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Institute
- Historisches Institut (1349) (remove)
What is the nature of interactions between Jews and Muslims in contemporary Dubai, Berlin, and Warsaw? The purpose of the three presented case studies is to evaluate the state of affairs and identify newly emerging trends and patterns in the given trans-urban context. The methodology is based on qualitative anthropological research, emphasising an emic perspective that centralises respondents' own lived experiences and worldviews. The main research's findings made evident that interactions between Muslims and Jews in each examined location are, to various extents, acknowledged, and in some cases, also embody a formative part of public discourses. Perhaps the most visible manifestations of these relations are represented by the ambitious interfaith projects that were recently established in each geographical area in focus. The Abrahamic Family House (UEA), The House of One (GE), and The Community of Conscience (PL) reveal the aspirations of multi-faith religious leaders to overcome polarising dichotomies and search for common ground. One of the conclusive outcomes of the study is a somewhat diminishing impact of the Israeli-Palestinian conflict on the Jewish-Muslim relations; however, the extent differs in each destination in focus. Finally, an unpredicted observation can be made. A surfacing inclination towards embracing a joint Muslim-Jewish Middle Eastern identity was perceived.
Ordre vergessen
(2023)
Kampf um die "Brit Mila"
(2022)
Einleitung
(2022)
How soccer becomes politics
(2021)
In this case study, the authors elaborate on the narrative structure of transnational popular media events. Drawing from Dayan and Katz's concept of media events and Julia Sonnevend's exceptional work on iconic global media events, they argue that fundamental changes in the way occurrences are being reported on and news is structured must be considered. Allowing for recent technological advancements, the role of the consumer and the compression of time in media use, the authors develop a methodological and theoretical framework fitting a more mundane and everyday life-based approach. They derive their results from the analysis of the "Podgorica Media Event," a news cycle emerging from a racist incident during an international soccer game between England and Montenegro. Based on the body of 250 international news pieces, they identify a primary mother narration and a distinctive narration as the typical ways of storytelling on a transnational level. While differing greatly in content, aspects of transnational popular media events serve to protect and reify the cultural background they are grounded in on a national level. Thus, we assume that sport, or, more specifically, soccer, may become political in media communication not by the impact of state government but by the consumers themselves choosing and developing a popular media event in the first place.
On the surface the television series Lucifer (2016 – 21) is a simple police procedural but, in actuality, the criminal cases in the show serve merely as window-dressing and structure for the deeper consideration of issues, such as guilt, shame, love, and even the meaning of life on both an individual and universal level. These topics are explored through the ever-developing character of Lucifer himself, who, like other recent anti-hero depictions, is initially presented in a manner that is very different from traditional portrayals of the Devil, and is, in fact, far closer to that of the Greek Olympian gods. Over the course of six seasons, the depiction of Lucifer alters, however, as he becomes a figure that is in many ways Christ-like, but with a 21st century twist that places the individual in an exalted position that is superior to that of divinity.
The modern conception of the werewolf is heavily influenced by Gothic reinterpretations of medieval European stories. This kind of werewolf is the one that has appeared on screen and written fiction for decades, but MTV’s Teen Wolf, a re-boot of the 1980s film which aired between 2011 – 17, is different. In this young adult supernatural drama, werewolves descend directly from Lycaon, and a substantial proportion of the show’s werewolf lore derives from Graeco-Roman stories about wolf-shifters and versipelles. This paper wants to explore the extent of the use in the show of the myth of Lycaon in particular, of Classical versipelles in general, the significance of these two references for the narrative, and the degree of innovation in modern supernatural fiction of this adaptation of Greek and Roman stories.