), official visits to the theater were excluded from the programs of foreign visits. (AVPRF. F. 057. Op. 60. P. 260. D. 1. L. 40, 41, 43, 44). The official version is saving public funds. But in our opinion, the main reason is the confidence of the leaders of the state that their political course does not need the support of art. Moreover, in the 70s and early 80s, representatives of the creative intelligentsia, including soloists of academic opera and ballet theaters, were either expelled from the country – Vishnevskaya and V. Rostropovich – or preferred to work in foreign collectives in the Bolshoi Theater or the Kirov Theater (Mariinsky Theater) – Natalia Makarova, Rudolf Nureyev, Mikhail Baryshnikov, Alexander Godunov. But the specific features of the Kremlin leaders’ “understanding” of the significance of works of art in the political life of society in no way begs for their value.

The art of ballet forced the world community to see the USSR as a country in which the traditions of classical art continue to develop, and, consequently, human values are not alien to the Soviet state. Thus, it is possible to build partnerships with the Soviet Union, which are based on mutually beneficial cooperation. At Kremlin receptions, there was a representation of power, the process of interaction between the party leadership and the invited audience, which allowed communicating (including using the language of art) to the broad masses the main ideas of power. Individuals with a high social status, an active and trustworthy part of society, were invited to the Kremlin.

Features of the development of the cultural repertoire in Soviet Moscow

In states with a pronounced vertical of power, state policy in the field of culture largely depends on the tastes of the leaders of the state. At the same time, not only are the people deprived of the right to choose, but also the ruling elite, which for the most part was deeply mistaken about their real capabilities. The slightest violation of the designated rules of the game could lead to moral and physical destruction. The proof of the above is the Soviet musical doctrine of the 30s-50s of the twentieth century during the active process of the totalization of art in the USSR.

A comparative analysis of the programmes of government concerts in Moscow and the repertoire policy of Ukrainian theaters showed that they were united not by what was performed, but rather by what was forbidden to perform. So, in the repertoire of theaters, including concert programmes, there are no works of Hindemith, Stravinsky, Bartok, Kozelli, Schoenberg, Mesian, Penderetsky, Berg, Krshenek, Schreker and Kurt Weil. They were excluded from concert programs and theater posters after Zhdanov’s articles against Shostakovich’s music – “Confusion instead of Music” (about opera “Lady Macbeth of the Mtsensk district”) and “Ballet Falsehood” (about the ballet “Light Stream”), published in January and February 1936 in the newspaper “Pravda” point to this.

In totalitarian states, the government deprives the people of the right to choose. The development of entire directions in the field of art depends on the leader’s predilection. Before the war, Stalin liked the music of I. Dzerzhinsky. As a result, the composer’s operas were staged on the stage of leading musical theaters: “Raised Virgin Land” – in Kiev (season 1937-38); in Odessa (1937), in Dnepropetrovsk (1937); “Quiet Don” – in Kiev (season 1936 – 1937), in Lviv (1940). The works of D. Shostakovich, including the opera “Lady Macbeth of the Mtsensk district”, did not make a proper impression on the leader. So, it is not surprising that they were not on the theater posters of opera houses and in the programs of government concerts. At the same time, the 7th Symphony (Leningrad) was performed on February 21, 1943 on the stage of the Royal Albert Hall of Arts and Sciences in London during the theatrical performance “Salute to the twenty-fifth anniversary of the Red Army”, which is a unique event in the history of Soviet-British cultural ties (RAHE/1/1944/16).

The press noted the “grandiose” design of the stage space, which represented a stylized view of the Russian city. Each of the two thousand participants, attracted from various services, factories, civil defense institutions, as well as the London Philharmonic Orchestra, numerous Guards orchestras, outstanding artists, was an important component of the stage action, which The Times called a “triumph” (The Times, 2022). Against the background of the aggravation of allied relations caused largely by the Katyn tragedy, as well as the problem of opening a second front in Europe, a concert dedicated to the twenty-sixth anniversary of the Red Army on the stage of the Royal Albert Hall on February 23, 1944 acquires special political significance.

A kind of culmination of the concert, composed of works by outstanding composers of the English musical Renaissance, led by Edward Elgar, was the work of G.F. Handel “Hallelujan Ghorus Aroma Messiah” performed by the Royal Choral Society and the London Symphony Orchestra (The Times, 2022). Despite the fact that the concert was dedicated to the Red Army, it became an important factor in British cultural diplomacy. In London, the music of D. Shostakovich and S. Prokofiev was played, but we could not find them in the programmes of government Kremlin concerts either during the war or in the post-war periods.

In totalitarian states, the subjective factor prevails over national interests, priorities in domestic and foreign policy. Stalin loved opera. Excerpts from opera performances by Tchaikovsky, Rimsky-Korsakov, Borodin, Rossini, Gounod were performed at almost every government concert. In choreography, he preferred characteristic and national dances to classical dance. The leader did not like instrumental music, especially symphonic and chamber music. We were unable to find fragments of symphonic works by Russian and Western European composers in the programs of government concerts, as well as long-lasting compositions for solo instruments – sonatas, concerts.

Stalin considered vocal music to be the highest kind of music. These opinions of the leader were reflected in the musical Soviet policy and were theoretically justified in the resolution of the Central Committee of the CPSU in 1948. In the field of folk music, he preferred Ukrainian and Russian folk songs. The Kremlin leaders had a special dislike for vocal and instrumental modernist music. Thus, Stalin’s tastes formed the basis of strict control in the field of musical creativity. The musical doctrine of the Soviet government was based on the musical tastes of the leader. This doctrine wore the mask of “socialist realism in music.” But it was the “mask” under which the music that gave Stalin pleasure, the works that acted on the leader “like a dentist’s drill or a musical slaughterhouse” (as Zhdanov put it), were excluded from the repertoire. In February 1948, the Moscow central newspapers published a resolution of the Central Committee of the CPSU(b) (Central Committee of the All-Union Communist Party of the Bolsheviks) about the opera “The Great Friendship” by Vano Muradelli, in addition to the author, D. Shostakovich, S. Prokofiev, A. Khachaturian, B. Lyatoshinsky, V. Shebalin, N. Myaskovsky.

Lviv Theater excluded the opera V. Muradelli and other “dubious” performances in the light of the new party decrees. In Lviv, Prokofiev and Khachaturian were “rehabilitated” only in 1965, when the ballets “Cinderella” and “Spartak” were staged on the stage of the theater. In 1985, S. Prokofiev’s opera “War and Peace” was presented to the audience. It is a mistake to say that only modern music was subject to the ban. What the leader did not like and did not understand, for example, the Viennese operetta, was not performed. Ballet “The Big Waltz” to the music of I. Strauss was stopped in Lviv in 1957, and the operettas “The Gypsy Baron” and “The Bat” – in 1960 and 1982, respectively. In the 40s, paradoxically, the cultural programmes of the Allies contributed more to the creation of a positive image of the USSR – a theatrical performance (1943) and a concert (1944) at the Royal Albert Hall – than the programmes of government concerts in the Kremlin and the Bolshoi Theater. A performance glorifying the Red Army was created in the Albert Hall, and in Moscow in the same year a reception was held at the Spiridonovka, which was more famous for abundant treats, rather than a concert programme. The “thaw” that came in the mid-50s forced Soviet leaders to reconsider the style and methods of international activity.

The number of diplomatic missions accredited in Moscow increased from 1918 to 1945 from 2 to 32. In 1960, the USSR already had diplomatic relations with 69 states, 53 foreign diplomatic missions were accredited in Moscow. Soviet leaders practically did not attend receptions at embassies, diplomatic staff, military personnel, cultural figures were sent there – all according to the approved list. In the early-mid-50s, the Soviet government began to take measures aimed at establishing active contacts with the diplomatic corps, providing it with information about new achievements, processes in the development of the economy, science, culture, etc. The protocol service organized regular screenings of new works of cinematography and theater, trips around the country, meetings with representatives of the creative intelligentsia.

In 1953-1954, conditioned upon the intensification of the USSR’s foreign policy, more international meetings, congresses, festivals, exhibitions, etc. began to be held. In the “activation” of work with the diplomatic corps, the main role was assigned to cultural programs. In the Bolshoi Theater, in the Kremlin Palace of Congresses, separate seats were assigned to diplomats. In the representative mansion of the Ministry of Foreign Affairs (Ministry of Foreign Affairs) Since January 1963, the USSR has organised weekly screenings of feature films, monthly author’s evenings of famous cultural figures. The demands to take measures to “activate” work with the diplomatic corps were repeated in the decisions of the Board in the 70s and 80s.

In 1970, the British Council (a semi-governmental organization operating under the auspices of the Ministry of Foreign Affairs in the field of cultural, scientific and other humanitarian exchanges) promoted the organisation of an exhibition of ancient Chinese drawings in London. In exchange, Beijing received the London Symphony Orchestra. In diplomacy, this cooperation has been called “symphonic ping-pong”. “Ping Pong diplomacy” became a household name after the Chinese-American table tennis match, which marked the beginning of active relations between the United States and the People’s Republic of China (People’s Republic of China).

Conclusion

In the early years of Soviet power, representatives of the workers’ and peasants’ government tried to ignore the norms of diplomatic protocol and etiquette, arguing that they were based on bourgeois morality alien to the young Soviet Republic. But already in the early 20s it became obvious that it is impossible to build partnerships with foreign countries without observing generally accepted European norms, traditions and conventions in international communication.

In the post-war years, the isolation of part of the diplomatic corps continued on an ideological basis. Such a situation could not but influence the behaviour of the members of the diplomatic corps in Moscow, in which there was, along with the traditional, a kind of diplomatic counterculture, that is, the deliberate disregard by the participants of international communication of the accepted protocol norms, and the rules of respect and politeness in international communication. Behind the seemingly “dry” language of the protocol are specific individuals with their habits and characters. In the system of international relations, art as a communicative factor not only poses problems, but also contributes to their resolution.

The study identified that art is a communicative factor not only in classical, but also in public diplomacy. In this regard, the profession of a diplomat implies communication both with persons provided for by the protocol service, and with scientists, writers, musicians, artists. Otherwise, diplomacy will remain an archaic institution that ignores public opinion, denies the possibilities of public diplomacy, and, consequently, the role of “soft power” in world politics, which defends the national interests of the state peacefully, using, among other things, the language of art in state ceremonies.

Declaration of Conflict of Interests

The author(s) declared no potential conflicts of interest.

Funding

No funding has been received for the publication of this article. It is published free of any charge.

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Sugiarti1, Eggy Fajar Andalas2 & Aditya Dwi Putra Bhakti3

1Department of Indonesian Language Education, University of Muhammadiyah Malang, Indonesia, sugiarti@umm.ac.id

2Department of Indonesian Language Education, University of Muhammadiyah Malang, Indonesia, eggy@umm.ac.id

3Department of Communication Science, Faculty of Social and Politic Science, University of Muhammadiyah Malang, Indonesia, aditya@umm.ac.id

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.12

First published: June 19, 2022 | Area: Gender Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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Abstract  

In Indonesia, a folk tale is used as a medium of entertainment as well as a teaching tool for children. Parents read folktales to their children at night. Folktales are used in the text of Indonesian lessons at the elementary education level. However, Indonesian folktale is suspected of being gender-biased. Although there is research on this subject, there is still little research on Indonesian folktales originating from Eastern Indonesia. Previous research conducted is still focused on the western region of Indonesia, for example, Java and Sumatra Island. This study aims to understand how women are depicted in Eastern Indonesian folktales, especially to understand the objectification of female characters. Based on the results of our research, we argue that many female characters in Eastern Indonesian folktales are subject to objectification. The objectification of female figures is carried out in the form of women as objects of sexuality, women as a medium of exchange of power, and women being passive and working in the domestic sphere. This finding shows that the folktale of Eastern Indonesia cannot be separated from patriarchal ideology. These stories show that women in the imagination of the Indonesian people still occupy an inferior position compared to men. Furthermore, the female characters also experience objectification and inequality as in folktales from Western Indonesia. The patriarchal point of view in folktales has deep roots and spreads in Indonesia. Research proves that the ideology of folktale is not always in harmony with the ideal values ??that exist in society. It takes a critical attitude towards the selection of stories that will be conveyed to children

Keywords: Image of Woman, Objectification, Indonesian Folktales, Eastern Indonesian Region

Introduction

According to the Central Statistics Agency of Indonesia (2015), 1331 ethnic groups inhabit the territory of Indonesia, an archipelagic country consisting of various cultures. The cultural heritage of Indonesia is enriched with artifacts produced by these diverse ethnic groups as hinted by the presence of 366 documented folktales in the nation. (Baihaqi et al., 2015) But, in comparison with a large number of ethnic groups, the number of documented folktales is very little. The existence of folktale in a community occupies an important position. A folktale is an ethnographic description of the community that owns the story (Dundes, 1969) because it contains its values and worldview (Andalas, 2018; Aristama et al., 2020; Sulistyorini & Andalas, 2017). For generations, the folktales have been passed down as “cultural treasures” that contain the cultural essence or cultural DNA (Bar Zaken, 2020) of a particular community. In other words, understanding the folktale of a community will gain knowledge and views of the community’s life (Andalas, 2015; Dundes, 1969). These various cultural treasures are passed down between generations and perceived as shared cultural truths.

In Indonesia, a folktale is used as a medium of entertainment as well as a material for teaching to children. Parents’ reading folktales to their children at night and their usage in the text of Indonesian lessons at the elementary education level shows the importance of folktales to the people of Indonesia. However, in reality, various folktales, that are constantly reproduced and consumed in reading books or learning materials in schools, are suspected of being gender biased (Eliyanah & Zahro, 2021). Andalas & Qur’ani (2019) argue that Indonesian folktales have an imbalance in the proportion of characters and a particular stigma is attached to the male or female gender.

Various folktales found throughout the world also contain gender bias as exemplified in Persian folktales where male and female characters are depicted as different-sex objects while men are portrayed as independent, rational, strong, and accomplished characters and women as the opposite (Hosseinpour & Afghari, 2016); the folktales of Sri Lanka which reflect male dominance in the stories (Medawattegedera, 2015). However, there are also examples of exceptional  folktales where the women are not subordinated or subjugated rather heightened as the African folktales which reject or subvert women’s patriarchal control, manipulation, exclusion, and oppression (Florence, 2016; Sheik, 2018); or folktales found in Saudi Arabia present brave and intelligent women (Al-Khalaf, 2019).

The outcomes of previous research intensify the belief that folktale as a form of cultural heritage must be assessed concerning its topic, form, and content as it is related to the children’s acquisition of knowledge. Understanding these parts of folktales is crucial as the pragmatic development at the level of early childhood is not adequate to comprehend the problem of gender bias that is socially and culturally imposed on them.

Studies on gender issues in folktales found in several regions of Indonesia, as in Java (Ariani, 2016; Hapsarani, 2017; Iswara, 2019; Juansah et al., 2021; Rochman, 2015; Sari, 2015; Setiawan et al., 2016; Wulansari, 2020), folktales from Sunda (Fauzar, 2019), folktales from North Sumatra (Baiduri, 2015; Paramita, 2020; Syahrul, 2020), and folktales from Southeast Sulawesi (Putra, 2018) among others, have been carried out. Instead of the research works of a large quantity done on the folktales originating in the Western parts of Indonesia like Java and Sumatra Island, the folktales of Eastern Indonesia have not been observed from scholarly perspectives. So, it has an utmost necessary to do research works on those unsung tales. So, this study aims to throw light on the folktales originating in Eastern Indonesia. This research aims to understand how women are depicted and also objectified in Eastern Indonesian folktales. It is expected that the results of this study can complement the results of previous studies. Understanding this issue will help us reassess the story based on the topic, form, and content because it is related to the acquisition of knowledge that children will receive. This is also important because perceptions at the early stage of children’s growth and development are not suitable for understanding the problems of socially and culturally imposed gender ideology.

Gender Representation in Folktale

Representation is the practice of constructing meaning through signs and language (du Gay et al., 1999; Hall, 2003). From this perspective, language is not understood as a stable thing and will always be tied to the context in which it attends. In everyday life, human beings use language to translate and construct various meanings about various things around them. Various objects that exist around human life are understood as neutral things. However, through human beings’ marking, the meaning of an object is attached by constructing several representations. The meaning attached to an object is not standard but fluid, and can always change according to the context of human development in interpreting things.

Hall (2003) views language as a representational system because, through language, human beings can maintain the dialogue that occurs and allow them to build a culture of shared understanding and interpret the world around them in the same way. Language is a medium that can represent thoughts, ideas, and feelings in a culture. Therefore, representation through language is essential for creating meaning because culture is a battleground for meaning. Through culture, various meanings about things are created and legitimized as a common truth.

As the author’s ideological space, folktale provides dozens of spaces for interpretation and hypnotizes his readers to unconsciously participate in the ideological flow contained in literary works (Sugiarti & Andalas, 2018). This is because the process of reproducing literary works is not isolated from the cultural, political, and social context of a society and, in turn, will shape the worldview of writers, readers, and the audience (Arimbi, 2009). In the context of this research, a folktale becomes a space for the representation of gender construction from the perspective of Indonesian society. The various divisions of roles inherent in each character, regarding how to be a man and a woman, are a form of representation of the ideology of gender in Indonesian society. These various ideologies are embodied in literary fiction spaces that the readers will receive.

Through the representational system built-in folktale, the identity to be a woman or a man is built. Identity, in the study of feminism, is not understood as a singular thing. Identity is the result of the construction of individuals or groups in the self-labeling process. Gender, from the point of view of feminism, is seen as the result of socio-cultural construction prevailing in a society. Therefore, the gender identity attached to the roles that men and women must carry out in human life is the result of human construction and is not innate. Therefore, gender identity is a political matter. The identity construction process does not occur in a single or causal process at the subject’s will but is a temporal process that operates through the repetition of norms (Butler, 1993).

In this identity politics, feminism is positioned to attack the traditional identities attached to women based on traditional norms built from the point of view of men’s minds. Women are invited to build awareness of their identity by understanding it as a flexible thing (plural) and not like what men have attached to it (Lara, 1998).

Apart from this, space and time also significantly influence the process of identity formation. Different moments will create different identity narratives, and different environments build different historical perspectives (Arimbi, 2009). In this context, it is crucial to understand the form of gender identity built in the narrative of Indonesian folktales.

Female Objectification

The existence of folktale as a cultural product of society cannot be perceived as a value-free cultural product. Folktale as a cultural product is ideological. A folktale is constructed based on a particular point of view. Within this framework of thought, feminist criticism aims to weaken oppression against women from economic, political, social, and psychological perspectives.

The perpetuation of operations against women on cultural products, such as folktales, is carried out by using the male point of view in seeing the reality of life. This point of view then seems to be seen as neutral and inclusive even though it is not neutral and inclusive because it tends to objectify women (Hapsarani, 2017).

Objectification theory argues that women experience sexual objectification when they are treated as body parts or a collection of body parts judged on their benefit to others  (Fredrickson & Roberts, 1997). Sexual objectification is a form of dehumanization because women are seen as objects or commodities (Nussbaum, 1995). Women are treated as objects which do not have complete power over their destiny and can be bought or sold without considering their experiences and feelings. This shows that sexuality and sexual relations are born by asymmetric power structures.

Seven conditions indicate the occurrence of objectification in a person: 1) if someone is treated as a tool to fulfill goals, 2) if someone is treated as a person who cannot determine his wishes, 3) if someone is treated as a person who has no agency, 4) if someone is treated as if they could be exchanged with other objects, 5) if someone is treated as an object that can be hurt, 6) if someone is treated as something that can be owned, and 7) if a person’s feelings and experiences are considered unimportant (Nussbaum, 1995). These indicate the occurrence of objectification in building subject-object relationships.

Based on the opinion above, it appears that the various descriptions in Indonesian folktales need to be evaluated in the framework of gender studies. Various representations of the objectification of women in stories are indeed very dangerous, especially when children consume folktales. Sexual objectification is the beginning of the emergence of sexual violence, which has significant consequences on one’s understanding and perspective on sexual violence (Loughnan et al., 2013). When a person sexually objectifies another person, he will perceive that that party is lower than himself. The perception of women as objects of men, especially in terms of sexuality, is very dangerous for children’s understanding of gender. Women are only seen as objects or commodities.

Impact of Gender Biased Reading Materials on Children

In contrast to sex, gender is a trait that is attached to human beings based on their socio-cultural roles in society. Throughout the history of the development of human life, there have been situations of injustice in the position and roles of women in various spheres of human life. Women tend to be positioned as inferiors who must submit to the superiority of men who dominate human life (Bourdieu, 2001).

As a fundamental dimension in understanding social life individually, gender becomes a tool for self-awareness in responding to and understanding various phenomena around them. In addition, gender awareness also influences how human interactions may be held as a worldview from birth to death (Taylor, 2003). Therefore, a person is never born with a particular gender but with the freedom to determine the roles and positions they want in their lives.

Childhood is a crucial period that will affect the way of life until adulthood. This stage is the initial stage for children to learn to understand various realities and respond to them. Through reading materials or fairy tales that they consume every day, children will get information on attitudes, values, beliefs, and behaviors that they will emulate and apply in their lives. In this position, it is crucial to be aware of the stereotypes that are widely practiced by patriarchal cultures regarding how men and women should play their roles in life. If children are presented with gender-biased stories from an early age, this will affect how children perceive various things in their future lives.

Various forms of ideology and teachings, both explicit and implicit, exist in literary works created from a patriarchal point of view and continue to be studied and shared in each generation. As a result of this kind of consumption, children will perceive various things in the story as a truth stored in their subconscious, and unconsciously will become their guide in interacting and behaving with their environment in the future. If this continues, children from an early age will begin to perceive biased gender roles in memory even though they cannot discriminate between men and women sexually (Bussey & Banddura, 1992). This is despite the view that, in reality, children feel that they have to identify themselves sexually, as male or female. If this is allowed to continue, there will be efforts to perpetuate patriarchal culture to limit the various roles of women from an early age and limit children’s social processes in the later years of development (McDonald, 2010).

Method

This study uses a qualitative method and the feminist literary criticism approach. Sources of research data are Indonesian folktales originating from Eastern Indonesia, namely 1) “The Legend of Ile Mauraja from East Nusa Tenggara”, 2) “The Origin of Lake Limboto from Gorontalo”, 3) “The Origin of Botu Liodu Lei Lahilote from Gorontalo”, 4) “La Upe from South Sulawesi”, 5) “Sawerigading from South Sulawesi”, 6) “La Onto-Ontolu from Southeast Sulawesi”, 7) “Indara Pitaraa and Siraapare from Southeast Sulawesi”, 8) “The Legend of the Horn of Nature from Central Sulawesi”, 9) “Napombalu from North Sulawesi”, 10) “Alamona n ‘Tautama n’Taloda (First Man in the Talaud Islands) from North Sulawesi”, and 11) “Four Sultans in North Maluku from Maluku”. The eleven stories have been accessed from the documentation done by www.ceritarakyatnusantara.com. This website is one of the complete databases for the preservation of folktales. The stories on the website are managed by the Center for the Study and Development of Malay Culture, Yogyakarta, Indonesia. The selected eleven stories fulfill the following criteria:  1) The stories come from the eastern part of Indonesia; 2) there are female characters in the story; 3) there is a depiction of the role of female characters in it. The eleven stories are analyzed using content analysis techniques with a feminist perspective to criticize how women are depicted in folktales in Eastern Indonesia.

Results and Discussion

This study aims to describe the representation of female characters in Eastern Indonesian folktales, especially the objectification of female characters. The data shows three forms of the objectification of female figures: women as objects of male sexuality, women as a medium of exchange of power, and women who are passive and work in the domestic area.

Women as Objects of Male Sexuality

Objectification theory argues that women experience sexual objectification when they are treated as body parts or a collection of body parts judged on their benefit to others (Fredrickson & Roberts, 1997). Sexual objectification is a form of dehumanization because women are seen as objects, or commodities (Nussbaum, 1995). Women are treated as objects which do not have complete power over their destiny and that can be bought or sold without considering their experiences and feelings. This shows that sexuality and sexual relations are born by asymmetric power structures.

In Eastern Indonesian folktale, it is found that the story is not neutral, and it tends to be inclusive because the depiction in the story tends to objectify women. In the eleven stories analyzed, this depiction was found in eight stories, namely “The Legend of Ile Mauraja from East Nusa Tenggara”, “The Origin of Lake Limboto from Gorontalo”, “The Origin of Botu Liodu Lei Lahilote from Gorontalo”, “La Upe from South Sulawesi”, “Sawerigading from South Sulawesi”, “Napombalu from North Sulawesi”, “Alamona n’Tautama n’Taloda (First Man in the Talaud Islands) from North Sulawesi”, and “The Four Sultans in North Maluku from Maluku”.

The representation of women as objects of sexuality in the stories like “The Legend of Ile Mauraja”, “The Origin of Botu Liodu Lei Lahilote”, “The Origin of Limboto Lake”, “Alamona n’Tautama n’Taloda” (First Man in the Talaud Islands), and “The Four Sultans in North Maluku” show similar motifs. These five stories have the same motive; they begin with a male character who accidentally sees seven beautiful women taking a bath. Girls are depicted as half-human beings, such as angels or other creatures. The male character then peeks at seven girls who are bathing and decides to steal a wing or other object that causes one of the youngest nymphs not to return to heaven. The girl is then married to a male character to have a child. However, the ending is not happy because someone will always separate them; whether they die or one of the characters (female) finds the object or wing and leaves the man. At the end of the story, a different motif is found in the Origin of Lake Limboto because women defeat male characters with their supernatural powers.

In “The Legend of Ile Mauraja” from East Nusa Tenggara, for example, it is told that one day a king who was looking for a goat got lost and entered a cave. However, he accidentally saw seven girls bathing in a river from the cave. He was fascinated and wanted to marry one of them. He took one of the garments and hid it in a tree hole. The clothes belonged to the youngest. They got married, but fateful fate made them burn to death (Samsuni, 2011c). The original story of Botu Liodu Lei Lahilote from Gorontalo also tells the same thing. However, in this story, the main character is a young man named Lahilote. One day Lahilote accidentally peeked and was fascinated by seven nymphs who were bathing in the lake. Lahilote then took one of the wings of the seven nymphs and hid it in the house. It made her unable to return to heaven. Lahilote comes back and pretends to help him. Long story short, Lahilote married the youngest angel and lived in harmony until finally the youngest angel who had been tricked found her wings hidden by Lahilote and returned to heaven (Samsuni, 2009a). The same story of the Origin of Botu Liodu Lei Lahilote is also found in the story of Alamona n’Tautama n’Taloda (The First Man in the Talaud Islands) (Samsuni, 2010a), dan and the Four Sultans in North (Samsuni, 2010b). The thing that distinguishes the story of the Four Sultans in North Maluku is that the object stolen by the male character is a shawl.

The above four stories refer to the same scene, namely the desire of men to have women in the wrong way. They want to have women based on their physical image, which is beautiful. The objectification of the women in the story is practiced as women are treated as body parts or bodies that are only judged based on their utility. In the story, the description of the objectification of the female body is illustrated through the narrative and dialogue as found in the following Legend of Ile Mauraja:

How surprised he was when he saw seven beautiful girls bathing in the river in the cave.

“Oh… how beautiful those girls are!” murmured the King’s with admiration.

Seeing the beauty of the girls came his intention to marry one of them. So, he secretly took one of the clothes from the girl that was placed on the river bank. Then he hid the clothes in a tree hole. (Samsuni, 2011c).

In the data above, women are objectified for their physical beauty. Similar representations are also found in other stories. In the original story of Botu Liodu, Lei Lahilote is described as “He then hid behind a big tree, then peeked out to check on the situation…He watched their every move without blinking an inch. The handsome young man was fascinated by the beauty of the girls.” (Samsuni, 2009a) likewise in the stories of Alamona n’Tautama n’Taloda (The First Man in the Talaud Islands) and the Four Sultans in North Maluku. The woman in the story lives in a culture that places her body to be looked at, judged, and objectified (Fredrickson & Roberts, 1997). In fact, in the stories, “Alamona n’Tautama n’Taloda” (First Man in the Talaud Islands) and “The Origin of Lake Limboto”, expressions of exploitation of the female body are described in a more vulgar way. In the story, “Alamona n’Tautama n’Taloda” (First Man in the Talaud Islands), verbal expression is expressed by “from behind the phone, he then observes the movements of the angels who are taking a bath. Wow, this is a really amazing sight. How beautiful those women are,” murmured the Crab Man in admiration.” (Samsuni, 2010a). Likewise in “The Origin of Lake Limboto”, which is “from behind the tree, he watched the seven nymphs bathing until their eyes did not blink a bit.” (Samsuni, 2009b).

In La Upe, Sawerigading, and Napombalu stories, female characters are visually exploited by male characters through their physical beauty (Samsuni, 2009c, 2009e, 2009d). Unlike the four stories above, in these three stories, the exploitation of women’s bodies is expressed in the admiration of the female characters’ physical appearance by the male characters. Through the description of physical beauty, the male’s sexual desire is displayed. This picture needs to be taken seriously because the representation of women’s bodies and the desire for male domination over women’s bodies need to be viewed as social practices (Goffman, 1971) and systems of power (Laqueur, 1990). This picture, at the same time, confirms the dominance of men over women (Bourdieu, 2001). Women become weak figures who are displayed more with just their physical aspect. The depiction of female intellectuals as human figures is not found in the story. Various descriptions found regarding the objectification of women in Eastern Indonesian folktales are in line with research findings on Western Indonesian folktales (Baiduri, 2015; Fauzar, 2019; Hapsarani, 2017; Iswara, 2019; Juansah et al., 2021). Women in folktales in the region also experience sexual discrimination in the form of objectification. The female characters in folktales tend to be passive, and the beauty aspect is the main attraction for male characters to get female characters. In addition, women become objects, especially of the sexuality of male characters.

Various representations of the objectification of women in stories are indeed very dangerous, especially when children consume folktales. Sexual objectification is the beginning of the emergence of sexual violence and it has significant consequences on one’s understanding and perspective on sexual violence  (Loughnan et al., 2013). When a person sexually objectifies another person, he will perceive that that party is lower than himself. The perception of women as objects of men, especially in terms of sexuality, is very dangerous for children’s understanding of gender. Women are only seen as objects or commodities.

Women as an Exchange of Power

Women are objectified when they are seen or treated by others as objects(Nussbaum, 1995). Objectification works through the experience of treating a body that is judged in terms of its usefulness for (or consumption by) others (Hapsarani, 2017). In the folktales of Eastern Indonesia, two stories describe female characters as a medium of exchange of power. The two stories are “Sawerigading” from South Sulawesi and “Indara Pitaraa and Siraapare” from Southeast Sulawesi. This depiction cannot be separated from the use of the background of events during the royal period. In the story of “Sawerigading”, the princess of the Chinese kingdom was used by her father to strengthen the ties of brotherhood with the kingdom of South Sulawesi. Putri does not have a role in participating in making choices in her life for the power of male characters (Samsuni, 2009e). Likewise, in the story of “Indara Pitaraa and Siraapare”, the king’s daughter became a gift for Indara Pitaara for helping to kill a giant snake. Putri has no power over her destiny and choices for the sake of perpetuating the king’s power in this region (Samsuni, 2011a).

The objectification of women as a medium of exchange of power in both of the stories occurs because women do not have the power to make decisions. In both the stories as well as in almost many folktales from Indonesia, women are depicted as passive beings who do not have the power to have opinions or make decisions (Toha-Sarumpaet, 2010). The depiction in folktale almost entirely depicts decisions made by men. This condition has implications for the emergence of constructions regarding the nature that a woman must possess. A good woman is a woman who obeys the decisions of men. However, in the folktale above, the passivity of women causes them to become objects for the medium of exchange of power. Women become commodities for men’s interests in perpetuating their power.

Women are Passive and Work in Domestic Areas

One of the methods of objectification of women is identifying a person based on his body or body parts (Langton, 2009). In Eastern Indonesian folktales, some depictions limit women’s space based on identifying their physical condition. The female characters in the story are described as having only access to the domestic area. Women occupy a passive role and obey the male characters. This is because women are depicted as physically weak characters and need men as their protectors.

In most of the stories, female characters are only described as having access to the domestic sphere. The female characters are tasked with taking care of household needs. In the story of La Onto-Ontolu, by the female character, Grandma, everything that deals with the kitchen area is done (Samsuni, 2011b). The grandmother figure is a representation of the depiction of the role of women in this region. Likewise, in the story of Indara Pitaraa and Siraapare, the mother character is depicted as the person who is responsible for the kitchen to meet the food needs of her children. Unlike the female characters, the male characters have access to get out of the domestic area. They have to work outside and even have access to leave the village to earn a living (Samsuni, 2011a).

The data shows that in the folktale of Eastern Indonesia, women are also described as being more dominant in the domestic sector. This picture is in line with the research findings conducted by  Zahro et al., (2020), which state that in Indonesian folktales, female characters tend to maximize their potential in the domestic sector and ignore broader competencies. Moon & Nesi (2020), in their research on fairy tales from East Nusa Tenggara, also found that women have more roles in the domestic area. Women rarely appear in public. This means that the images of women in folktales, both in the Western and Eastern regions of Indonesia, tend to represent women’s roles in the domestic sphere.

The placement of women’s positions only in the domestic area is closely related to how men perceive women’s physical strength. Many female characters in Eastern Indonesian folktales depict women as passive beings who have no will. Characters are treated as individuals who do not have the autonomy or ability to determine their desires (Nussbaum, 1995). For example, in the story of La Onto-Ontolu, the character Putri Bungsu must obey her husband’s invitation to leave her family at the palace (Samsuni, 2011b). The female character is described as a good figure if she follows her husband’s decision.

This picture shows the position of women in the family. A man is the head of the family as well as the protector of his wife and children. This construction influences how men view women’s position as weak creatures who only need to work at home and wait for the results of men’s hard work.

Women’s domestic roles and passivity are in contrast with the more dominant characteristics of men. Men have a much stronger physical body and can protect women. This depiction is emphasized in the Legend of the Horn of Alam story as a male character who comes to save a female character from being kidnapped (Samsuni, 2019). Similar stories are also found in several other stories. In this construction, men become patrons for women who nurture and protect.

Conclusion

This study aims to understand how women are depicted in Eastern Indonesian folktales. This understanding is mainly related to the objectification of female figures. Based on the analysis conducted on eleven folktales, it is found that many female characters in Eastern Indonesian folktales are subject to objectification. The objectification of female figures is carried out in the form of women as objects of sexuality, as a medium of exchange of power, and as being passive and working in the domestic sphere. This finding shows that the folktale of Eastern Indonesia cannot be separated from patriarchal ideology. These stories show that women in the imagination of the Indonesian people still occupy an inferior position compared to men. Furthermore, the female characters also experience objectification and inequality as found in the folktales of Western Indonesia. The patriarchal point of view in the folktales has deep roots and spreads in Indonesia. Research proves that the ideology of folktale is not always in harmony with the ideal values ??that exist in society. It takes a critical attitude towards the selection of stories that will be conveyed to children.

Declaration of Conflicts of Interests
The author(s) declared no potential conflicts of interest.

Funding
The authors would like to thank the Directorate of Research and Community Service – Directorate General of Research and Development Strengthening – Ministry of Research, Technology and Higher Education of the Republic of Indonesia for funding this research.

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From White Supremacism To Black Liberation: Harry S. Truman, Lynching and Racial Justice

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Giovanni B. Corvino     
University of Turin. ORCID: 0000-0002-8191-3500. Email: giovanni.corvino@edu.unito.it

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages 1-16.  https://doi.org/10.21659/rupkatha.v14n2.06x

First published: June 19, 2022 | Area: Cultural Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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From White Supremacism To Black Liberation: Harry S. Truman, Lynching and Racial Justice

 Abstract

President Truman transitioned from an initially more conservative policy advocated by white supremacists to a more progressive one that promoted a fairer social justice in the United States society, hitherto seldom heard. Through constitutional articles and debates, editorials, institutional records, and speeches in response to some of World War II’s black veteran lynching cases, this paper aims to explore Truman’s civil-political commitment to ending the frequent episodes of racial violence.

Keywords: Harry S. Truman, lynching, Isaac Woodard, Isaiah Nixon, racial violence

Introduction

The presidential administrations of the civil rights era addressed the issue of racial equality through the necessity and political gain afforded by espousing, or fighting, the African American cause (Murphy, 1984). Internal factors such as continuous racial and mob violence, as well as the political influence of majority parties, undermined the promulgation of any civil rights laws that could safeguard the constitutional rights of citizens, regardless of their skin color. Indeed, despite being proposed over 100 times to Congress between 1882 and 1951, the anti-lynching law never won the support of the political majority as it would have impacted the racial status quo upon which the post-XIII Amendment U.S. society was based (Corvino, 2021; Waldrep, 2000).[1]

As evidential from the American presidential historiography, presidential choices regarding civil rights – albeit considered of moral importance – were mostly aimed at not shaking the political equilibrium on which the current administration was established. Even Franklin D. Roosevelt’s New Deal did not really help improve African Americans’ living conditions in the short term (Valocchi, 1994). While blacks did receive economic aid in a time of unprecedented crisis, Roosevelt was careful not to clash with prominent white politicians who did not look favorably on racial integration. Indeed, numerous requests from the NAACP addressed to him were never heeded, for example, the sponsoring of antilynching legislation and involvement in the prosecution of lynching crimes.
The effects of the Great Migration after the 1920s did, however, make the President understand that African Americans would soon become a significant ballot pool. Unquestionably, blacks now lived in more tolerant cities where resistance against their political involvement and ability to vote was becoming much less frequent. Nevertheless, African Americans were reluctant to politically support those who did not “speak out in favor of federal anti-lynching legislation and poll tax repeal bills” (McMahon 2010, p. 101). For this reason and in order to obtain black votes and greater control over the Democratic Party, Roosevelt proposed FBI intervention, regardless of southern conservatives’ support, to resolve all lynching cases, sometimes condemning – even publicly – the brutality of racial violence (McMahon, 2010).

It is in this socio-political context that Harry S. Truman was elected as Roosevelt’s vice president (January 20, 1945 – April 12, 1945). He was considered the best possible moderate choice while the President dealt with his health concerns and at a time when fear loomed over the country’s political future. It was as early as 1911 when Harry Truman wrote a letter to his future wife Bess, expressing his racial prejudices:

I think one man is just as good as another so long as he’s honest and decent and not a nigger or a Chinaman. […] the Lord made a white man from dust, a nigger from mud, then He threw up what was left and it came down a Chinaman […] I am strongly of the opinion Negroes ought to be in Africa, yellow men in Asia and white men in Europe and America (Hampson, 1991).

Despite this, he quickly realized that the voting power of African American communities would change the political landscape in subsequent elections. Almost one million African Americans had migrated to the North between 1941 and 1944, increasing the weight that cities like Chicago or Detroit potentially had in the 1944 presidential elections. Here, blacks could exercise their right to vote, contrary to what had been precluded in the southern states. For this reason and with the aim of confirming his victory in the 1948 presidential election against Republican candidate Thomas Edmund Dewey, Truman promised the NAACP a more concrete commitment to the defense and promotion of civil rights. This was to be accomplished whilst avoiding publicly any open clashes with the white supremacists and thus risking their votes (McCullough, 1992). After achieving his goal, he ultimately distanced himself from previous racial policies and kept his commitment to a fairer society.

Less than a month after his appointment, Truman met NAACP executive secretary Walter White. He assured him that he would support a permanent Fair Employment Practices Committee (FEPC) to fight racial discrimination in the workplace, a commitment he tried to maintain over the following years.

According to many scholars, the decisions taken in that period by President Truman on the advancement of civil rights had an impact on the promotion of social justice which heavily affected the constitutional principles of anti-discrimination, even after the end of the mandate (Juhnke, 1989; Garth, 1999; Sklaroff, 2009). Current historiography however has failed to explain why the lynching of black veterans played a significant role in Truman’s presidential decisions. There are two episodes particularly worthy of importance to understand in more detail how the fight against lynching in small towns became a national event that could undermine the credibility of the U.S. image abroad and consequently Truman’s presidential leadership. Furthermore, these two cases allow us to explore issues related to maintaining the post-abolitionist racial status quo. The extension of black voting eligibility can then be explored in a society where the citizenship rights of those considered racially inferior were not yet fully recognized.
Indeed, the lynchings of Isaac Woodard and Isaiah Nixon, which occurred in 1946 and 1948, are significant not only for the extreme racial violence itself, which expresses the modus operandi of mob violence conveyed by post-colonial racial resentment, but also for the fact that the victims were veterans of World War II with the right to vote. The War did, in fact, change the perception of the African American issue in the U.S. both domestically and internationally. Black soldiers were an essential part of the U.S. Army engaged in war across the world. As Walter White, NAACP executive secretary, clearly explained:

World War II has given to the Negro a sense of kinship with other colored – and also oppressed – peoples of the world [. . .] the struggle of the Negro in the United States is part and parcel of the struggle against imperialism and exploitation in India, China, Burma, Africa, the Philippines, Malaya, the West Indies, and South America (White, 1945, p. 144).

Therefore, the internal anti-racist campaign became intertwined with the anti-colonialist movement that followed the war during this period (Bloom, 2015). The five most prominent black organizations in the United States were now looking at the discrimination they fought for years from an international perspective.[2] As Walter White wrote in 1945: “Allied nations must choose without delay one of two courses […] to revolutionize their racial concepts and practices, to abolish imperialism and grant full equality to all of its people, or else prepare for World War III” (White, 1945, p. 154). Thanks also to the role played by the mass media, racial problems became a topic of international politics linked to decolonization. President Truman soon understood that his country’s international public image was in danger of being damaged by the internal diatribes of conservatives and progressives over civil rights advancement and the condemnation of racial violence. Thus, the international context of World War II and its legacy contributed significantly to Truman’s clear stance in supporting the NAACP’s demands since there was a risk that the black press would compromise U.S. image abroad.

In the light of the above considerations, Isaac Woodard’s and Isaiah Nixon’s cases prove to be of fundamental importance in understanding how the concepts of social justice, due process, and racial fairness changed following presidential intervention in the wide-ranging fight against racial discrimination, both in the courts and in everyday life. Woodard’s and Nixon’s lynching were two examples of extreme mob violence, but they also became representative of prejudice and stereotypes in the courtrooms. By analyzing the impact these cases had in governmental circles, this paper intends to contribute to that literature, which means reconsidering President Truman’s role in changing the political agenda toward African Americans’ civil rights. From 1946, the lynching of Isaac Woodard and the official institution of the President’s Committee on Civil Rights, a turning point took place in the recognition and expansion of citizenship rights for all Americans. The presidential struggle for a society free of racial discrimination was still in its infancy, but it allowed Truman to lay the foundations for a “second Reconstruction” (Goldzwig, 2005, p. 104). This is observable from the stories of cases in which the sheer level of violence had shocked public opinion, such as the little-known death of Isaiah Nixon, occurring in the years where African American lynching had decreased due to presidential intervention via Federal Government and FBI investigation.

Analysis of the two lynching cases cited above has never before been treated together in a paper, allowing us to contribute to filling the academic gap and transitional period between the interest of President Truman in supporting the advancement of civil rights and his desire to guarantee himself a second presidential term with the votes of African Americans, to whom he had promised greater social justice by condemning lynching and furthering prosecution.

Isaac Woodard’s and Isaiah Nixon’s lynching

Isaac Woodard’s and Isaiah Nixon’s cases present similarities and differences that allow us to explore in-depth the influence that the lynching of African Americans had on the political choices made by Truman after his first presidential election. Both Woodward and Nixon were former war veterans who had fought for the honor of the United States during World War II. While Woodard’s lynching occurred in South Carolina in 1946, that of Nixon took place in Georgia two years later. After the end of the nineteenth century, both states had approved laws to sentence lynching perpetrators to up to twenty years in prison if the victim had died during the process. Nevertheless, these laws often resulted in a lack of conviction due to the absence of witness testimony. The sense of solidarity in local communities also compromised the integrity and conduct of investigations by not serving due justice to the victims. From small counties like Montgomery County (Georgia) in the Nixon case to larger counties like Aiken County (South Carolina) in the Woodard case, promoters of lynching enjoyed the support of their fellow citizens. On the other hand, African Americans who knew about or were forced to witness this violence were so terrified of the repercussions their testimony could bring that they preferred to remain silent. As a result, many newspapers found themselves unable to draw satisfactory conclusions to their investigations and ended up rarely allocating any space to incidents of racial violence. The cases of Woodard and Nixon however, unlike many others, did gain wide press attention thanks to the NAACP’s decision to investigate the lynching of these two war veterans. The organization’s intervention led to the Federal Government and President Truman’s involvement and opened the door to resolving lynching-related issues, such as access to a fair trial and the opportunity to vote.

 The first case of the two to which the NAACP devoted itself and requested the FBI presence was that of Isaac Woodard. Originally from South Carolina, Isaac Woodard was a United States Army veteran who, at 23, was drafted to fight in the Pacific Ocean theater of World War II against the Empire of Japan. He received several medals for his service, guaranteeing him an honorable discharge. After his stay in Japan and about to board a bus back home to his family, he asked the bus driver if he could wait a few minutes while he visited the toilet. According to Woodard’s court testimony, this resulted in a small quarrel and some hostility from the driver. The bus eventually departed with no further incident as the driver put in a call to the local police, requesting intervention at the next city. Not long after, Woodard was forced to exit the bus as the driver (falsely) complained about the young war veteran’s behavior, which he said to the police was irascible. As Woodard was removed from the vehicle, the young African American was savagely beaten until he lost his sight.

As Woodward’s case clearly shows, not even African American war veterans were exempt from racial violence. Indeed, the very recognition of their military service had been a source of social tension, often resulting in acts of extreme physical violence just like this.

Since the end of Reconstruction, African American participation in military service had been considered a threat to maintaining the racial status quo. White supremacists wanted to keep blacks in a position of subordination to preserve the antecedent hierarchical dominance of the slavery period but giving such a veteran an honorable discharge would make him a holder of honor equal to that of a white fellow citizen. Many incidents of racial violence, including lynching, served to affirm white superiority and eliminate black social prestige and self-respect.

It took months before Woodward’s case became widely known and thanks to popular black newspapers, The Lighthouse and Informer of South Carolina, the news found its way to well-known radio broadcaster and actor Orson Welles. The case then reached President Truman’s ears after being discussed in all major newspapers and thanks in no small part to NAACP’s nationwide tour with Woodard, publicly exposing the effects of racial violence. According to Frederickson: “Because Woodard was a veteran, because he was maimed, because his attacker was an officer of the law, and because he survived, he became an emblem of what was terribly wrong with the South” (Frederickson, 1997, p. 184).
The National Emergency Committee Against Mob Violence was created in August 1946 on the orders of President Truman in response to the event, in an attempt to shed light on lynching cases in southern states, but it was not enough. Truman requested the intervention of the Justice Department to investigate the Woodard case, following the reluctance of local law enforcement and pressure from the NAACP to find the culprits. However, it did not take many days to find Woodard’s assaulters. Because the violence had taken place at a bus stop and the land was federally owned, not to mention the victim being clothed in military uniform, the case was heard at the U.S. District Court in Columbia.

The trial, much like many others at the time, turned out to be bogus, and the bus driver was the only one to be heard by the judge and jury. No other witnesses were contacted. Sheriff Lynwood Shull was the main accused. He admitted to repeatedly hitting Woodard in the eyes, but only in self-defense, because the African American – according to him – had become short-tempered and disrespectful. According to The Canberra Times: «Shull struck him with a blackjack for answering “Yes” instead of “Yes sir.”» (The Canberra Times, November 7, 1946, p. 1). Despite his confession, the violence inflicted was considered proper by the jury. As a result, Shull was acquitted entirely by the all-white jury after only 15 minutes of confrontation (The Canberra Times, November 7, 1946, p. 1). Still, loud applause ensued in the courtroom following the verdict (Kluger, 2004, p. 298).
Apparently, the resolution of this case was not significantly different from that of other previous ones, so much so that it ended without a conviction. Its great importance was that it took place at a time linking substantial social changes to the consequences of world conflict. The awareness of African American veterans (now conscious of their national importance), the NAACP’s consolidated strength, and the presence of a new president eager to win the next elections made Isaac Woodard – who survived the lynching – the symbolic figure of the black resistance and struggle against racial injustice in those years.

Despite the importance of Woodard’s case in presidential decisions supporting African American civil rights advancement, the incidents of lynching did not cease. Even President Truman’s speeches failed to curb racial violence. Another Afro-American, Isaiah Nixon, was then lynched in Georgia on September 8, 1948. He had voted in the Democratic primary on that very same day (Bernd, 1982; Campney, 2011).

Given the participation of black war veterans in major civil rights advancement organizations, such as the NAACP, the end of World War II led to a rethinking of voting rights. Specifically, the decision made by the Supreme Court in Smith v. Allright (1321 U.S. 649, 1944) was considered unconstitutional as it violated the XIV and XV Amendments. The court ruled that it was unlawful for any state to dispute its authority over elections or allow discrimination to be practiced by parties. Despite this ruling, many southern states did not follow the federal directive, continuing to violate the voting rights of African Americans. In this regard, the 1946 primaries in Georgia were invalidated by the U.S. Court of Appeals for the Fifth Circuit (Chapman v. King, 2154 F. 2d 340, 1946), as they violated the Fifteenth Amendment, which condemned the exclusion of voters for reasons related to race or color. Subsequently, African Americans had a better chance of voting in the political elections that followed. However, there were frequent episodes of violent intimidation to curb, if not outright exclude, black political participation, as Isaiah Nixon’s lynching clearly showed.

This was not an isolated case, as the Ku Klux Klan regained strength and support in the South following its peak popularity in the 1920s, when its affiliates numbered about six million. Even though their size had reduced, the clan adopted a new strategy and began perpetrating racial terrorism, especially in rural towns, where white supremacism was stronger. In these places, the network of organizations for the advancement of civil rights could not fully engage in protest and social awareness actions as efficiently as it could in large urban centers where any violence would immediately attract press and law enforcement attention. Thus, the Ku Klux Klan managed to commit lynching in these small towns of few inhabitants, where community silence guaranteed impunity. The death of Elbert Williams, secretary of the NAACP in Tennessee, was one example. The murder was carried out after Williams’ attempt to register black residents of Brownsville (Tennessee) in the electoral roll. The KKK lynched him in June 1940. The lynching of Isaiah Nixon had also taken place in a small town like this (Campney, 2020; Horwitz & Anderson, 2009; Pierce, 2016; Schaefer, 1971; Wood, 1906).

The clan and the white supremacists feared that the hierarchies of racial dominance in the southern states would fall by giving African Americans the opportunity to vote. Racial terrorism relied on politicians’ willingness to stop the African American political rise, and black voting risked undermining the continuation of the racial status quo. For example, during these years, Georgia governor candidate Herman Talmadge was in favor of the use of violence and never hesitated to express it publicly. During an open meeting, Samuel W. Roper, a KKK member, asked him what he thought was the best strategy to adopt in not to allowing blacks to vote. In response, Talmadge, who later became governor of Georgia and then U.S. Senator, wrote unequivocally on a piece of paper one word: “pistols” (as quoted in Quarles, 1999, p. 87).

Despite President Truman’s socio-civil commitment to Woodard’s case, nothing changed. The racial brutality, investigation, and the perpetrator’s confession did not find justice, contrary to what the Constitution supposedly guaranteed. As a result, a presidential policy followed; a clear directive aimed at improving the living conditions of all African Americans on U.S. soil. This led to harsh internal clashes with white supremacists who had voted in favor of Truman during his first election. In December 1946, he established the President’s Committee on Civil Rights “PCCR” with the aim of prosecuting all those “who take the law into their own hands and inflict summary punishment and wreak personal vengeance” (Executive Order 9808, December 5, 1946), violating constitutional laws.

Regarding the lynching of Woodard and others of that period, Truman stated: “I can’t approve of such goings on and I shall never approve it, as long as I am here. […] I am going to try to remedy it and if that ends up in my failure to be reelected, that failure will be for a good cause” (Truman, 1948). A few days after this mission statement, Nixon’s lynching occurred.

U.S. racial violence certainly caught the President’s attention as one of his country’s most serious problems and as something “[…] close to my heart” (David K. Niles Papers, 1945-47) but what strategies did he adopt to face the new political scenarios that threatened to undermine the success of his presidential re-election? Furthermore, how could he reduce lynching cases and at the same time allow African Americans to safely vote and get their official support as a promoter of racial equality?

Truman’s commitment against lynching and in support of black’s rights

The brutal episodes of racial violence involving the two army veterans shook Truman to the point that he cited the cases on many occasions as an example of aggression against members of minority groups. Following these and other reports, he understood that it was necessary to “determine whether and in what respect current law-enforcement measures and the authority and means possessed by federal state and local governments may be strengthened and improved to safeguard the civil rights of the people,” regardless of skin color (Executive Order 9808, December 5, 1946). Consequently, the President required all executive agencies to actively engage in working in conjunction with the PCCR with the aim of enforcing the laws and condemning “the action of individuals who take the law into their own hands and inflict summary punishment and wreak personal vengeance” as had happened for decades in the cases of lynching.
Notwithstanding this significant achievement for African Americans, not all the black press agreed with Truman’s commitment to prosecuting racial violence by establishing a presidential committee. There were many prejudices about his genuine interest in condemning mob violence which also involved white politicians as perpetrators. The Chicago Defender wrote with a hint of irony: “If the committee is not hampered in its inquiry and if its recommendations are not circumvented by a welter of administrative procedures, the results should be far more consequential to us than anything that has happened in the United States since the abolition of slavery” (as quoted in McCoy & Ruetten, 1973, p. 31); this thought was also supported by other major black newspapers such as the Afro-American and the Call – Kansas City.

In the meantime, it is to be considered that the NAACP reached a high level of social influence in most of the United States during those same years. Hundreds of cases, mainly from the South, were reviewed and defended by the NAACP Legal Department, which paid particular attention to the violations of the right to a fair trial, the discrimination against African Americans during jury selection, and the role of law enforcement in attempted lynching cases. The organization mainly worked on cases where blatant violations of constitutional rights occurred, such as Sections 51 and 52 of Title XVIII of the Federal Criminal Code. According to Section 51, conspiracy acts aimed at intimidating or injuring any citizen must be prosecuted, as they are considered crimes. Isaiah Nixon’s lynching incident occurred to intimidate the black community from voting, but above all, the murder of an American citizen took place. As a result, this section was clearly violated. Instead, Section 52 had a double meaning. First of all, it condemned the deprivation of rights guaranteed at the federal level, such as due process, which often did not occur when a court case concerned an African American, as in the case of Isaac Woodard’s appeal. Black citizens were normally excluded from the jury, allowing an all-white jury to decree a verdict that could have been different if there had not been only people in favor of white supremacism and protection of racial hierarchies. By leveraging the violation of these two Sections and, when possible, the Amendments’ violation, the NAACP fought in the courtrooms for an equal society (Niedermeier, 2019; Watson, 1993). [3]

The NAACP also gave more consideration to the media image of the violence, describing lynching as brutally barbaric and far from the civilized modern ideal that the American Nation wanted to show (Wood, 2009). This helped attract international attention as they became renowned for openly denouncing incidents of racial violence (Blaque, 2012; Feimster, 2009).[4] Consequently, the presidential administration could no longer ignore or limit the presence of such racism toward African Americans in the national political space. Furthermore, Isaac Woodard’s lynching was used by the NAACP to nationally denounce the atrocities of racial violence and the federal failure to guarantee constitutional rights for all its citizens, black or white. As a result, action by the presidential administration that was not limited to federal investigations, which often resulted in the acquittal of the accused, was therefore needed.

The President of the United States had to personally express his endorsement in the struggle for the advancement of civil rights if he did not want to lose black votes in the coming elections. Giving a speech to Congress on February 2, 1948, Truman became the first president to turn to the NAACP and strongly support African American civil rights (Sylvia, 1995; Sitkoff, 1971). His President’s Committee on Civil Rights (PCCR) published the first government report in which the oppression of blacks was widely documented, and a civil rights reform was recommended in order to avoid other tragedies like Woodard’s lynching. Indeed, Nixon’s lynching occurred only seven months after the report, corroborating the President’s concerns and suggestions. The latter also submitted statements to the Supreme Court to support desegregation, thus attempting to end lynching (Fagelson, 2018). In addition, he issued executive orders aimed at creating racial equality in the hiring of federal personnel to affirm equal rights for whites and blacks. As quoted by the Chicago Defender, President Truman requested the intervention of the Federal Government in respect of all-American citizens, without any distinction:   

We can no longer afford the luxury of a leisurely attack upon prejudice and discrimination. […] We cannot, any longer, await the growth of a will to action in the slowest state or the most backward community. […] Recent events in the United States and abroad have made us all realize that is more important today than even before to ensure that all Americans enjoy these rights (The Chicago Defender July 05, 1947, p. 1).

With a promise to remove all barriers and difficulties confronting citizens, he asserted that «there is no justifiable reason for discrimination because of ancestry, or religion, or race, or color» (Truman, 1948). Although, contrary to his words, Jim Crow laws were still in force, his contribution to a more inclusive society had been considerable.
Early on, on June 29, 1947, in his speech at the Lincoln Memorial in Washington, D.C., he argued that racial discrimination was unjustifiable and without valid grounds. The wife of former President Roosevelt and other prominent personalities also attended the event. On that occasion, Truman stated:

Mr. Chairman, Mrs. Roosevelt, Senator Morse, distinguished guests, ladies and gentlemen: I am happy to be present at the closing session of the 38th Annual Conference of the National Association for the Advancement of Colored People. […] But we cannot be content with a civil liberties program which emphasizes only the need of protection against the possibility of tyranny by the Government. We cannot stop there. We must keep moving forward, with new concepts of civil rights to safeguard our heritage. The extension of civil rights today means, not protection of the people against the Government, but protection of the people by the Government. […] There is no justifiable reason for discrimination because of ancestry, or religion, or race, or color (Truman, 1947).

With these words, the President condemned incidents of racial violence, school segregation, the lack of work according to skin color, low political participation of African Americans beyond their control, as well as embraced the need for fair trials and black participation in juries. Furthermore, he gave his word that he would do everything possible to ensure these would be upheld under his presidency:

Many of our people still suffer the indignity of insult, the narrowing fear of intimidation, and, I regret to say, the threat of physical injury and mob violence. Prejudice and intolerance in which these evils are rooted still exist. The conscience of our Nation, and the legal machinery which enforces it, have not yet secured each citizen’s full freedom from fear (Truman, 1947).

This was the first time a president had ever attended the NAACP conference, and the civil rights event gained immense publicity. Truman’s speech attracted over 10,000 viewers, coverage on the big four national radio networks, as well as many independent stations and overseas media outlets. The President’s words did not end that day either. The speech was recorded and re-transmitted throughout cinemas for anyone who wanted a second opportunity to listen (Garth, 1999).
Despite these efforts, the discussion did find general agreement in the white population. According to Pauley, the leading international newspapers such as the New York Times and the Washington Post, did not pay particular attention to the event. A complete transcript of the speech was seldom provided, or even commented on (Garth, 1999 p. 233). These newspapers, headed by whites, were sure not to devote any importance to Truman’s words or adversely influence the opinions of its pro-white readers. On the contrary, newspapers headed by African Americans did not hesitate to celebrate such an important event in recognition of civil rights. One of the black historical newspapers, The Kansas City Call, wrote:

Truman so strongly denounced race prejudice and discrimination based upon race, creed, color, and national origin that even his enemies were convinced that the Missourian in the White House had left behind him Missouri’s tradition of second-class citizenship for Negroes (as quoted in O’Reilly, 1995, p. 145).    

In the wake of Truman’s re-election and general Afro-American approval, black anti-colonialists pressed the President to adopt a civil rights defense, exploiting the tension between him and the white supremacists. They relied on the votes that he would receive if there were full socio-political support on his part.
On January 7, 1948, Truman decided to send a special message to Congress, showing the African American population that he would be committed to achieving a more inclusive society if he was re-elected. His committee would request legislation against lynching since other similar cases had occurred after Woodard, which unfortunately had not resulted in justice. Furthermore, it would allow all blacks, including those who lived in the South, to vote without risk of consequences. The President declared:

I recommend that the Congress amend and strengthen the existing provisions of Federal law which safeguard the right to vote and the right to safety and security of person and property. These provisions are the basis for our present civil rights enforcement program. […] A specific Federal measure is needed to deal with the crime of lynching—against which I cannot speak too strongly. It is a principle of our democracy, written into our Constitution, that every person accused of an offense against the law shall have a fair, orderly trial in an impartial court. We have made great progress toward this end, but I regret to say that lynching has not yet finally disappeared from our land. So long as one person walks in fear of lynching, we shall not have achieved equal justice under law. I call upon the Congress to take decisive action against this crime (Truman, 1948).

Truman’s recommendation was based on Title XVIII of the Constitution, which offered protection to all American citizens, regardless of skin color. According to him, this right should also be extended to everyone who lived in the United States, even non-citizens. Furthermore, Title XVIII had a major limitation. It only applied if there was a conspiracy of two or more people to harm the life of another individual. Hence, it had to be extended to incorporate racial violence in which one acted individually, for example, in the event of personal revenge. It followed that section 52 of Title XV also had to change, as it was too general in its form. This section offered protection to people according to their federal rights. Unfortunately, it was often the case that violation of these rights originated from those who were serving to protect, essentially police officers who failed to intervene or intervened in an improper way, standing by the belief that they were doing their job correctly. The lynching cases involving law enforcement were examples of Woodard’s blindness and Nixon’s murder. Hence, the President proposed to establish several principal rights to be protected by this section, explicitly condemning violations and including appeals. Truman publicly denounced the restriction of citizens to vote, even though it was their right, something which had resulted in Isaiah Nixon’s lynching. He expressly referred to acts of intimidation like assault or similar acts of violence, which prevented many African American citizens from being able to vote. Poll taxes were also a subject of debate. At the time, as many as seven states required economic contribution, and many blacks could not afford to spend the little money they had on voting. The President proposed that Congress make the right to vote free from any tax constraint so that the exercise of one’s rights was not subjected to economic power, affirming:

Under the Constitution, the right of all properly qualified citizens to vote is beyond question. […] We need stronger statutory protection of the right to vote. I urge the Congress to enact legislation forbidding interference by public officers or private persons with the right of qualified citizens to participate in primary, special and general elections in which Federal officers are to be chosen. This legislation should extend to elections for state as well as Federal officers insofar as interference with the right to vote results from discriminatory action by public officers based on race, color, or other unreasonable classification (Truman, 1948).

Being governed and controlled by the white majority for centuries, acts of racial discrimination would continue to perpetuate themselves until there was a change in the political sphere. The most effective way to bring about the change desired by blacks and civil rights advocates was the greater political participation of African Americans through voting. Only in this way the social equilibrium could be changed.
The President’s speech aroused a consensus among African Americans. He harshly criticized the lynchings, suggesting increased federal protection, condemning the inability of many to vote, and proposed a series of legislative maneuvers to improve the social conditions of blacks and minorities living in the U.S. With such important promises, Truman secured victory. The NAACP did not hesitate to congratulate him in November 1948, recalling the promises he had made to achieve this victory:

Your triumph, achieved over both the extreme right and extreme left, is a mandate under which you and the new Congress can proceed to carry out the program you outlined so clearly and courageously to the people, including housing, labor legislation, civil liberties inflation, all of which were cavalierly rejected by the 80th Congress. We especially urge you to continue to maintain your forthright position, by giving your full and complete support to your legislative and administrative program for civil rights (Atlanta Daily, 1948, p. 1).  

A few months after this NAACP statement – in July 1948 – Truman desegregated the U.S. armed services by executive order (Lautier, 1948, p. 2). He also created the President’s Committee of Equality of Treatment and Opportunities in the Armed Services to defend all cases of discrimination related to race, color, religion, or national identity reported by black American citizens serving in the army. In the same year, the President asked Congress to create a permanent Fair Employment Practice Committee[5] – FEPC (Collins, 2001; Henderson, 1976; Reed, 1980), initiated by his predecessor Roosevelt, to continue helping African Americans enter industries, companies, and jobs that they otherwise could not get. The House of Representatives approved a permanent Fair Employment Practice Committee two years later, but as expected, the Senate opposed it and won this time too. Regarding racial violence, Southern Democrats still had a strong influence over Congress, so much so that they rejected the request for an anti-lynching law without difficulty.
Overall, these measures had positive results, as in the 1950s, civil rights movements reached a broad social consensus (Aldon, 1999; Blumberg, 1990; Shattuck, 1995), thanks also to the media’s role (McElroy, 2013; Lott, 2017). Connecticut, Massachusetts, New Jersey, New York, and Ohio established their own state-level FEPC laws to counter the Senate’s decision (Kersten, 1994).

Conclusions

With proper political support, new economic opportunities, and a more significant Federal Government presence across the territory, lynchings became less frequent during the second half of the twentieth century. On the other hand, death sentences increased in the courts and were rarely successfully appealed. This saw a move from “rough justice” (Pfeifer, 2006) to a false due process, often supported by forced confessions and no respect for FBI investigation (Niedermeier, 2019).
The efforts expressed by Truman simultaneously constituted a political opportunity for a new action movement, which was evident in the Federal Government’s support of the Brown vs. Board of Education case (September 1952 – May 1954) up until the beginning of Eisenhower’s presidential term in 1953 (Dadisma, 1994; Lester, 2004; Ward, 2004). Accordingly, it is undisputed that President Truman contributed significantly to a fairer, equal social justice. He is credited with desegregating the armed forces thanks to the prohibition of discrimination in the civil service that not only allowed blacks to feel part and parcel of the United States by serving in the military, but also provided many of them access to financial gains which would have been hard to come by in states where racial dogmas remained dominant. Truman supported African Americans socially through public speech, political proposals, and new legislative actions, fighting for the abolition of poll taxes, economically desegregating public administration places, and allowing equal employment. Above all, he did everything possible to keep the election promises that led him to victory over the Republicans in 1948.

Unquestionably, the historical period of his presidential term did not play entirely in his favor. After the end of World War II, he had to make crucial decisions whilst trying not to upset the balance of his greatly divided party, where conflicting ideas bounced between progressives and conservatives from the South. He had to do everything in his power to maintain the consensus of the southern conservatives on which his first election was based whilst also satisfying the demands of the progressives, securing their votes for future elections. Truman was initially cautious in seeking a meeting point between the two opposing political thoughts – like Roosevelt towards the end of his term – listening to the demands of African Americans and avoiding clashes with white supremacists. Despite this, his role in advancing civil rights was more significant than his twentieth-century predecessors, especially his support for allowing all citizens to vote, regardless of skin color, while simultaneously fighting to end lynching.
The relationship between lynching and voting access is still being studied and analyzed today and requires further investigation. According to Williams: “Using county-level voter registration data […] southern counties that experienced a higher number of historical lynching have lower voter registration rates of blacks today,” (Williams, 2017, p. 1), but the lynching did not impact political participation of other minority groups or among white Americans. As proof of this criticality, the 2019 Voting Rights Advancement Act aims to provide a broad in-depth review of all voting changes that have occurred nationally in the various jurisdictions to understand whether electoral discrimination measures have historically occurred as denounced by African American historiography.
Already the 2015 version of the Act highlighted blacks’ under-representation in political participation in important government decisions, such as new human rights laws like the federal anti-lynching law. Specifically, the Act denounced the effects that nineteenth- and twentieth-century racial violence still have today in dissuading blacks’ political participation through voting. Cases of lynching such as those of Nixon and Woodard have shaken the black community so much that even today, many African Americans living in those states where there has been a high rate of lynching in the previous two centuries do not participate in voting – and political life in general – for fear of experiencing painful racist experiences. Consequently, the interests and needs of African Americans are not carefully considered today, as the decisions that the current Government makes are based on registered voters, i.e., a white majority.
Therefore, further investigations into the effect that lynching had on black political participation choices are necessary. It can help promote new inclusive policies aimed toward a greater expression of African American thinking and help implement the measures needed to attain a truly equal society. This is what President Truman was aiming for over his two presidential terms.

Notes

[1] This essay defines «lynching» as an act of group or mob racial violence perpetrated by at least two or more people against a single person, often resulting in a murder.

[2] They were the National Association for the Advancement of Colored People, the National Urban League, the National Negro Congress, the National Council of Negro Women, and the March on Washington Movement.

[3] Unfortunately, although the organization increased social consensus, it was not ready to assist all the South African American defendants who asked for its help as victims of racial bias or forced confessions following torture. As a result, a greater selection of cases was needed, so much so that the NAACP would only support cases where the accused was a victim of racial prejudice, and on these bases, there was reason to believe that he/she was actually innocent. Moreover, it seems that the organization opted for the decision of not defending those who were potentially guilty of rape, attempted murder, or other crimes by fearing damage to the public image of the NAACP. Aiming at greater political feedback, they could not afford a negative antecedent.

[4] Many newspapers, especially black and southern ones, began reporting lynching cases in great detail and trying not to convey any thought, remaining as loyal as possible to the objective account of what happened. In this regard, the work done by the black journalist Ida B. Wells was fundamental. She used her newspaper “Free Speech” to provide another version of the lynchings stories that were being told. Indeed, she shed light on dozens of cases based on false accusations and racial prejudices. In this way, she raised awareness in the black community in the U.S. and abroad in standing against racial violence.

[5] It was established by President F.D. Roosevelt in 1941 to ban discriminatory employment practices.     

Primary Sources

“Draft of statement by president with reference to the President’s Committee on Civil Rights,” Jan. 7,1947, Box 26, Civil Rights/Negro Affairs File, 1945 – June 1947, David K. Niles Papers.

Harry S. Truman to E. W. [Ernie] Roberts, Aug. 18, 1948, Folder C, Box 306, President’s Secretary’s Files, White House Central Files, HSTL.

Executive Order 9808, “Establishing the President’s Committee on Civil Rights,” Box 26, Civil Rights/Negro Affairs File, 1945-June 1947, David K. Niles Papers.

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Intermedial Postmodernism in Art: Concepts and Cultural Practices

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Irina Aleksandrovna Urmina1, Kristina Konstantinovna Onuchina2, Natalia Dmitrievna Irza3, Irina Anatolievna Korsakova4 & Ivan Alexandrovich Chernikov5

1Russian State Social University, Moscow, Russia
2Russian State Social University, Moscow, Russia
3Russian State Social University, Moscow, Russia
4Moscow State Institute of Music named after A.G. Schnittke, Moscow, Russia
5Military Training and Research Center of the Air Force “The Air Force Academy named after Professor N. E. Zhukovsky and Yu. A. Gagarin” (Voronezh) of the Ministry of Defense of the Russian Federation, Russia.

Corresponding author: Irina Aleksandrovna Urmina. Email: n.yushenko@list.ru

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.02

First published: June 18, 2022 | Area: Aesthetic Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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Intermedial Postmodernism in Art: Concepts and Cultural Practices

Abstract

The study analyzes the existing and developing ideas of and approaches to the study of the multilevel concept of intermediality and its different aspects, forms, and phenomena considering the existing approaches and definitions. The study aims to reveal the capabilities of intermediality as a potential of innovative artistic creation. Research is conducted using sociocultural research methods including a comparative study of the recently proposed typical intermediality models, analysis of descriptive texts about the factually present models of art synthesis, as well as the context pointing to the presence of lack of correspondence between a particular fragment of text (the content of activity) and the real conditions in which activity is carried out. In the framework of an interdisciplinary comparative study, the emergent field of intermediality and its relationship to cultural practices in different spheres, including education, are defined at the qualitative level. The subject field of the study of intermediality as a key concept of modern culture is evaluated and its specific features in art, including music, are identified. The problems of the formation of synthetic media arts as a reflection of the postmodern perception of the world under the new conditions of digital technology, which transforms any creative cultural text into another type of information, usually of a quoted and multiple nature, are presented for discussion. It is proposed to pay special attention to the formation of “intermedial competence” – the ability to understand and interpret the process of the generation of new meaningful content, which occurs within the semantic modalities and communicative registers. The latter is only possible within the framework of the competence-based approach enshrined in the foundations of the universal system of European, including Russian, two-level higher education.

Keywords: Art, intermediality, theatre, communication. 

  1. Introduction

Sociocultural reality in the conditions of the greatly accelerated spread of visual culture determines the specific problems in the formation of a person’s world image. Visual forms, which dominated mass culture throughout the 20th century, have now become basic in the context of the active expansion of the media space created by means of new mass communication media. As a result of the qualitative changes in the ways of influencing mass audiences, a new generation was brought up on the ubiquitous use of modern visual technology, which drastically differs from the traditional social and cultural forms of communication that have existed for centuries but only partially allow to maintain the connection with the experience of previous generations today. Modern mass culture has become almost exclusively visual and categorically offers ready-made images, depriving people of the ability to imagine and independently form individual perceptions of their surroundings. Even W. Benjamin, a German philosopher, cultural theorist, aesthetician, literary critic, essayist, and translator, emphasized the growing nature of the entertainment function of mass culture: “The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality: the greatly increased mass of participants has produced a change in the mode of participation” [Benjamin 1996: 61]. The philosopher also indicates that the wide availability of works of art leads to the loss of the uniqueness of artwork, and a cult character is replaced by a consumer and commodity character.

The expanding presence of art in public life is undoubtedly due to the development of technical means, the duplication (copying) of works of art, mass production of works of fiction, reproductions of paintings, sculpture, and architecture. The qualitative technical and technological shifts in the digital sphere and the advancement of information and communication technology allow for the reproduction of virtually all forms and types of artistic products in the video and audio format on a mass scale. This list now also includes the phenomenon of virtual reality, which became a logical continuation of the methodological evolution of visual communication through media. The communicative potential of electronic and digital technologies has presented the entire society with new prospects for their use in social and cultural interaction. Thirty years ago, the German poet, writer, playwright, essayist, and translator H. M. Enzensberger wrote:

“The new media are oriented towards action, not contemplation; towards the present, not tradition <...> That does not mean to say that they have no history or that they contribute to the loss of historical consciousness. On the contrary, they make it possible for the first time to record historical material so that it can be reproduced at will. By making this material available for present-day purposes, they make it obvious to anyone using it that the writing of history is always manipulation” [Hans Magnus Enzensberger 1986: 104-105].

The American film critic and theorist B. Nichols writes the following about the works of culture in the age of cybernetic systems: “Instead of reproducing, and altering, our relation to an original work, cybernetic communication simulates, and alters, our relation to our environment and mind” [Bill Nichols 1996: 128]. The very process of simulation and the phenomenon of a hypertrophied model of reality was revealed by French sociologist, cultural scientist, and postmodern philosopher J. Baudrillard in the concept of simulacra, which has become a representative model of modern culture:

“It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real <...> A hyperreal henceforth sheltered from the imaginary, and from any distinction between the real and the imaginary, leaving room only for the orbital recurrence of models and for the simulated generation of differences” [Jean Baudrillard 2002: 181].

The phenomenon of art synthesis made its appearance in the earliest periods of art development. In the first half of the 20th century, there emerged an urgent need to create synthetic works that could have a complex effect on the viewer and listener by transferring the properties of one art form to another. For example, the Russian artist and fine art theorist V.V. Kandinsky created several stage compositions including “Green Sound”, “Purple Curtain”, “Black and White”, and “Yellow Sound”, the composition of which was intended to harmoniously combine music, color, plasticity, and word. Kandinsky believed that the combination of the means of various arts “can only be successful if it is not external, but principled. This means that one art must learn from the other how to use its means; it must learn in order to then apply its own means according to the same principle” [Kandinsky 2016: 17]. Russian composer and pianist, teacher, and representative of symbolism in music A.N. Scriabin was the first to use color in the performance of music, introducing a new concept of light music. In the musical poem “Prometheus”, he “sought parallelism – I wanted to strengthen the impression from sound with light”, but this also ceased to satisfy him: “now I am no longer satisfied with this. Now I need light counterpoints… Light goes its own melody, and sound its own…” [Sabaneev 2014: 239].

With the development of the information space, by virtue of the improvement of mass media, the established relationships between the visual and the verbal in public life were distorted in favor of the visual (the so-called visual turn). Art, in general, became part of the daily life and was attributed utilitarian meaning. At the same time, the borders of art were being blurred in structuralism, poststructuralism, postmodernism viewing the world as text and the works of art as “artifacts”, and in the development of constructivism in art. All this gave rise to multidisciplinary research not only on the interaction between particular types of art but also with other sciences and, later on, on the concept of intermediality primarily in the media-technological sense. Research practically split into two branches: technological and semiotic. The former is associated with the concept of “medium” or “media” consistently used as a material concept of “means of communication” or “technical means of publication,” and “communication channel”. The latter refers to the content aspect when media acts like a sign system or a sign code, and the interaction between the sign systems (languages) of different types of art generates the integrity of artistic and aesthetic perception.

In a broad sense, “intermediality” is now understood as a special type of relations emerging between media. The concept itself, however, generally has multiple meanings (in various scientific disciplines, there are no less than ten definitions [Khaminova, Zilberman: 2014: 39]), therefore, both the nature and the mechanism of the interaction of media also vary. For instance, in art, intermediality is the perception and experience of a different type of art, their juxtaposition, providing for a fundamentally creative movement and unpredictability of future states. Contacting media not only merge in a common space, but also influence, modify, and even transform one another (theater as a combination of plastics, action, music, images, etc.). It should be borne in mind that media is, first, a means of communication (a way of transferring information), second, a means of mass information, and third, a certain sign or code system. Then, in the interaction process, that is, in the process of intermediality, there emerges a polyartistic environment, in the space of which cultural codes are born, aesthetically developed, and translated through various cultural codes (for example, in various types of art). Here we would like to emphasize that the concept of intermediality started to appear in the terminological apparatus of such sciences as philosophy, philology, and art history only in the last decade of the 20th century coming to be the intersection of the concepts of “intertextuality” and “interaction of the arts” (interart). Such a split of the term into two separate sections calls for a double comparison with each concept. Intertextuality in literature and art refers to a special principle of citing previous works in a new philosophical and artistic context. The interaction of arts becomes their synthesis, which forms an independent interference environment that contains many different cultural texts.

Thus, by means of the new computer (digital) systems for transferring mass information via telecommunication networks (the Internet media), mass media or the means of mass information carry out the multichannel transmission of all types of information contained in the cultural texts of different types of art. In the postmodern era, the entire world can be viewed as cultural texts, conceptions, motifs, and cliches, which are distinguished into the uniform (homogeneous) and non-uniform (or intermedial, synthetic, heterogeneous) types. From this point of view, creation is a conscious or unconscious reference to its predecessors, hence modern art is reference art.

It is important to mind the fact that the technically electronic media of the last century (which appeared at the same time as print media), i.e. sound recording, radio, cinema, and television, used analog systems. As stated by D. Hesmondhalgh:

“…in analog broadcasting, the main components of communication and cultural expression – words, images, music, other sounds, etc. – were transferred to a continuous medium (radio waves), which in one way or another reproduced the form or appearance of the original performance, image, etc. <...> The radical innovation associated with the development of digital electronic methods of data storage and transmission is that the basic components of cultural expression – words, images, music, etc. – are converted into binary code (sequential series of zeros and ones) which can be read and stored by computers” [Hesmondhalgh 2018: 327-328].

It is believed that intermediality takes a special place in art by virtue of the interpenetration (synthesis) of its different directions reflecting the author’s emotional perception of events expressed in cultural texts. Semantically, however, people only perceive the part of a cultural text (as a reflection of the current worldview) that is stereotyped, recognizable, and does not require interpretation or multi-dimensional decoding of meanings. Therefore, the formation of modern individuals’ “intermedial competence” – the active ability to understand and interpret the process of the generation of new meaningful content, which occurs within the semantic modalities and communicative registers, to use various symbolic systems, scientific and general discursive practices for this purpose – becomes relevant. Effective development of such skills and abilities within the framework of the existing competency-based approach in the institutional system of higher education is a logical continuation of the development of a modern person in the digital age.

  1. Methods

At present, there is a strong conviction of the need for interdisciplinary research in virtually all fields of science, including the humanities. “Accordingly, it has become appropriate to combine different theoretical models to solve certain social science problems. A condition for this combination is the compatibility of the models and not the strict correspondence to the commonly accepted provisions of the general theories that spawned them” [Orlova 2008: 290]. The methodology of intermediality is also based on interdisciplinarity [Tishunina 2001: 149]. The common ground for all classifications of this concept is the ways and forms of media exchange. Since the intermedial process, from a sociocultural perspective, is the communicative exchange of information generated by a person or a group of people and transmitted through different cultural codes, there arises the need for identifying the basic foundations for the study of such a multilevel concept comprising a wide range of humanitarian disciplines (communication theory, sociology of culture, cultural and intercultural studies, philosophy, theory of literature and music, art history, film, theater, etc.). Of primary importance, in this case, is the study of the aforementioned process in the conditions of a dynamic intersection, interpenetration, and interference of these disciplines generating new forms of artistic innovations, which rapidly spread in the virtual space and are with little comprehension used as the carriers of innovative education practices. What can become the primary method for the study of such a phenomenon is comparative analysis, which includes quite a wide array of particular techniques of analysis. However, the intermediality subjected to research today inherited the problematics of the long-known concept of “interaction of the arts”, and at a time when the concept of “cultural text” had become one of the leading ones in the humanities. Nonetheless, the broadened concept of text does not cover the peculiarities of the interaction of the “voices”, “languages”, “codes”, “textual units” of various arts. The more problematic becomes their interdisciplinary qualitative analysis – particular methodological principles of research in literature, the fine arts, music, theater, cinema, etc. have been developing for centuries. Such theoretically substantiated monomediality divides these special areas, which in practice have very successfully merged into new synthetic forms. It remains to select a common methodology for studying these innovations. The heterogeneity of types of individual arts united in new semantic manifestations should be levelled in the general methodological foundations of studying the process of interaction of these arts.

What unites them is the obvious anthropocentricity reflecting in the historical time the centuries-old social and cultural practices of human communities as the reflection of the world image, the reproduction of the present reality in artistic images. It is methodologically possible to determine the basic foundations for the analysis of these practices. Such methodological foundations emerge with the combination of the sociological and cultural-anthropological ways of cognition within the problem field, where it is necessary and possible. The problem field of intermediality research can be defined as the semantic intersection of mutually complementary and compatible sociological and cultural-anthropological concepts. It is also clear that such interdisciplinary research can utilize classic scientific methods:

– the functional method, which allows determining the significance of a specific and stable sociocultural interaction of individual social units for individuals and society;

– the structural method, which allows identifying stable bonds between symbolic objects;

– the semantic method allowing to study and evaluate the symbolic representedness of the content of sociocultural life in iconic and symbolic form;

– the dynamic method, allowing to determine the causes, forms, and driving forces of the occurring sociocultural changes and processes;

– the systemic method, which allows studying such cultural units as traits, patterns, and themes, as well as the possibility of logical links and transitions between them, at the level of theoretical conceptions.

It has to be noted that “at present, there are all conceptual grounds for the integration of sociological and cultural-anthropological knowledge into a common theoretical and methodological model of research that can be called sociocultural. First and foremost, both sciences are logically compatible. They have a common fundamental basis: both the social and cultural dimensions of human coexistence are considered as derivatives of people’s organized interaction and communication” [Orlova 2008: 300]. Particular attention should be paid to the analysis of the dynamic aspects of people’s life together, which are reflected in the processes of their communication and interaction, including in the sphere of art. Time will tell how this will be taken into account in research on intermediality.

  1. Interpretations of the concept of intermediality in art

It can be argued that the digitalization of any creative cultural text transforms it into a different type of information, one of reference and plural nature. What then happens to such a text transformed into a cultural product in the qualitative sense? Let us more closely examine the process of transformation of cultural texts in the intermedial space of art starting from basic definitions.

The concept of intermediality is generally defined in our sign and multimodal culture as the interaction and mediation realized in texts. In essence, all contemporary social, cultural, and educational practices are carried out exactly in the field of intermediality. Without diving too deep into the analysis of historical and theoretical preconditions for the emergence of the phenomenon of intermediality, we will only note that as early as in the 19th century, it was showing itself in the interaction of different types of art, either within one type or crossing its borders and generating various synthetic forms. At present, such synthesis has become an active and commonly occurring phenomenon of artistic culture making use of the latest digital technology. Irina Rajewsky points to the fact that the concept of intermediality has been an umbrella term for different approaches from the very start and each time, intermediality is associated with different attributes and distinguishing characteristics. The specific objectives in different spheres (for instance, in medieval studies, literary studies, sociology, film studies, art studies, etc.) of intermedial research are constantly changing [Rajewsky 2018: 43-63]. As a result, there rises the need for deep additional study of both the methodology and lexical techniques of intermediality.

In art, intermediality presents the perception of another form of art as if from a distance, a kind of figurative empathy involving not only possible communications but also future joint interactions. It is in this exact case that different forms of media exchange come to be. For example, “transformative intermediality – the representation of one medium by another, the transition of an artifact into a different sign system, which it becomes part of, the relationship of manifestations of the same plot in different types of art; ontological intermediality as the ontological dimension of culture based on the inherent commonality of various media that does not rule out their differences (for example, the musicality of poetry, the cinematography of prose); conventional intermediality – the medial diversity of forms of artworks, a special type of interrelations inside text and interactions of cultural codes of different arts; normative intermediality – the same plot is developed in various media and each new era assesses the art of the previous ages differently – new thoughts and feelings arise, requiring new methods (mediums); referential intermediality – the text of one medium referencing the text of another” [Sinelnikova 2017: 808].

Without a doubt, intermediality has been showing itself in art in different forms since the 19th century, since the author of a work presents their unique image of the world with the means of communication available to them [30].

As noted above, not only works of various arts but also the very space of culture can be considered text. The concept of semiosphere or the semiotic space proposed by the Russian literary scholar, culturologist, and semiotician Iu.M. Lotman [9] best describes the conditions necessary for carrying out communication in this space. It is, however, also important to consider the fact that any cultural text or statement in the sphere of art exists within different semiotic (sign) systems, which are the works of literature, art, and culture as a whole. This problem has been analyzed by Iu.M Lotman and many other researchers in works on the semiotics of the space of culture [9; 21]. Essentially, they all rely on the idea of the world as text proposed by structuralists, including the French philosopher, literary scholar, aesthetician, and semiotician R. Barthes [Barthes 2016]. At the same time, the text can also be considered within the framework of discursive practice [10, 11, 21, 30].

  1. Intermediality in music

The English essayist and art historian P. Walter pointed out that “all art constantly aspires towards the condition of music. For while in all other kinds of art it is possible to distinguish the matter from the form, and the understanding can always make this distinction, yet it is the constant effort of art to obliterate it” [Milian 2019: 1].

What can be considered a manifestation of intermediality is ekphrasis as a doubled statement in a cultural text in different semiotic codes. For example, the interaction of literary fiction and music has been a topical subject of communication and creative interaction of composers, writers, musicologists, historians, and literary theorists for centuries. The aesthetic connections between literature and other arts have been discussed since Antiquity, particularly concerning the link between literary works and musical pieces. This discussion concerns the phenomenological musicality of prose associated with the two-fold structure of an artistic text as a correspondence between the material and form, the plot and the composition. According to the Soviet psychologist L.S. Vygotsky, “the very essence of the impact of art on us” resides not in the depiction of events but in the “processing of the perception that comes to us from the events”. An important role in this processing is played by the “plot composition,” “the organization of the writer’s speech itself, their language, the structure, rhythm, and melody of the story” [Vygotsky 2016: 202-203]. What comes as a result of ekphrasis is a strong emotional impact on the listener (an emotional explosion). “The moment of explosion is at the same time the point of a sharp increase in the informativeness of the whole system” [Vygotsky 2016: 135]. This occurs by virtue of the interpenetration through the genre and type borders – in the literal sense, a textual literary work expands its semiotic boundaries at the expense of other art forms. This results in intermediality. Since the problem of ekphrasis is closely linked to the issue of the interaction between literature and other art forms, M.I. Nikola [Nikola 2009: 25-26] alongside fine art, sculpture, and architecture identifies such types of ekphrasis as literary and musical, A.N. Taganov lists the literary, musical, and theatrical types [Taganov 2005: 140-149], and D.V. Tokarev mentions musical, fine art and musical, and cinematography ekphrasis [12: 93-95].

The semiotic principle of the division of arts, which made a particularly strong appearance in the 19th century, draws a distinction between the pictorial and non-pictorial (or expressive) types of art. “Pictorial arts (fine art, sculpture, graphics, photography, literature, theatre, and cinema) use the ‘language of real-life impressions, recreating before the eye or imagination objects and phenomena of the real world as one perceives them in one’s practical experience’. The non-pictorial arts (music, dance, architecture, applied arts, design) diverge from ‘the form of a sensual image that emerges in the experience of a person’s daily life’” [Bochkareva et al. 2012: 5-6]. Different models of transition and interaction form between them inescapably. What we are primarily concerned with is the contemporary aspect of intermediality in music. In this sense, “a vivid example of ekphrasis is the musical “The Phantom of the Opera” based on the novel of the same name by Gaston Leroux, a legendary and world-famous masterpiece by composer Andrew Lloyd Webber, which has not left the stage of the world’s theaters for almost 30 years” [Bigvava 2018: 34].

It is worth disclosing the concept of intertextuality, which was introduced by Iulia Kristeva based on “the discovery first made by M.M. Bakhtin in the theory of literature: any text is constructed as a mosaic of quotations, any text is a product of absorption and transformation of some other text” [Kristeva 2000: 429]. Kristeva operates with the terms “alien word”, “dialogue”, “multivoiced”, “polyphony”, etc., which Bakhtin used in relation to the texts of fiction. R. Barthes [Barthes 2013], specifying the definition of intertext, once again emphasized that in any text (intertext), other texts are inevitably present as fragments of cultural codes, formulas, rhythmic structures, fragments of social idioms, etc., absorbed and mixed in this text from the preceding linguistic culture [Bochkareva et al. 2012: 7].

Various methods for the analysis of literary works (mythological, biographical, comparative-historical, cultural-historical, psychological, formal, structural, sociological, culturological, narratological, semiological, etc.) have been developing in the sphere of literary art as the totality of any and all texts for decades, whereas the problems of analyzing the non-verbal (non-word) artworks remain unresolved to this day. Of most relevance appears to be the method of intermedial analysis, although it cannot be applied to all literary works since, at the very least, it requires defining the categories, levels, and common techniques of analysis universal for the works of different types of art.

Numerous definitions and approaches to the study of the concept of intermediality generate a wide array of intersecting and sometimes contradicting versions of seemingly the same thing. This is especially apparent from the works on the systematization of intermediality research by Lars Elleström [27, 31] who believes that all media are multimodal and intermedial in the sense that they contain a multitude of basic attributes and can only be considered in the general field of other types of mass information means.

Based on the formal method developed in structuralism, narratology, semiotics, communication theory, and interpretation, there are semiotic methods [1, 9, 21], which can be considered intermedial in a broader sense, meaning by that the analysis of relations and forms of interaction of the textual languages of different arts. This was indicated by the Italian scientist, philosopher, specialist in semiotics and medieval aesthetics, cultural theorist, and writer Umberto Eco in his book “Interpretation and Over-interpretation” [26]. The same idea is argued by Patrick Milian, who proposes four intermediate configurations of intermediality as the basis for interpreting the relations between different types of art [Milian 2019]. Milian himself relies on the work of Peter Dayan [Dayan 2011], who states that these relations rest on the fundamental incommensurability between the individual arts: the visual arts can never affect and communicate as music does, music does not come close to poetry, and poetry – to the visual arts. Nevertheless, there is the concept of transposition, which allows the author to represent another kind of art, its, so to speak, environmental peculiarity, which has recognizable signs of measurability and scientific repeatability. Thus, it becomes possible to maintain the existence of truth in art as a whole, to use the iconic features of one type of art in combination with the expressive features of another.

At present day, due to the lack of universal criteria and a terminological system for the study of the concept of intermediality, the search for a universal method for analyzing any work of art remains a topical issue.

“The main problem is that in different arts, the same terms refer to substantially different phenomena: the composition of a painting or a musical piece is not the same as the composition of a literary text. Different types of art arrange artistic time and space differently and use varying means of creating an artistic image. An example of this is the artistic image and the means of creating it in music, fine art, and literary works” [Chukantsova 2009: 140].

Since the artistic image is defined as a way of mastering and transforming reality [16, p.42], it is possible to identify the means used by music, fine art, and literature to the same degree. One of the primary tools in these arts is composition [18; 20; 21], which presents a system consisting of elements or components that are in specially organized relations with each other and can be distinguished by some formal attribute. Compositionally, these elements are the parts of an artwork that can be considered essential for its structure and content and are subdivided into external and internal [16, p. 216–223]. The external components or elements of a literary work can be individual chapters, stanzas, or phrases, stylistically isolated moments, as well as an introduction, conclusion, and epilogue. The internal components include the plot, theme, and individual characters of a literary work in their textual associations. The components or elements of the composition of musical and literary pieces can match or differ in terms of structure. For example, both types of works (cultural texts) are formally divided into parts, yet in music, this division is based on intonation as the foundation of musical thinking and communication. On the other hand, intonation is the unity of sound (the sound shell of a word) and meaning, same as words. The word, however, comprises a limited number of phonemes, whereas musical intonation uses the entire range of sound with different tempos, rhythmic patterns, volume levels, etc. The parts of a work are often marked by theme, motif, and leitmotif. Theme refers to the main idea of an artistic work lying at its basis and developing throughout its course. The motif is the semantic unit of any artistic text, including musical ones. The motif can be represented by a recurring word, phrase, situation, object, idea, image, or character. A leitmotif is a theme or motif that is associatively linked to a certain situation, character, or idea in a musical piece. In music, the leitmotif is a prominent, vivid, melodic phrase used to characterize a certain character, phenomenon, idea, or experience and repeated many times in the course of the plot development, i.e. it takes on the function of the motif of the artistic text. The main distinguishing feature of leitmotif in literary works is continuous reappearance in different qualities: as a word, gesture, action, image, idea, and so on.

It can be argued that multimediality emerging from the interaction of different arts describes the integration of semiotic operations and meaning modalities in a common phenomenal space. At present, such symbiosis has generated a vast space of intermedial artworks, new synthetic media-arts, in which importance is attributed not to the cultural texts themselves but rather their relations that form new meanings.

  1. Discussion. Intermediality in the context of total digitalization

Intermediality “as the interference of the arts, particularly the verbalization of nonverbal art forms within fictional genres, is under serious pressure from the modern technological landscape, the main challenge of which should be considered the digitization of any content (music, video, photos, audio files, etc.)” [Zagidullina 2017: P. 60]. The era of panmediatization has brought about the transformation of both participants in communication in the sphere of art (the creator and the consumer), the channels of communication between them (as a condition for the existence of an artwork itself), and the nature of works of art. Same as many other technological innovations, digitalization generates immediate and delayed effects. The immediate effects can be considered to be the aforementioned transformations of any creative cultural text into another through interference with cultural texts from other art forms and the convergence of polycode structures in the space of an artwork, or even into another art form through changes in the very ways of forming the postmodern image of the world as a set of cultural texts. Finally, interactivity at the moment of communication or interaction between the creator of an artwork and its recipient (today, the consumer of a cultural product). Modern polycoding differs from the already existing accompaniment of text with video, audio, or photographic inclusions (the so-called longreads) because it relies on hybridization based on the possibilities of a protocol as a way to digitally replicate any work of art. Here we refer to the technologies allowing to convey color through sound and emotions through color, to the opportunity of describing a person’s state through musical composition. As an example, the British musician and artist Neil Harbisson who suffers from a disease that only allows him to distinguish the shades of grey, and who has expanded his ability to perceive color and became the world’s first officially recognized cyborg – with an antenna implanted in his skull and dental implants that can allow Harbisson to send messages over the Internet by clicking out Morse code with his teeth. This may be an isolated case, but the mass acceptance of synthetic art is not that far away. Moreover, as soon as digital technology becomes simple enough, art will immediately respond by creating new syncretic forms. As for the delayed effects of digitization, we should pay attention to the rapidly spreading hybrid forms of cultural texts in virtual space (newslore, medialore, journallore, netlore, etc.), new polycode genres (pins, instas, photoshop battles, memes, longreads, etc.), and new forms of language.

Considering the contemporary sphere of musical art, there is the rise of song culture as a polycode literary and musical genre, in which the meaning of a hybrid cultural text is formed through the synthesis of the meaning of the word itself and the image generated by the melody. It is melody and not the word that becomes primary in this synthesis of two arts – the meaning of words in a foreign language can be unclear, or the song itself can be deliberately arranged so that the lyrics are difficult to hear. The technical opportunities are extraordinary – smartphones and headphones allow any person to dive into the world of art “on the go”. Thus, the seeming easiness of perception creates the illusion of the simplicity of creating an artistic work, which results in a greater number of authors writing music and song lyrics and their demonstration on the Internet. Mass cultural practices have already generated the profane culture of the 20th century. Now, we propose to discuss what is to come in the near future.

A. Petho indicates the following: “‘intermediality’ has proved to be one of the most productive terms in the field of humanities, generating an impressive number of publications and theoretical debates. This popularity of intermedial researches was prompted by the incredibly accelerated multiplication of media themselves that called for an adequate theoretical framework mapping the proliferation of media relations. The other factor that propelled ‘intermediality’ to a wider attention was most likely the fact that it emerged on an interdisciplinary basis that made it possible for scholars from a great number of fields (theories of literature, art history, music, communication and cultural studies, philosophy, cinema studies, etc.) to participate in the discourse around questions of intermediality” [Petho 2010: 40]. This statement cannot be argued with since it is relations and not the meaning content of each of the interacting arts that have become the most topical subject of discussion today. The part of a cultural text (in the broad sense) that ends up perceived today is that which is stereotyped and recognizable and does not require interpretation or multidimensional decoding of meanings.

What comes to the fore then is a kind of “intermedial competence” as the ability to understand and interpret the process of generating new meaningful content, which takes place within the semantic modalities and communicative registers, the ability to use different symbolic systems, different disciplines, and general and scientific discursive practices for this purpose. For this ability to be developed, it is not enough to merely use the information and communication opportunities of the digital environment of the virtual space, it also calls for the exchange of knowledge of the entire sphere of culture. The conceptual content of culture, the management of knowledge, and the practical use of the enormous amount of information generated on the World Wide Web are immanent to education, science, creativity, innovation, education, upbringing, and everything that shapes both citizenship and identity of individuals. The rapidly advancing digital technology and intermedial discursive practices have started to play a special role in the development of modern educational and cultural policy and practice. The interactive nature of Internet communication networks, which attracts users looking for obtaining a cultural identity, also reveals the dark side of this activity – the more the users engage in information search, the less they seek social solidarity. The increase of mobility resides in the greater individualization it creates, since people can communicate and interact at distance regardless of their physical location, and individualization entails social passivity. The global nature of this problem is apparent today and manifests in all spheres of human life, including education.

On the Internet, especially in the creative field, a sense of belonging to the creation of something new, or even mutual exchange and cooperation, is formed. However, in reality, this rarely happens due to differences in the basic professional competencies of individuals, even if they have talent. Even in the professional sphere (for example, music), excessive use of network technologies can tear an individual away from active real life with its obligatory resulting interactions and information exchange. Network individualism is clearly manifested in the virtual space, where instead of the expected globalization, people have many changing sets of glocalized connections due to many changing cultural preferences. At the same time, through the Internet, people get access to the public sphere and the opportunity to express their personal opinions, which may not at all correspond to public information and professionally formed media. Thus, bloggers have appeared who consider themselves specialists in any field of everyday activity, and in the field of music – practically professionals. As a result, an imaginary community space is formed, in which the space of information flows replaces real life in the geographical space of places. Against this background, there is an obvious decrease in a person’s sense of social and personal responsibility to others, but real society may not forgive this (an example is cancel culture).

It is the sphere of education as a stable social institution that can use the growing volume of virtual network communications using forms of intermediality to represent reality as a dynamic process in which a person (as a formed personality) is defined in a variety of times and cultural spaces – genres, languages, groups, etc. The dynamics of culture then appear realized in discursive pedagogical practices and creative projects. The globalized virtual context with all its interactive forms is combined with glocalized training programs that consider the cultural and historical heritage, forming general cultural competence. It is already impossible to imagine it without understanding intermediality as a necessary component of the creative process of generating something new. This is especially evident in the field of culture and, in particular, art, when the teacher acts not only as a teacher-methodologist but also as a teacher-technologist, who forms an actively creative person who will continue to need an independent constant search for new knowledge and professional skills. This requires the teacher themself to be fully immersed in the changing context of the socio-cultural environment, as well as to master intermedial technologies in relation to the current life situation in society. In the field of art, various artistic trends, synthetically uniting in multidisciplinarity, have been creating new visual forms for more than a century (Russian modernism is an example). Disciplinary boundaries are being pushed but whether intermediality will become the basis of all humanities outside the realm of art is not yet clear. Discursive practices allow an art teacher, together with students, to form new professional competencies. At the same time, students also manifest the social position of citizens of a particular country. This is the function of the education system in any state – the formation of a general cultural and professional worldview of competent and responsible citizens. Hypothetical global cultural unity is hardly achievable today; rather, intermediality contributes to the expansion of knowledge in the field of culture as a dynamic content basis of social life (considering modern technological and technical achievements). Manifested in the media-technological, cultural-aesthetic, and socio-cultural-communicative trinity, intermediality is in the process of forming a new semiotic system as a result of the interaction of arts. This dynamic also corresponds to the educational process of forming general cultural and professional competencies in the field of art.

  1. Conclusion

Youth as a special socio-demographic group occupies a special place in the reproduction of labor relations, i.e. in the market of the social division of labor. The atmosphere of the simultaneous presence of numerous opportunities and their inaccessibility is further aggravated by the fact that the only social model supported by ideological imperatives in any state (inviolability of private property, the prestige of people of science and education, tolerance, national dignity, etc.) has led the younger generation to strive for greater freedom of action and movement, to become aware of the value of their own private life as greater compared to corporate values in labor, and to seek creative self-realization. The model of success that had been viewed as the only possibility for decades no longer brings satisfaction to individuals. This means that the a priori desired “happiness”, a cultural concept closely related to the concept of “success” in this case, is not achieved. It should be noted here that the basis for modern youth’s self-identification became the orientation on understanding and not cognition and gaining knowledge.

Today, education has become, in the first place, a crucial socializing factor. Self-determination in life is viewed as a person’s active assertion of their position in relation to the social system of values (moral, social, communicative, aesthetic, professional, etc.), which allows them to manifest themselves in various life situations. This is directly associated with the competency-based approach enshrined in the foundations of the universal system of European, including Russian, two-level higher education. The formation, or, more precisely, the design of general cultural and professional competencies has become a demanded result of the educational process in higher education. It is possible that the development of intermedial competence has to become another component of this vital process.

References

Sabaneev L.L. 2014. Vospominaniia o Skriabine [Memories of Skriabin.] Moscow: Klassika XXI.

Sinelnikova L.N. 2017. Rizoma i diskurs intermedialnosti [The rizoma and discourse of intermediality] // Russian Journal of Linguistics, Vol. 21. No. 4.

Taganov A.N. 2005. Kontsept “palimpsest” i palimpsestnye struktury vo frantsuzskoi literature vtoroi poloviny XIX – nachala XX veka [The concept of palimpsest and palimpsest structures in French literature of the second half of the 19th and the beginning of the 20th century] // Khudozhestvennoe slovo v prostranstve kultury. Ivanovo.

Tamarchenko N.D.  2014. Teoreticheskaia poetika: poniatiia i opredeleniia (Khrestomatiia) [Theoretical poetics: concepts and definitions (Chrestomathy)] / auth.-comp. Moscow: Russian State Social University.

Tishunina N.V. 2001. Metodologiia intermedialnogo analiza v svete mezhdistsiplinarnykh issledovanii [Methodology of intermedial analysis in the light of interdisciplinary research] // Series “Symposium”, Metodologiia gumanitarnogo znaniia v perspektive XXI veka, Issue 12 / To the 80th Anniversary of Professor Moisei Samoilovich Kagan. Materials of the International Scientific Conference. May 18, 2001, Saint Petersburg. Saint Petersburg: 2001.

Tiupa V.I. 2001. Analitika khudozhestvennogo. [Analytics of the artistic.] Moscow: Labirint: RSSU.

Tokareva? D.V. 2013. “Nevyrazimo vyrazimoe”: ekfrasis i problemy reprezentatsii vizualnogo v khudozhestvennom tekste: sb. statei [“The inexpressibly expressible”: ekphrasis and the problems of representation of the visual in the artistic text: a collection of articles.] / comp and sc. ed. by D.V. Tokareva?. Moscow: Novoe literaturnoe obozrenie.

Tomashevskii B.V. 1999. Teoriia literatury. Poetika. [Theory of literature. Poetics.] Moscow: Aspekt-Press.

Uspenskii B.A. 2005. Semiotika iskusstva: poetika kompozitsii. Semiotika ikony. Stati ob iskusstve. [Semiotics of art: poetics of composition. Semiotics of the icon. Articles on art.] Moscow: Languages of Slavic Cultures.

Uspenskii B.A. 2006. Poetika kompozitsii. [Poetics of composition.] Moscow: Akademiia, Saint Petersburg: Azbuka.

Vygotsky L.S. 2016. Psikhologiia iskusstva. [Psychology of Art.] Moscow: Azbuka Publishing House.

Zagidullina M.V. 2017. Intermedialnost v epokhu totalnoi mediatizatsii: kak tekhnologii vliiaiut na literaturu i ee teoriiu. [Intermediality in the age of total mediatization: how technology influences literature and its theory.] / In collection: “Pavermanovskie chteniia. Literatura. Muzyka. Teatr: sb. nauch. tr.”. O.N. Turysheva, ed. Ekaterinburg, Moscow: Kabinetnyi uchenyi. — 2017. Iss.3.

Sentiment Analysis for a Humanist Framework: How Emotions are Recognized and Interpreted in the Age of Social Media

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Rafael Guzman Cabrera
Department of Electrical Engineering, University of Guanajuato, Mexico. Email: guzmanc81@gmail.com

Rupkatha Journal, Vol. 14, Issue 2, April-June, 2022, Pages  https://doi.org/10.21659/rupkatha.v14n2.01

First published: June 18, 2022 | Area: Aesthetic Studies | License: CC BY-NC 4.0

(This article is published under Volume 14, Number2, 2022)
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Sentiment Analysis for a Humanist Framework: How Emotions are Recognized and Interpreted in the Age of Social Media

Abstract

Language is in constant evolution – this theory has been demonstrated most aptly and comprehensively by Marshall McLuhan. Specialisation in the different areas of knowledge, especially technology, has contributed to this process. Technological advances and the development of so-called intelligent devices allow interaction through voice interfaces, text, or gesture and in its most advanced forms by means of the incorporation of artificial intelligence-generated linguistic communications in human-machine interfaces. In recent years, the ways of communication or watching news have changed, now we do it by means of the internet and through different options of the social networks. We interact with people and react to their communications by means of divergent ways of language formation. It is increasingly common to express opinions through social networks and the internet. So much so that now we know that it is possible to analyse a person’s sentiment from his or her communications of opinion issued in social networks? The question is, can we determine, for example, whether the opinion has a positive or negative emotive charge only by analysing the written or inscribed texts of such formats of communication? This paper presents a brief description of how technological evolution has created an x-factor of language, that is expressed, appropriated and re-used in machine learning modules, artificial intelligence, and automatic sentiment analysis.

Keywords: Artificial intelligence, Language evolution, Sentiment analysis.

  1. Introduction

The evolution of the human language is one of the most important and interesting post-humanist questions about the human ability to think and interact with the world and the environment (Nowak, Komarova, & Niyogi, 2002). The earliest records of language come from the Denisova cave inhabitants of southern Siberia, some 175,000 years ago (Barnard, 2016). We don’t know if they spoke or developed a language or protolanguage. A protolanguage is a language reconstructed on coincidences and common features of a family of original languages. There are several theories about the first stages of protolanguage (Tecumseh and Donald 2010). Generally, four models are recognized for a protolanguage template: lexical, musical, mimetic and gestural. Again, every language, whether spoken or written, evolves to have grammar as a defining feature. Grammar is essentially syntax: the part of language that lies between the sound system that makes up speech (phonology) and the part that carries meaning and is called semantics. Heine and Kuteva (2007) propose a six-stage scheme for the evolution of grammar: nouns, verbs, adjectives and adverbs, pronouns, and demonstratives and finally negations. Their model further suggests that language evolved gradually, and that the lexicon evolved before syntax.  Since the early 1990s, there has been an increasingly productive study of language, with advancements in many different sectors, and an encouraging increase in exchange and interdisciplinary collaboration (Fitch 2005). Currently we normally see the way we interact with other people, in our communications includes not only the older methods of communication that were available to humanity for thousands of years but also forms or signals derived from communications technologies, some of which include communications across formats like social networks or e-mail correspondences. But what kind of technologies did we leave behind to get here? When did we stop using other ways to communicate? Where did postal mail go, and telegrams and faxes that even relatively recently were used on a daily basis?

We have witnessed a technological revolution that has put our reach of technological resources far in advance so that we have changed our way of interacting with others in so many ways. As a consequence of this change there has also been a change in the nature or structure of language (especially inscription); now we can use emoticons or abbreviations that literally say nothing, but we still use them to express ourselves. The paper mode of communications has changed from paper material surfaces or inscribable surfaces to digitally simulated platforms or screens. Surprisingly, we went from talking on mobile phones to writing text messages through social networks in platforms that we now call social media. Yet it also suggests a new medium of communication such as some of those that McLuhan had barely begun to identify (McLuhan 2003). When we actually talk and interact with a person, either in person or by means of using some technological resource, we also perceive their mood or their “sentiment” either by looking at their gestures, expressions, modulation, and tone of voice, or a whole range of other characteristics that we use to express ourselves. The big question is: is it possible to perceive such feelings from a written text-format alone, like a text that incorporates not just words, but extra morphological semantics like those engendered through emoticons, GIFs, memes, visual codes, digits etc, or new sets of phraseology? The rest of this paper tackles the question of the languages in the latest media, specifically social networks, which constrain us to meet and interact with people by looking at the textual equivalent of their emotions and not at their physical bodies. What are the written expressions and resources that help us to identify the feeling of a person through a written expression? This question also leads us to directly understand how a systematic classification and understanding of emotional cues might be undertaken so that machine learning modules can predict these emotions?

  1. Artificial Intelligence

The evolution of technology had a decisive impact on the way we live today, particularly the development of computer hardware. Just 70 years ago, researchers wondered if a machine could ever think for itself. Over time the question was changed to whether it could come to think by being manipulated by physical symbols sensitive to the structure that they had. In those times they managed to understand the great power of systems that were governed by established rules, but what if the systems were automated? Automation could turn a reading process from being an abstract computational system into a real physical system (Fernández-López, 2011). To determine if a machine uses artificial intelligence or to put it in simple words if a machine is intelligent, Alan M. Turing’s proof was taken as a reference (Millican, 2021), which indicates that any recursively computable function can be calculated in a finite time by means of a machine that manipulates simple symbols. This was Turing’s universal machine. A Turing machine is a device that negotiates with symbols on a strip of tape according to a table of intervening rules. Despite its simplicity, a Turing machine can be adapted to simulate the logic of any computer algorithm and is particularly useful in procuring the functions of a central processing unit within a computer. This implies that a symbol manipulating machine should be able to have intelligent consciousness, where positive results could be obtained since these machines could perform a series of cognitively intelligible activities, as for example the solution of algebraic problems, or of arithmetic, or engagement in meaning interpretative human dialogue or games like checkers and chess. Thanks to the emergence of larger hardware memories, we could evolve more efficient and faster machines that could go ahead and engage with human language systems.

For its part Hubert L. Dreyfus, one of the main characters who argued against the fact that a machine could have its own consciousness, published a book in the 1970s where he criticised the modules of machine cognition (or interpretation) and mentioned that the consciousness was reserved to the capabilities and common sense that people possess, Dreyfus didn’t deny that a machine could be made to think, but said that this could be based only on the manipulation of symbols, that is, by means of programs (Su & Luvaanjalba, 2021). In the 80s Jon Searle proposed a thought experiment called ‘the Chinese room’ which posits that a machine is incapable of thinking, since the human mind doesn’t function like a computer program, nor can a computer program behave like a human mind (Tabares Cardona, 2021). The Chinese room consists of a room, isolated from the outside, in which there is a person who doesn’t know the Chinese language but who, through a hole, can receive sheets of paper with texts written in this language, and if inside the room the person has manuals and dictionaries with which he is able to relate the characters to write a response, without having to study the language but applying rules then, for each set of input characters, the person would be capable of issuing an answer without understanding the language. In the same way, a machine will work with inputs and obtain outputs, even if it doesn’t ‘understand’ them. Therefore, a machine that applies rules is incapable of having consciousness, but we humans can also be, retroactively arguing, a Chinese room full of rules.

The main objective of the Chinese room is to deny that the mind is similar to a computer program, demonstrating that a machine can perform an action without understanding what it does and why it does so, since its logic only operates with symbols without understanding the content involved. Such a machine could easily pass the Turing test by pretending that the machine understands the language. Artificial intelligence consists of a simulation of some activities of the nervous system by means of machines: this refers to the fact that some of the processes that are performed in the brain can be analysed as computational processes. An example would be that rule-guided machines wouldn’t have the distractions of goals to be achieved- as it happens to human beings who are always faced with emotional distractions and destinies of their interactions. These destinies may be simple happinesses from a stream of pain or simple tirednesses. The interface between the brain and the computer allows measuring brain activities, processing and creating communication channels with the environment. We can define a system capable of translating aspects of the nervous system into a model of interactions with the virtual world.

  1. Machine Learning

Learning refers to a broad spectrum of situations in which the learner increases his knowledge or skills to accomplish a task. Learning applies inferences to certain information and constructs an appropriate representation of some relevant aspect of reality or some process (Moreno, 1994). A common metaphor around machine learning – within Artificial Intelligence – is to consider problem solving as a type of learning that consists – once a type of problem has been solved – in being able to recognize the problematic situation and react using the learned strategy (Klahr & Kotovsky, 2013). A classic example is the problem of the farmer, who, accompanied by a fox, a goose and a sack of grain must cross a river on a barge in which there is only the and one more, but if he leaves the goose with the fox, the fox will eat it and if he leaves the grain with the goose, the goose will eat it. Here the problem must be recognized, and decisions made that allow everyone to reach the other side of the river. In this sense, we have different classifications or types of learning, we will briefly describe the most used in the state of the art: supervised, unsupervised, and deep learning.

Supervised learning (Nguyen Cong, Rivero Pérez, & Morell, 2015) has the purpose of obtaining a distance metric function, usually represented mathematically as the Mahalanobis distance between two instances and their corresponding classes for a specific application, and based on using information from the training set. Most algorithms that learn a distance function try to solve an optimization problem with constraints. On the other hand, unsupervised learning (Tello & Informáticos, 2007) obtains a model that fits the observations, because there is no a priori knowledge. A usual problem of this type of learning falls on decision-making itself, and whether they are correct or not, for this, grouping techniques with logic are used. Data collected is like other data, and thus can be treated collectively as a group. Clustering is a form of unsupervised classification where, in contrast to the supervised group, the class labels are not known (there are no previously defined classes) and the number of groups may not be known either. Fuzzy clustering is a method frequently used in pattern recognition (Fan, Zhen, & Xie, 2003). In recent years, deep learning has been widely used. It consists of a set of algorithms that attempt to model high-level abstractions using computational architectures. Such structures may support nonlinear and iterative transformations of data expressed in matrix or tensor form. In simple terms, deep learning implies the mastery, transformation, and use of this knowledge to solve real problems (Valenzuela Granados, 2021). Independently of the type of learning, the objective is the same: to have a system that is capable of learning from experience and one that can include the conditions of the environment to successfully perform its task. When we talk about the identification of sentiments in written texts it is important, in this sense, to have instances manually labelled by an expert, that allow machine learning techniques to identify trends, associations, patterns, and collocations in the text that allow associating these features with the type of sentiment labelled in the instance under study.

  1. Social Networks

Currently, microblogging websites have become digital spaces of varied information, where users post information in real-time and opinions are expressed by means of texts that implicitly carry an emotional charge. Statements thus become a positive or negative opinion about people, products, or services. Several companies, organisations and institutions have made use of this type of media to obtain feedback, promote themselves, or to turn the opinion of users into an improvement network (Rani, Gill, & Gulia, 2021). Being able to know the opinions of the users of a product or service will guide the decision-making to achieve an improved sales profile of a company, by identifying areas of opportunity and improvement within it. Twitter in recent years has recorded a growth in the so-called “social panoramas”, used in a transmission system, as well as conversation tools. Twitter is the social network that is currently used for the development of numerous investigations of sentiment analysis (also known as opinion mining), where sentiment analysis is defined as the process of determining opinions based on attitudes, valuations, and emotions about specific topics. In this context, an opinion is a positive or negative evaluation of a product, service, organisation, person, or any other type of entity about which some feeling can be expressed (Cambria, Xing, Thelwall, & Welsch). Due to the importance of sentiment analysis for business and society, it has been extended from computer science to management and social sciences (Coba, Barrera, & Sánchez, 2022). Since, if opinions on the network are successfully collected and analysed, they allow not only to understand and explain many complex social phenomena, but also to predict them. The emotions that users express in Tweets are related to the person’s sentiment, and the polarity (positive, negative, and neutral) is the measure of the emotions expressed in a phrase.  Generally, the polarity goes from negative (-1) to positive (1) through neutral (0), where this last value means that no sentiment or opinion has been expressed.

  1. Sentiment Analysis

Khamphakdee & Seresangtakul (2021) describe sentiment analysis as a task that is responsible for identifying and classifying different points of views and opinions about something without being specific: it can be an object, a person, an activity, etc.  Analysis is based on Natural Language Processing (NLP). The main objective is the analysis of opinions and their classification based on the identified sentiment: positive or negative. There is also the possibility that they don’t exist and would be classified as neutral. The possible applications can be as useful as they would be different. In recent years such analysis has been a very attractive and interesting field of research, creating a classification set that can be performed in the polarity of sentiment as mentioned above added to this can be added a classification of primary sentiments such as joy, sadness, anger, fear, and others. Antonakaki and colleagues (2021) present some techniques used for the review of sentiment analysis, such as those which will help us to automatically determine the emotional polarity in a text with Artificial Intelligence, i.e., develop programs or learning algorithms and knowledge generation capable of learning to solve problems.

The authors in Jiménez-Zafra, Cruz-Díaz, Taboada, & Martín-Valdivia (2021) tell us about the ways of adapting a semantic orientation system to be able to perform the analysis of sentiment in a new language, building support vector machine (SVM) classifiers. We must bear in mind that a classification system, used to find ‘feelings’ in written expressions, based on machine learning, can be trained in any language. Another technique used for sentiment analysis review is Semantic Orientation, which oversees extracting opinions (Appel, Chiclana, Carter, & Fujita, 2021). Appel and colleagues explain that the semantic orientation of a word can become positive when it is shown with praise words, or negative when a criticism-word is identified. Semantics uses a learning technique that doesn’t necessarily need to be supervised since it doesn’t require initial training. This type of unsupervised learning uses different lexical rules in sentiment classification.

There are also 3 levels of classification for sentiment analysis:

  • Document-based
  • Sentence-based
  • Word/phrase-based.

The first level is document-based, where the document is understood in a unique way and the whole document is thus classified according to a feeling for the whole document. The sentence-based level is responsible for classifying each sentence in a document or text: machine learning is generally used to detect subjective sentences. Finally, the word/phrase level is essential since the word is the smallest unit containing meaning in the entire text and is therefore indicative of the most detailed of the levels. In the Sentiment Analysis method, a machine learning approach based on a training and testing, using one set of collections to differentiate between text features (training) and another for classifier accuracy (testing) may be used. Our research has repeatedly used such techniques. Some of the classifiers we have used were Support Vector Machine (SVM), Nayve Bayes (NB) and Maximum Entropy (ME). Nayve Bayes is a classifier commonly used to classify text documents based on a probability model, for estimating the probability of a given group with a text document as input. The Support Vector Machine (SVM) classifier is also proposed for solving problems in pattern recognition. It is a learning model with algorithms that is responsible for data analysis. The two classifiers were top-rated in the machine learning approach to data mining and sentiment classification.

Sentiment analysis starts with the collection of data on a website or social network, mostly by taking advantage of the data that already exists publicly. The data can be classified according to the input of information from such sources as forums, blogs, articles, news, or social networks. For forums, the research is based on publications, and for this data collection is based on the access information of the users since they must be registered to be able to participate in them. A main advantage here is that most of the forums are dedicated to a single topic. Reviews focus a lot on opinions that describe good and bad attributes whether in products or services, such as movies. In social sentiment analysis classification depends a lot on the use of keywords in the texts. To finish with this part of the methodologies implemented to carry out sentiment analysis in texts, I want to refer to two projects in which I had the opportunity to participate. In Sánchez, Cabrera, Carrillo, & Castro (in preprint 2022) we conducted analysis of sentiments, with a methodology that allowed us to identify the polarity of a text in Spanish according to the emotion of its authors: this polarity could be identified with 3 labels: positive, negative, and neutral, and the emotions that could be identified being of 5 kinds: anger, fear, joy, sadness and love.

As the first point of the methodology, use is made of the corpus labeled SemEval 2018 “Task1: Affect in tweets”, first a cleaning process of the tweets is performed, eliminating: emoticons, punctuation signs and special signs to subsequently separate the tweets into words, and using POS (part of speech), we place a label and word lemma (base form of the word). With this information a text classification model is created. This model receives (matches with input signal) an instance and categorizes it as: anger, fear, joy, sadness, or love, corresponding to the emotion that was identified for each instance. This is possible because the training corpus is labelled according to the emotion and can be used to train the system; once the system is trained it can receive new instances and identify the emotion. Once the emotion has been identified, polarity identification is performed, whose objective is to obtain a positive, negative, or neutral classification. This stage is performed through the extraction of the POS tags, here a search is performed for each lemma within the ML-Senticon lexicon, to obtain its respective positive or negative classification. Another research (Guzmán Cabrera & Hernández Farias, 2020) presents an exploration of diverse lexical resources that support the task of sentiment analysis. For the development of the methodology as a first point a series of experiments based only on the content of the tweets was presented in our projects. For this we used five configurations, in each one the pre-processing to be performed was increased, the first of them was without performing any type of pre-processing, the second consisted of tokenizing the text, eliminating empty words, conversion to lowercase and to terms that exceed a frequency threshold. Two approaches to lexical resources were used, the first one was a basic approach based on the creation of lists of terms associated with two polarities: positive and negative. And the other approach labelled a word with a score that reflects its value with respect to a particular aspect. The authors in our group selected a set of fourteen lexical resources divided into two main groups, those that include information strongly related to sentiment and emotions and those in which psycholinguistic information was also considered. It is undoubtedly a very exciting area of explorations and there is much more to write about. The important thing is to show that both the identification of sentiment and polarity can be performed in written texts and that these resources become necessary given the popularity of social networks and the daily posting of opinions on them. Surely language will continue to evolve, and, in a few years, everyone would be discussing some other strategies for performing sentiment identification.

Conclusion

Computational sentiment analysis betokens a process that helps us determine the emotion with which a series of words is defined, and it consists of evaluating attitudes and opinions from word-tokens to obtain information that helps in identifying the reaction of users for a product or service, or by extension any piece of communication. In general, the idea of sentiment analysis was partly elaborated for the development of better products and services, based on the opinions that were found in the different areas of communications. Yet a lot remains to be discovered. But the final take for any interpretative process is to understand how any thinking entity, b it a machine or human arrives at the meaning of texts, what kind of flow chart is really relevant and expedient and how such insights change our notion of interpretation in the academic theoretical literature. What do machines teach us about reading?

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Sánchez, B. P., Cabrera, R. G., Carrillo, M. V., & Castro, W. M. Identifying the polarity of a text given the emotion of its author. Journal of Intelligent & Fuzzy Systems, (Preprint), 1-9.

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Tello, J. C., & Informáticos, S. (2007). Reconocimiento de patrones y el aprendizaje no supervisado. Universidad de Alcalá, Madrid.

Valenzuela Granados, W. L. (2021). La inteligencia emocional y su influencia en el proceso de aprendizaje. Universidad de Guayaquil: Facultad De Filosofía, Letras Y Ciencias.

Medieval Kazakh History in Arab and Persian Sources

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254 views

Adil Markhaba1*, Islam Zhemeney2, Aman K. Rakhmetullin1, Kalamkas B. Bolatova1 & Aigul S. Adilbayeva1

1Department of History and Social Sciences and Humanities, Kazakh Humanitarian Law Innovative University, Semey, Republic of Kazakhstan. Email: markhaba6563@kpi.com.de

2“Turan-Iran” Research Center, Al-Farabi Kazakh National University, Almaty, Republic of Kazakhstan

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.70

Abstract

The relevance of this topic lies in the analysis of the study of medieval Kazakh history. After gaining independence, the processes of the revival of national identity, reinstatement of primitive spiritual and moral values and human mentality, which were sharply suppressed during the period of the Soviet totalitarian system, became widespread. Therewith, the widely discussed national-historical structure of the population, the knowledge of ethnic roots, the restoration of traditions and customs, which served as a connecting link, as well as the specificity and originality of the approach are of particular importance. Currently, the problem of objective reading, coverage, and popularisation of the ancient and medieval Kazakh history and culture is acute. By rejecting one-sided interpretations of historical events, established clichés require impartial, academic analysis based on evidence drawn from a wide range of sources. The purpose of this study is to identify the problems of the history of Kazakhstan in the 13th-14th centuries, the general laws of world historical development and the features of the historical process, folk traditions by using a scientific and systematic approach. Based on the systematisation and classification of data from the geographical and Arab historical records of the 13th-14th centuries, the analysis of written monuments is performed, their interdependence is established, and the degree of completeness and reliability of the data in the works of the narrative is determined in an integral system. Due to the scientific expeditions and research trips to Mongolia, China, and Germany, Kazakh orientalists analysed and performed the first systematic processing of archival materials and historical evidence of the early history of resettlement based on the ancient Turkic manuscript, ancient Indian, and Chinese sources that formed a picture of the proto and ancient history. For example, the features of stone figures give an idea of the military hierarchy, military operations, the settlement of ethnic groups (ethnogeography), the worldview of the Turks, etc.

Keywords: history of Kazakhstan, written monuments, source study, analysis, Arab and Persian historical works.

New Media, Urban Marginals and Gerontocracy in India: A Study of Older Adults in Kolkata

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205 views

Dr. Debarati Dhar

Assistant Professor, School of Communications, XIM University, Bhubaneswar, India. Email: dhardebarati@gmail.com

Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.17

Abstract

My paper seeks to explore the linkage between new media and the Urban Marginals with special emphasis on the ageing population in Kolkata. Conventional use of media for ageing has made the aged population a passive victim to be duped by the media messages. Given the structural locations and positions, mass media is of no use where the considerations are for younger populations. Although the ageing population may be a marginal category keeping in view the larger media ecology, new media provides the potential to the aged population to be inclusive of urban governance provided they have access and availability. With the help of substantive details, my paper would seek to address the idea of ‘precarity’ associated with the aged population and their way of coping with such precarity with the help of new media in Kolkata. This paper would provide a select reading of samples (qualitative data) from different regions of Kolkata. Through substantive details my paper would provide insights about a vulnerable population, otherwise, neglected in the making of urban governance.

Keywords: New Media, ageing population, older adults, urban governance, mass media, Kolkata.

Television and Material Culture: Mediating the Temporal and Consumerist Practices in Pre-liberalised Kerala

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240 views

Benita Acca Benjamin

Research Scholar, Institute of English, Kerala University. Email: benitabenjamin47@gmail.com

 Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.16

Abstract

The introduction of television in Kerala was an event marked by the encounter between spatial practices, discursive structures and visual paradigms. As a result, it becomes important to contextualise television’s presence in Kerala in the socio-economic conditions that defined the region in and around the time when television was introduced. This would provide some seminal cues about the mutual imbrications between television and its politico-discursive context. The present paper tries to look into the ways in which television fashioned new spatio-temporal practices and embodied various consumerist tendencies in pre-liberalised Kerala to argue that television is an artifact grounded in the region’s cultural values and material aspirations. The first section looks at how television-viewing and the socialities formed around the act were ‘timed’ by television. In the second section, the paper studies the popular advertising strategies employed to market television as a ‘tamed’ object that is representative of the consumerist aspirations that defined the region.

Keywords: Television, Material Culture, Temporalities of television, Consumerist aspirations

Comic Memes and Sexist Humor in India: Tools for Reinforcement of Female Body-Image Stereotypes

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290 views

Deepali Mallya M1 & Riya Dennis2

1Assistant Professor (Department of English and Cultural Studies), Christ (Deemed to be) University, Bengaluru, Karnataka, INDIA. ORCID ID 0000-0002-7760-3593. Email: deepali.mallya@christuniversity.in

2Teacher, Oasis International School, Bengaluru, Karnataka, INDIA. Email: riya.dennis@eng.christuniversity.in

 Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.15

Abstract

Memes have been described as communicative and aesthetic practices that serve cultural, social, political purposes on a digital platform. Several studies, in the last decade, have attempted to study this digital aesthetic knowledge production as a powerful tool for political, racial, and gender-related discourses. Most often this knowledge is produced through comic multi-media texts. Many theorists believe that, digital media reinforces inequality, marginalization and such other social issues through the audio-visual-textual medium as much as it establishes the counter-discourses for equality, body activism, racial activism and the like. Speed and lack of censorship can be the cardinal reasons for the popularity of these memes. Among the mass-influencing gender-related memes are those encouraging fat-talk and body-image stereotypes. In the Indian context, ‘Tag a Friend’ memes is one such widely circulated meme which communicates body-shaming messages through sexist humor. It mainly targets the fat/colored/transgender women. The current study examines these memes using multimodal discourse analysis methodology. The paper attempts to investigate the revival/reproduction potential of color-shaming and body-shaming stereotypes via comic memes through Shiffman’s memetic dimensions. The analysis establishes that memes can be a prominent site for the re-production of the problematic ideology of body/color shaming even in the 21st century.

Keywords: Body-shaming, comic-meme, female-body, ideology, interpellation, Tag a Friend.

Binge Watching to Binge Serving in India: Revolution, Regulations and Restrictions of Over-the-Top (OTT) Platforms

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307 views

Dr. Biranchi Narayan P. Panda1, Dr. Swayampabha Satpathy2 & Isha Sharma3

1Assistant Professor (Law), Xavier Law School, XIM University. Email: biranchi@xim.edu.in

2Associate Professor (English), Department of Humanities and Social Sciences, ITER, SOA. Email: swayamsatpathy@soa.ac.in

3Ph.D. Scholar (English), Department of Humanities and Social Sciences, ITER, SOA. Email: Ishaasharma25@gmail.com

 Volume 13, Number 4, 2021 I Full-Text PDF

DOI: 10.21659/rupkatha.v13n4.14

Abstract:

Information technology has changed the living style of people in the last few decades by its evolution and revolution. So, ‘digitalisation’ is considered as very imperative in human history especially after the ‘industrial revolution’. With the changing paradigm, digitalisation has provided enormous space for the entertainment of Individuals through the Over-the-Top (OTT) video platforms on their demand. In India, the significant growths of OTT platforms have been noticed during the last decade with an increasingly growing number of consumers. With such huge demand, a surge of consumers in India, the OTT became a commodity rather than a luxury. Further, the demands of consumers & internationalisation open up its OTT market for domestic as well as international players. The OTT players like Hotstar and Jio Cinema has expanded a stouter position, whereas global players like Netflix and Amazon Prime have also extended progressively their market share in India. According to one report, the Video on Demand (VoD) industry is still at its emerging stage but the entry of 40 VoD companies in a span of just three years indicates the popularity and demand of such industry. This huge demand has exposed the concept of ‘Binge Watching’ in India as this platform provides on-demand, anywhere access, without a commercial break and unlimited access. However, these growing OTT players and online content have faced many controversies and fought legal battles in India due to the lack of regulatory mechanisms. This paper explores the emergence & growth of OTT platforms with their recent trends in India. Further, the paper specifically focuses on the regulatory regime of OTT platforms since the beginning and its current scenario.

Keywords: Over-the-top (OTT), Binge Watching, Digitalization, Video on Demand (VoD), Regulations & Legislations.

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