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If postmodernism's proponents welcomed the way a new transcendence of the surface /depth dichotomy allowed a fuller appreciation of the possibilities of the superficial [19] - the surface consciousness of the now, as opposed to the depths of historical time [20] - critics like J. G. Ballard object that the end-product is a world of "laws ...
[1] It also exists in a more limited sense, where spectacle means the mass media, which are "its most glaring superficial manifestation." [ 2 ] The critique of the spectacle is a development and application of Karl Marx's concept of fetishism of commodities , reification and alienation , [ 3 ] and the way it was reprised by György Lukács in 1923.
A nomological notion of human nature – "Human nature is the set of properties that humans tend to possess as a result of the evolution of their species." [ 95 ] Machery clarifies that, to count as being "a result of evolution", a property must have an ultimate explanation in Ernst Mayr 's sense.
The Society of the Spectacle is a critique of contemporary consumer culture and commodity fetishism, dealing with issues such as class alienation, cultural homogenization, and mass media. When Debord says that "all that was once directly lived has become mere representation," he is referring to the central importance of the image in ...
"Socionature is a concept that is used to argue that society and nature are inseparable and should not be analyzed in abstraction from each other. The concept is rooted in – but operates as a critique of – Marxist approaches such as historical materialism and post-structural approaches such as actor-network theory.
Social semiotics (also social semantics) [1] is a branch of the field of semiotics which investigates human signifying practices in specific social and cultural circumstances, and which tries to explain meaning-making as a social practice. Semiotics, as originally defined by Ferdinand de Saussure, is "the science of the life of signs in society ...
By the late 1970s, with viewership for the Super Bowl nearly double what it had been 10 years earlier, halftime shows had started to shift away from the marching-band-centric college football model.
Due to the highly superficial nature of the group, the understanding of the key concepts which are behind these other far-right political movements is secondary to the imagery and the visual culture which are both associated with them.