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This article reviews a recent wave of literature on the resurgence of vinyl records, examining what it has claimed about vinyl's capacity for tangibility and the contrast to digital media, associated with intangibility. These claims are explained with reference to other literatures on touch, and it is suggested that vinyl's haptics mediates and embodies the emotionally rewarding production of a sense of self. The apparent contrast of vinyl aesthetics with classical music aesthetics is also discussed, and the presence of contemporary classical music within the vinyl resurgence is considered.

The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become “tele-events” after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as “copies” of real objects but rather as “occasions” for initiating processes of “validation” of history. Hannah Arendt’s opposition between the ancient concept of history being based on praxis and the modern concept of history as “fabrication” (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the “ideal spectator”, just as the “ideal reader” for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references.

Earlier studies investigating reality fashion television revealed that while participants and audiences are aware of mechanisms of surveillance and shame; scholarship also documented that critical distance from the program’s methods are not necessarily ideologically liberating for participants or audience. Indeed, as I argue and document in this current study, participants in reality fashion television shows remain caught in a pernicious power dynamic that is part and parcel of these shows. Specifically, by exploring examples from three popular fashion reality television programs—America’s Next Top Model, Project Runway, and Fashion Police—and by considering theories of fashion, gender, and power, I question the problematic ways in which popular media talk about fashion and clothing choices. Further, by drawing on Michel Foucault’s concepts of disciplinary power, I critically examine the judgments and assumptions that fashion critics impose on participants whose sartorial appearance they may find wanting. More generally, my study investigates the limitations of the widely accepted belief that fashion is a form of self- expression while I end with some more positive examples of fashion advocacy.

The Vision for the Future of Non-binary Fashion on Video is a practice- based research project that examines the relationship between trans and non-binary bodies to, public space through creative methods of wearable sculpture, dance, performance and experimental video. This project enacts my theory of gender pregnancy, that one can achieve a non-binary appearance through using garments, motifs, or colors typically associated with binary gender and juxtaposing them into one look that is full of gender. This project dismantles binary notions of gender, public/private, mind/body and human/animal. Through the use of performance this project speaks to the transformative power of queer visibility in reclaiming public space. The resulting video, Trans Animal Fashion Futures, presents similarities between trans experiences and non-human animals in an to situate trans narratives as part of the ‘natural’ environment. Ultimately, this project engages with trans subjects and experiences to imagine queer collective futures in the interest of all.

Female genitourinary treatments in aesthetics utilize energy-based treatments and other non-invasive modalities. These include CO2 and Er:YAG lasers, radiofrequency (RF), high-intensity focused electromagnetic energy (HIFEM), hyaluronic acid (HA) injection, platelet-rich plasma (PRP), and silicone thread treatments with an objective to treat sexual dysfunction and symptoms of genitourinary syndrome associated with menopause (GSM), which include atrophic vaginitis, urinary incontinence, and vulvovaginal laxity that is characterized by vaginal dryness, thinning of the epithelium, laxity, prolapse, incontinence, dyspareunia, and increased bacterial infections. The body of evidence is growing for the use of these modalities to improve signs and symptoms of GSM and sexual function, as well as rejuvenate the appearance of external female genitalia. We reviewed the currently available modalities in this rapidly advancing area of expertise.

The human face is an important human structure, often judged by its esthetics. It serves great purpose, as it is and always has been involved in both cultural matters, such as art, as well as biological matters, such as exhibition of emotion and mate selection. Throughout history, there have been multiple studies on what makes a face attractive. Despite the myriad ways in which the face has been explored academically, there has been a lack of reports on which craniofacial elements are deemed the most important for attractiveness subjectively. To fill up this gap on the perception of the esthetics of the human face, as well as to provide a contemporary view on the matter, this research was conducted. Participants were asked to fill out a questionnaire with a visual analogue scale for each craniofacial element and questions about appearance satisfaction. A total of 299 participants were enrolled in this study. Eyes, hair and teeth were deemed to be the most important craniofacial elements for attractiveness. Women scored teeth, hair, and eyebrows significantly higher than men, men scored higher in satisfaction with their own appearance than women. Older people, married people and people in a relationship care less about the opinion of others regarding their appearance. The results from this study can be used to identify a focus in the future development of esthetically related matters, such as plastic surgery or art and will add to the academic knowledge on the perception of craniofacial beauty.

The quantification of 3D shape aesthetics has so far focused on specific shape features and manually defined criteria such as the curvature and the rule of thirds respectively. In this paper, we build a model of 3D shape aesthetics directly from human aesthetics preference data and show it to be well aligned with human perception of aesthetics. To build this model, we first crowdsource a large number of human aesthetics preferences by showing shapes in pairs in an online study and then use the same to build a 3D shape multi-view based deep neural network architecture to allow us learn a measure of 3D shape aesthetics. In comparison to previous approaches, we do not use any pre-defined notions of aesthetics to build our model. Our algorithmically computed measure of shape aesthetics is beneficial to a range of applications in graphics such as search, visualization and scene composition.

Delete Review of body contouringin aesthetics, Edited by R D Murgia et alAbstract The recent demand for noninvasive fat reduction and muscle toning has generated the need for a variety of noninvasive body contouring devices, including cryolipolysis, radiofrequency, focused ultrasound, laser energy, and high intensity focused electromagnetic energy. Many of the recent technologies are still relatively new, and clinical trials are limited. There is also a lack of comparison between modalities, which makes it difficult for practitioners to select the best treatment option for patients. We review the currently available treatment modalities and offer relevant insights.

How do we understand types of cinema that offer experiences of discomfort, awkwardness or disquieting uncertainty? This book examines a number of examples of such work at the heart of contemporary art and indie film. While the commercial mainstream tends to offer comforting viewing experiences – or moments of discomfort that exist largely to be overcome – The Cinema of Discomfort analyses films in which discomfort is offered in a sustained manner. Cinema of this kind confronts us with material such as distinctly uncomfortable sexual encounters. It invites us into uncertain relationships with awkward and sometimes unlikable characters. It presents us with challenging behaviour or what are presented as uncomfortable realities. It often refuses information on which to base judgments. More discomfortingly, cinema of this kind tends to provoke uncertainty at the level of what emotional responses we are encouraged to have towards difficult, sometimes controversial, characters or events. The Cinema of Discomfort examines a number of case-studies, including Palindromes by Todd Solondz (US) and Dogtooth from Yorgos Lanthimos (Greece), along with other examples from Austria, Sweden, the UK, the US and Germany. Offering close textual analysis of the manner in which discomfort is generated, it also asks how we should understand the appeal of such work to certain viewers and how the existence of films of this kind can be explained, as products of both their socio-cultural context and the more particular institutional realms of art and indie film.

Studies have shown that accented filmmaking features and strategies are indeed appearing in wide-ranging films of contemporary cinemas. The main focus of this paper is to analyze Viduthalai Moochu, an internal exilic Eelam-Tamil film from Sri Lanka, using a concept derived from Hamid Naficy’s theorization of An Accented Cinema known as the “preoccupation with the place.” The concept is cinematically expressed through the open, closed, and third spacetime cinematic formations. It needs to be noted here that Naficy’s theory offers a range of accented cinematic features that express accent in the film. However, the paper will only focus on the film’s spatial representations that are configured according to the space-time formations. Space-time formations are cinematic features that are employed to produce and reproduce the “accent” through cinematic representations of spaces and places rendered in the film. The configurations of the space-time formations will be used as the basis to examine Viduthalai Moochu, a film that does not seem to demonstrate the familiar conventions of filmmaking. The film mainly grapples with themes that enunciate the Eelam-Tamil displacement and deterritorialization in the internal exilic situation. The analysis shows how a particular version of alternative filmmaking strategy exclusively uses spatial representations to render themes of displacement and deterritorialization. The findings prove that the makers of Viduthalai Moochu have indeed employed the space-time formations to highlight the displacement and the deterritorialization of the Eelam-Tamil community through cinematic spatial representations.

In the review of the Indian film The Lunchbox, Peina Zhuang shows that although food is central in human relations and social development in modern India, the transformation of food production and distribution systems at the micro level reveals, resists, and reinforces the conflicts between tradition and modernity. The food in the traditional Bombay lunch remain because of the lunchbox delivery system, but this comes at a cost. While in the very moment that it threatens traditions by, for instance, effacing the caste sources of the food, the lunchbox delivery system reifies the patriarchal relegation of women to the kitchen. Complicated in its implications, The Lunchbox is an entertaining take on India’s rapidly transforming food scene.

The article considers N. Gumilevs poem The Moon at Sea from the cycle Porcelain Pavilion. New in the work is the interpretation of the poem, the identification and explanation of the Chinese realities of N. Gumilevs poetic text. Revealed the original texts, which became the basis for the creation of N. Gumilevs poem The Moon on the Sea, considered a version of the poem, preserved in the poets manuscript. The authors reasoning and conclusions are based on critical research, which compares two cultures. The analysis of N. Gumilevs poem is carried out in the semantic aspect using the search for textual parallels. Interpretation of N. Gumilevs poem The Moon on the Sea allows, on the other hand, to approach the world outlook of the Silver Age culture, explains the genesis of the image of China in N. Gumilevs poetry.

Sexual and erotic language and imagery is extremely common in alchemy. The presence of such imagery has engendered a variety of explanations of divergent plausibility and historical sensibility for its origin, purpose, and meaning. This chapter addresses fundamental questions about such imagery. It presents evidence from various sources to show (1) that alchemical writers consciously created their terms and images with both of these goals in mind, (2) that alchemical authors were aware of the metaphorical nature of their language and imagery, (3) that sexual imagery arises uncomplicatedly from common experience and fundamental ways of looking at the world, and (4) that such ways of describing, or rather emblematizing, the world are not unique to secretive chrysopoetic (gold-making) alchemy. The examples presented indicate quite clearly that alchemical imagery, including that of a gendered, sexual, erotic nature, is careful construction of alchemical authors pressured by the opposing desires to conceal and to reveal.Keywords: alchemical authors; alchemical imagery; Deceptive Roles; Gender; Latin Alchemy; Revealing; secretive chrysopoetic alchemy; Sexuality

This paper addresses the tension between the need to create spaces for unsettling feelings as part of a decolonisation of the curriculum in Higher Education, and the need to create a sense of safet...

The COVID-19 global pandemic impacted all social relations, including the way religious communities engage in worship services. Due to strict social distancing protocols, the only viable solution for many congregations was online worship. This article investigates how platforms in cyberspace, such as Zoom, can provide a substitute for the core religious practices found in physical worship services, particularly for African Pentecostal believers who rely heavily on the aesthetic and sensory experience of their religious environment. Drawing on the theoretical concept of affordance, it is argued that digital affordances such as the chat box and emojis are used by believers to communicate affective moments arising from the sensory experience of worship. Members of the congregation become ‘digital spiritual hype people’ who render support to leaders in order to create and regenerate an affective environment where the presence of the Holy Spirit can be felt. The Holy Spirit, a fundamental pillar for Evangelical Christians, is understood as an embedded presence within the digital infrastructure. The internet connection, the phone and computers and screens are all re-appropriated as spiritual tools through which miraculous healing can be dispensed to believers in need. This research stands at a critical juncture between what might be termed the ‘pre-COVID era’ and the ‘post-COVID era’. As vaccination plans continue to roll out and social distancing measures are slowly being lifted, a ‘post-COVID era’ for African Pentecostals means negotiating the boundaries between online and offline spaces to fulfil core religious practices.

This review covers the book Poematica del Principio Tai Chi (Firenze, Italy, 2020) by Massimo Mori, that gather a lifetime multicultural researches converging on the Tai Chi, Supreme Principle coming from the unknowable Dao. When applied to the martial art, tai chi becomes taijiquan, “Punch of the Supreme Principle”. The first chapters provide the coordinates to deepen a holistic paradigm through different trajectories ranging from the classical cultures of the East and the West to the globalized contemporaneity. Complex and fascinating themes are creatively addressed in the subsequent chapters. The book ranges from theology to theoretical philosophy, from physics to literature and art, even to cinema. The chapters on I Qing and Daodejing indicate how the holistic vision of a conscious wisdom can be defined as systemic and essential in the relationship between culture and nature. If the Dao is the Way, this has to be followed in the name of a natural ethic that the Daodejing shows with an enlightening wisdom. Thus, the practice of Taijiquan becomes the “martial art of peace” and the Taiji Supreme Principle, practicable in every activity, is the paradigm of a renewed humanism. Massimo Mori is considered among the masters who have dedicated their existence to the wisdom vision of a New Horizon – as he called his school - and his book is a premise to imagine peace between East and West, between all the people of the globe living under the same sky.

Aim and objective To assess dental trauma, level of knowledge of participants about the preventive measures, and management of traumatic dental injuries during sports in children aged 6–15 years in private sports academies in Hyderabad. Materials and methods A cross-sectional study was carried out among 317 children aged 6–15 years and 25 coaches by a structured questionnaire to assess the prevalence of dental trauma during sports followed by an awareness program on prevention. Data obtained were analyzed. Results Twenty-two percent (76) of children reported an incidence of dental injuries. Thirty-five percent (111) of children were aware that reimplantation was possible. Forty-three percent (139) of children knew that mouthguards can prevent orofacial injuries, but none are using them. Seventy-six percent (19) coaches would refer the child to a general physician in cases of reported trauma. Conclusion In our study, most of the children and coaches lack awareness about sports-related dental injuries, their prevention, and initial management. None of the children were using mouthguards. Pediatric dentists should conduct programs at schools/sports academies to spread knowledge and awareness about sports-related dental injuries. Further studies are required in this aspect with a larger sample size. How to cite this article Pranitha V, Mounika PBN, Dwijendra SK, et al. Sports Cult in Hyderabad: Role of a Pedodontist in Protecting Winning Smile. Int J Clin Pediatr Dent 2021;14(5):652–656.

O objetivo desse texto é apresentar o cinema feito por mulheres e como ele se relaciona com o público espectador, produzindo significados e novas formas de percepção. São apresentadas as principais autoras e cineastas internacionais e brasileiras que se posicionaram em relação à linguagem cinematográfica tradicional hollywoodiana, expondo especificidades da produção deste cinema. No texto, são apresentados e discutidos aspectos estéticos e políticos de filmes e produções que trazem um modo de experiência cinematográfica sobre o mundo.

Fairy tales play a key role in a child’s life because they stimulate emotional development, shape sensitivity, enrich vocabulary, and create social attitudes. Thanks to fairy tales, the child has the opportunity to identify with his favourite heroes, experience adventures, get used to difficult emotions and learn the rules governing the world. In addition, fairy tales have been passed down from generation to generation creating unbreakable bonds between the child and the parent, which affects their relationship and provides an attractive way of spending time together. By listening, reading and watching fairy tales, the child builds his worldview, shapes moral values, learns about positive models and prepares for a life in which he will have to make constant choices. Thanks to fairy tales, a child becomes more aware, interprets the various experiences of the characters, overcomes fear and becomes more flexible in overcoming the encountered difficulties. However, living in such dynamic times, with rapid technological development, a person should be prepared to receive modern fairy tales that differ in form, theme, personality of the protagonist, as well as extraordinary adventures of characters. Also, the adaptations of fairy tales produced in cinemas are famous for their excellent music, phenomenal special effects, and the selection of a talented cast. Therefore, while moving forward, man should not close himself to modernity. On the contrary, he should willingly participate in the reception of modern forms of fairy tales, which will make it easier for him to compare the classical form to modern one and provide knowledge, making it a sophisticated person, and also help encourage the child to reach for the book. In the article, the author describes the concept of a fairy tale and its necessary elements, emphasizes its significant impact on the development and education of a child. She also pays attention to the specificity of a modern fairy tale, detailing the differences between its traditional and contemporary form.

Introduction. This study examines differences in students’ perceived value of three artmaking modalities (poetry, comics, masks) and whether the resulting creative projects offer similar or different insights into medical students’ professional identity formation. Methods. Mixed-methods design using a student survey, student narrative comments and qualitative analysis of students’ original work. Results. Poetry and comics stimulated insight, but masks were more enjoyable and stress-reducing. All three art modalities expressed tension between personal and professional identities. Discussion. Regardless of type of artmaking, students express concern about encroachments of training on personal identity but hoped that personal and professional selves could be integrated.

A distinctive theme of Gothic narratives is the abject. A character that is abject threatens to disrupt boundaries, both personal and societal. As such, the abject character must be rejected or destroyed by society. In this study, I provide evidence that the visual metaphor of Close-Up Eye Asymmetry (CUE-A) communicates the concept of the abject. I compare how often CUE-A is used when depicting Batman compared to Superman in comic books. Overall, I provide evidence that: (1) Batman is Gothic, (2) Batman is more Gothic than Superman, (3) Batman is abject, and (4) Batman is depicted with CUE-A more often than Superman. Taken together, this supports the conclusion that the CUE-A visual metaphor does, in fact, communicate the abject.

Introduction: Zirconia appears in odontology fifteen years ago under the form of a screed covered with feldspathic ceramic, as an alternative to the ceramic-metal crown. The success of zirconia stems from its biocompatibility and aesthetic potential in combination with optimized mechanical properties. For years, zirconia was the benchmark for the restoration of the posterior sector. Today translucent zirconia are offered to satisfy aesthetic demands even at the previous level Observation: The 54-year-old HA patient consulted for the replacement of her old ceramic-metal bridge in the anterior sector. Its motif was both aesthetic and functional. The therapeutic choice was directed towards the creation of metal ceramic bridge with a zirconia coping. The clinical steps necessary for this prosthetic design will be detailed step by step. Discussion: Several ceramics are now available to us for aesthetic anterior restorations. However, the choice of the appropriate ceramic is not only guided by aesthetic needs. Other parameters must be taken into consideration such as the situation of the finish line, the height of the stumps ... Zirconia may not seem like the ideal ceramic for anterior restorations. However, when the case requires, we can opt for an "improved" zirconia giving wide aesthetic satisfaction Key words: zirconia, aesthetics, translucency, opacity, density.

While the concept of charisma is widely used in the social sciences, its embodied nature is less thoroughly explored and theorised. This paper revisits the key embodied characteristics of Weber's sociology of charisma and re-interprets these using Shilling's (2005, 2013) umbrella notions of the body as a source and location of and means for society as a way of analysing the idea of the charismatic body as a force for social change. It then draws on a range of embodied concepts to illuminate how charisma is significant channel of infra and inter-corporeal affective interaction between “leaders” and their followers. In particular, Freund's (2009) social synaesthesia and bio-agency, Massumi's (2002) perspective of affect and the moving body, Thrift's (2010) charismatic celebrity, allure and glamour, Mellor and Shilling's (1997) sensual solidarities, and Seyfert's (2012) conception of affectif. To develop and illustrate this perspective of the charismatically affective body in action, the life of film star and martial artist Bruce Lee (1940–1973) is utilised.

The artist as ‘star-text’ remains intrinsic to the music industry's understandings of ‘authenticity’ and subsequent commodification of the music artist (and circulations of celebrity). Partial band...

Henry Adams’s autobiography The education of Henry Adams employs a consistent third-person narrative technique in which the author refers to himself by various epithets such as “the boy,” “young man,” “the private secretary,” “the historian, “Henry Adams,” or simply “Adams.” His pronoun of choice is invariably “he.” While this practice undoubtedly imbues the text with a comic tone and a certain wry outlook, the third-person narration also provides a blended situation in which Adams is able to refer to himself and his actual experiences, but at the same time develop his complicated theory of history in which he places himself as an insignificant actor among much larger historic forces. Third-person reference thus creates an awareness of the author in simultaneous stages of his life via conceptual blending.

Societal Impact Statement: Plants are our sources of oxygen, food, medicines, clothing, building materials and fuels. They are part of our history, our trade and our imaginations. Here, we investigate the potential for integration of photographs and poetry to bring plants to life and let them tell their stories, inspired by the ancient Japanese woodprint artform, surimono. The resulting ‘photo surimono’ open up new opportunities to engage with the natural world at the juxtaposition of the written and the visual, to combat the cognitive bias of plant blindness and to introduce more connected ways of thinking about plants, people and sustainability into educational programmes.

To challenge various faulty assumptions about prevailing creative writing pedagogies, we may start by theorising alternate ways to treat students’ intentions with and for their creative work. A ped...

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between historical research and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism.

In outdoor education research, the agency of walking has received scant attention. Drawing from the author’s PhD, this study examines the meaning of walking as embodied encounters with/in nature. Using an autophenomenographic approach, the elusive question of ‘accessing’ the ‘felt’ non-representational phenomena of walking with/in natureScapes is described. This study examined the nature of walking in different Australian ecologies. The ‘meaning-making’ affects, or ecosomaesthetics of walking incorporated sensory ethnographic methods and ecophenomenological efforts to represent walking with/in nature. Key research questions asked were: what are the embodied qualities of movement experiences, such as bushwalking, as afforded by the scapes in which we move?; how is embodied knowing afforded and encountered while walking with/in nature?; how and in what ways are environmentally ethical relationships constructed with/in and by nature whilst walking? These questions were addressed in three different case studies that provide empirical and conceptual ‘layers’ of describing, interpreting and explaining the embodied nature of walking. Findings inductively reveal how walking in/as time–space movement is afforded sensorially with/in nature. These soma (body) experiences and aesthetics of nature conceptualized as ecosomaesthetics, inform an ecopedagogy of walking. This study advances the literature in outdoor and environmental education research in three important ways (i) methodologically accessing the previous non-representational affects and meaning making of movement experiences in nature (ii) reveal numerous qualities and characteristics of bushwalking in three Australian scapes that, previously, have attracted little research and pedagogical insight (iii) offer an alternative to masculinist, commodified, instrumentalized ‘core’ walking practices dominant in outdoor education.

A lot is happening at the drawing table. Children are busy inventing stories, reassembling their thoughts, gleaning knowledge and making decisions. This article digs deep to see what is going on the children's art-making through drawing and reading comics. In an after-school drawing club the author reveals how children are transformed through comic book drawing, realising their body's potential to use images to tell a story. Drawing from imagination, memory and inventing brazen story lines, the body steps out of the present and moves into the future, into 'What's next? The ownership of the seriated drawn ideas leaps ahead, using all kinds of memory- what the child has seen, experiences, and can imagine as possibility. This all entails choosing which decisions make the most sense, delighting in affect. I call this entanglement with tools and memory to build a comic material aliveness. As children move through life, they have a faint sense that affects are there. The act of drawing – a physical engagement with materials stretches thinking and allows for deep immersion with affects which develop empathy and self-compassion.

Current market-led Chinese film production has made huge achievements. Market indicators certainly have their validity. However, the power of the market has been exaggerated so that it controls everything. Because of the disregard of film as an aesthetic object, the content, form and aesthetic sensibility of films have been neglected, preventing creation at a higher level. The loss of multiple cultural identities due to market factors and artistic indifference is hardly sustainable in the long run. In recent years, Chinese films have gradually improved their artistic aesthetics. How to reasonably coordinate the market and the realization of the value of art and culture itself is an urgent problem to be solved. Firstly, Chinese films should have creative imagination; secondly, Chinese films should have the artistic expression of the national core value of heroism; thirdly, Chinese films should have meticulous depictions of people. Under the perspective of aesthetic appreciation, it is a top priority for Chinese films to be more in line with reality and traditional aesthetic culture, and be more characterized in their creation.

Jayme Reaves uses Genesis 19:1–14; Joshua 2:1–22; Judges 19:14–27; and the cities of refuge texts in Deuteronomy 4:41–3 and 19:1–10 as biblical sources to conceptualize a so-called “protective hospitality.” This article utilizes the book of Proverbs to argue that it reflects the same protective motivations regarding hospitality, with a sapiential twist. Specifically, Proverbs 1–9 depicts two forms of hospitality: sapiential hospitality and pseudo hospitality. Sapiential hospitality protects the stranger from fraudulent hospitality. It is a form of absolute hospitality, meant to avert strangers from falling into the trap of false hospitality offered by organized crime syndicates. Although Lady Wisdom is vulnerable to attack from villainous strangers, she is also resilient enough to make strangers wise and thrive.

Currently, the old theory of Freud, with its primacy of instincts over consciousness, is manifested in the so-called sociological direction of psychoanalysis, called neo-Freudianism. Representatives of this new trend moved away from a purely Freudian position, explaining neuroses in terms of only one sexual desire.

Globalization affects all aspects of people's lives, including changes in cultural values. This threatens the diversity and uniqueness of the existing local culture. In general, culture is more focused on universal form and uniformity. For this reason, efforts are needed to introduce and redevelop the cultural diversity of the local area. One of the strategies is to promote traditional culture as a source of inspiration in the interior design concept of a city hotel. This interior design uses the Jaipong Kawung Anten dance as a source of inspiration for City Hotel's interior design. The research method uses a qualitative method with a descriptive approach. Processing the design concept takes the character and philosophy of the Jaipong Kawung Anten dance. The Jaipong Kawung Anten dance tells the story of the daughter of Kawung Anten from the Sumedang Larang kingdom. The character of the dance is dynamic, varied, energetic, and masculine. The elements of the dance are implemented in the treatment of walls, floors, and the selection of furniture. Some elements of the Jaipong Kawung Anten dance are also processed into artwork and hotel interior ornaments. The choice of interior materials and colors also refers to the visualization of the Jaipong Kawung Anten dance. The results of this interior design are expected to become an iconic hotel in Bandung with the theme "Jaipong Kawung Anten". Through interior design, this can also be an effort to help preserve traditional Sundanese culture.

Recent calls from within economics for increased attention to narrative open the door to possible cross-fertilisation between economics and more humanistically oriented business and economic history. Indeed, arguments for economists to take narratives seriously and incorporate them into economic theory have some similarities with classic calls for a revival of narrative in history and abandonment of ‘scientific’ history. Both share an approach to explaining social phenomena based on the micro-level. This article examines how new methods in computational text analysis can be employed to further the goals of prioritising narrative in economics and history but also challenge a focus on the micro-level. Through a survey of the most frequently used tools of computational text analysis and an overview of their uses to date across the social sciences and humanities, this article shows how such methods can provide economic and business historians tools to respond to and engage with the ‘narrative turn’ in economics while also building on and offering a macro-level corrective to the focus on narrative in history.

With the in-depth influence of 5G technology on film art, the postmodern culture contained in it is also becoming more and more obvious. Understanding the context of the 5G era and clarifying the origin of film postmodernism culture will help us deeply analyze the cause of the rise of postmodernism film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodernism film culture. In addition, we should also think deeply about the film culture under the post-modernism of 5G era, and explore the way to stick to the benign development of film creation and film industry. To enhance our cognition and appreciation of post-modern film culture, to give play to the positive factors of post-modern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.

Through a hauntological analysis of Boots Riley’s Afrosurrealist comedy, Sorry to Bother You (2018), we explore how fiction can empower sociologists to think beyond the limits of empiricism to better encounter experiences of erasure and senses of temporal disjuncture that characterise capitalist realism. The panoramic power of cinematic world-building enables representations of the ontologically reified but empirically elusive atmosphere of capitalist realism. Sorry to Bother You, we argue, rearticulates through Afrosurrealism the absurdity of capitalist realism’s whitewashing of its innately racialising violence. Drawing upon the thought of Mark Fisher (1968–2017) we examine the film’s central allegorical spectres: the code-switching comedy of the insidious White Voice, the body horror of the Equisapien human–horse hybrids, and the reality warping influence of shadowy megacorporation Worry Free. By resisting the empirical trappings of capitalist realism, hauntology is able to critique the wavering repression of the no longer and the not yet – the ignored legacies of unresolved traumas and a nostalgia for a future we were promised but never arrived. In response, Sorry to Bother You re-presents to a mass audience the spectre of a positive abolitionism and brings into focus an acid communist horizon using hauntological techniques that visualise experiences denied a presence under capitalist realism. This article aims to highlight the ontological and political potentialities of such works of art and their analysis.