Representations of youth in media discourses

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Representations of youth in media discourses

Okakura argued that Easterners were innately concerned with the Ultimate and Universal, while Westerners cared only for Particulars — a very dubious claim given that Confucianism tends to be an anti-Idealist and pragmatic philosophy. Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light.

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And even we as children would feel an inexpressible chill as we peered into the depths of an alcove to which the sunlight had never penetrated. Where lies the key to this mystery?

Ultimately it is the magic of shadows. Nor are shadows limited to the spatial world, for the pauses ma that are so important in traditional Japanese music are in a way temporal shadows. Why this love of darkness?

Representations of youth in media discourses

In my opinion it is this: If light is scarce then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. But the progressive Westerner is determined always to better his lot. From candle to oil lamp, oil lamp to gaslight, gaslight to electric light — his quest for a brighter light never ceases, he spares no pains to eradicate even the minutest shadow.

What are we, the readers, to make of all this?

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What the careful reader notices as satire e. This way of reading the work paints Tanizaki — who was not known for his resistance to the war — as a principled critic who defiantly mocks his age from behind the mask of his narrator. Readers from this camp put great emphasis on distinguishing the narrator from the author himself and insist that Tanizaki believed very little, if any, of the points articulated by his narrator.

Instead, they argue, Tanizaki uses the narrator only as a prop to undermine the very rhetoric espoused in the essay.

Representations of youth in media discourses

While certain sections are obviously intended to be humorous, the work seems to be hinting at something more than strict parody, and the way the work simultaneously demands multiple interpretations is a testament to its resilience. For on the one hand, it is hard to say that Tanizaki is entirely insincere — a glance at his body of work shows that he later employs much of what he advocates in the essay.

In the end, Tanizaki leaves his readers in a state of aporia — irresolvable paradox — which is perhaps the ultimate aim of art. The best we can do at this point is to accept the work as a kind of half-parodic, half-sincere monologue that performs all of the discourses mentioned above without advocating explicitly or implicitly for any of them.characterised the mass media‟s portrayal of youth.

Phil Cohen (as cited in Muncie, ) argued that young people have to carry a „peculiar burden of representation‟, by this Cohen was referring to the impact of media discourse used to sensationalise and demonise young people in modern society.

Screening the Industrial City Saint Etienne, France, November Deadline for proposals: 31 January Cinema, an art of the masses yet also a very bourgeois art form, was born in the wake of industrialisation in the late nineteenth century. We are delighted to welcome Ashgate Publishing and Gower books into the Taylor & Francis Group.

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Cultural expectations that guys have to be nonchalant when it comes to their physiques makes body dissatisfaction in boys more difficult to assess, but there is little doubt they are affected by media representations of idealized masculinity. Screening the Industrial City Saint Etienne, France, November Deadline for proposals: 31 January Cinema, an art of the masses yet also a very bourgeois art form, was born in the wake of industrialisation in the late nineteenth century.

### Abstract The coaching profession is ever-changing and coaches at each level of sport competition need to know more than just the Xs and Os in order to be successful.

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