This article analyzes the case of Coke Studio Bangla’s music and performance production titled “Deora.”

In the name of visual pleasure, there are different entertainments in today’s media that instigate voyeurism among common viewers. In this study, the author intends to focus on two phases where the spectators are turning voyeurs without their consent. In the first phase, the study reveals the process where film influences voyeuristic behavior. T…[Read more]

Inclusiveness in higher education is distinct from advocacy journalism, which means we have to work actively against any ineffectual default to rituals of inclusion. When implemented unilaterally as a one-size-fits-all social imposition, some gestures of inclusion risk becoming empty rituals. As multifocal, multilingual, and multicultural…[Read more]

Anthropomorphism, which combines two Greek words, anthropos and morphe, meaning “human” and “form’ respectively, is a term that reflects our attribution of human characteristics to non-human animals and objects, bestowing upon them agency (Taylor 2011: 266). In this respect, we elevate the status of the non-human animal, moving it from being a…[Read more]

Anthropomorphism, which combines two Greek words, anthropos and morphe, meaning “human” and “form’ respectively, is a term that reflects our attribution of human characteristics to non-human animals and objects, bestowing upon them agency (Taylor 2011: 266). In this respect, we elevate the status of the non-human animal, moving it from being a…[Read more]

Abstract | The final scene of Elia Suleiman’s film, It Must be Heaven (2019), ends with the actor/director sitting in an Arab bar in the city of Haifa, while the young crowd is dancing to “Arabyon Ana” (2000) by Lebanese singer Yuri Mrakadi. The Arabic music is a testimony to a Palestinian-Arab culture that resists erasure.

The songs in Sulei…[Read more]

Abstract | The final scene of Elia Suleiman’s film, It Must be Heaven (2019), ends with the actor/director sitting in an Arab bar in the city of Haifa, while the young crowd is dancing to “Arabyon Ana” (2000) by Lebanese singer Yuri Mrakadi. The Arabic music is a testimony to a Palestinian-Arab culture that resists erasure.

The songs in Sulei…[Read more]

Abstract | The final scene of Elia Suleiman’s film, It Must be Heaven (2019), ends with the actor/director sitting in an Arab bar in the city of Haifa, while the young crowd is dancing to “Arabyon Ana” (2000) by Lebanese singer Yuri Mrakadi. The Arabic music is a testimony to a Palestinian-Arab culture that resists erasure.

The songs in Sulei…[Read more]

Generative AI tools, such as ChatGPT, simulate human writing and complicate the inquiry-driven culture we live in. These tools use singular first-person pronouns in their textual outputs and are often associated with anthropomorphic qualities. Within the humanities, conversations tend to focus on detecting new forms of plagiarism. What is missing…[Read more]

Video recording of Alexa Alice Joubin’s plenary is available on YouTube, https://youtu.be/8P5nNv86goQ There are certainly non-binary actors on stage, but are there Shakespearean characters who can be read as trans? The answer is yes. To ask whether there are transgender characters is to ask questions about the performance of gender roles. We are…[Read more]

Thomas à Kempis wrote that everyone desires peace but not the things that make for peace. Such a universal desire would be a hopeful sign, a foundation to build on as we contemplate (and, no doubt, debate) “the things that make for peace.” I offer as murder is to crow as a record of “perchings” in my contemplation of things that make for peace.…[Read more]

This chapter examines the relationship between American Westerns and Brazilian Nordesterns, films set in the arid northeastern region known as the sertão. US cultural and economic imperialism, in Brazil and throughout Latin America, is both cause and effect of persistent underdevelopment. The northward flow of natural resources has long been…[Read more]

Akira Kurosawa’s 1963 police procedural is, as its title suggests, intensely interested in the socioeconomic valences of spatial relationships, literalized in Yokohama’s affluent hills and its low-lying slums. The central conflict between inhabitants of these two spaces articulates this local topography into a global framework, in which con…[Read more]

Akira Kurosawa’s 1963 police procedural is, as its title suggests, intensely interested in the socioeconomic valences of spatial relationships, literalized in Yokohama’s affluent hills and its low-lying slums. The central conflict between inhabitants of these two spaces articulates this local topography into a global framework, in which con…[Read more]