"Globale Transformationsprozesse wie steigende Rohstoff- und Nahrungsmittelpreise, die Finanzkrise und der Klimawandel haben seit Beginn des 21. Jahrhunderts zu tiefgreifenden Veränderungen in der Landnutzung und den Landbesitzverhältnissen beigetragen. Konflikte um Land und Rohstoffe stehen seit ...einigen Jahren im Fokus einer lebhaften wissenschaftlichen und zivilgesellschaftlichen Debatte und führen vielerorts - insbesondere im Globalen Süden - zu Protesten. Mit über 40 Essays von »Agrarbewegung« bis »Water Grabbing« präsentiert das kritische Handbuch zentrale Themen der Debatte und macht sie einer breiten Leser_innenschaft zugänglich." (Verlag)
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"Various terms are in use to describe violent, bullying, demeaning, or otherwise antagonistic expressions on social media platforms. Hate speech is common, but also not limited to the online world. While it does signal that these expressions are speech acts, and therefore, as we maintain, performati...ve, the reference to ‘hate’ does not always seem justified. While many different motivations and affects can be involved, and hatred on the part of the sender is surely one of them, other motivations exist too (as considered for instance in chapters two, three and seven). The term is thus both too broad and too narrow in its seeming attribution of motives. Feminist scholar Emma Jane has introduced the term ‘e-bile’, which is useful, but particularly designed for the specific category of misogynist and objectifying comments addressed to women online. We propose online vitriol as a term to think about this phenomenon, because it stresses both the violent and the uncontrollable aspects of the phenomenon and its typical excesses, such as shitstorms, and speech acts that silence, threaten, or harm others ... Online vitriol seems to be a particular product of the Web 2.0, the ‘participatory’ or ‘social web’ that has evolved since the early twenty-first century, and that revolves around ‘user-generated content’ and conceives of the web as a space of interaction, rather than a collection of static sites where one can read information. The term ‘Web 2.0’ was coined in 1999 by Darcy DiNucci in an article prophetically titled ‘Fragmented Future’. Fragmentation does indeed seem to be one of the key aims and effects of online vitriol enabled by the interactive structure of social media platforms. In recent years particularly, online vitriol has come to serve political powerplay, with actors often operating from a stance of victimhood and supposed powerlessness, while at the same time attracting considerable attention, visibility and influence." (p.13-14)
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"This book, produced on behalf of the IFLA Copyright and other Legal Matters (CLM) Advisory Committee, provides basic and advanced information about copyright, outlines limitations and exceptions, discusses communicating with users and highlights emerging copyright issues. The chapters note the sign...ificance of the topic; describe salient points of the law and legal concepts; present selected comparisons of approaches around the world; highlight opportunities for reform and advocacy; and help libraries and librarians find their way through the copyright maze." (Publisher)
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"Im Fokus des ersten Teils stehen transnationale Phänomene wie die Bedeutung des Satellitenfernsehens und der Sozialen Medien sowie die Rolle von Minderheiten, Gender und Islamisten in den Medien. Diese Beiträge geben den aktuellen Stand der Forschung wieder und reflektieren diesen. Im zweiten Tei...l des Buches werden in 18 Länderstudien – von Marokko bis zum Irak – die nationalen Besonderheiten der Medien betrachtet, die aus unterschiedlichen politischen Systemen, rechtlichen Beschränkungen, ökonomischen Voraussetzungen und der jeweiligen Soziodemographie resultieren." (Klappentext)
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"Mit Covid-19 hat sich eine todbringende Pandemie erstmals global verbreitet, mit weitreichenden Folgen auf allen Ebenen, auch für Mobilität und Kommunikation in Kirche, Mission und weltweiter Ökumene. Partnerschaftsreisen oder Auslandsjahre für junge Freiwillige sind ausgefallen, stattdessen si...nd Zoom-Meetings und neue digitale Formate auf den Plan getreten: „Online durch die Pandemie“, die Krise als Lern- und Experimentierfeld für die Zukunft. Davon erzählen die gut 20 Autor*innen des Jahrbuchs 2021, aus Tansania und Nambia, aus Indien und Deutschland. Die Pandemie hat großes Leid verursacht, aber sie hat auch neue kreative Kräfte und Erfahrungen ermöglicht. Etwa dass Christ*innen anderswo gelassener sind und Anteil nehmen: „Wir kennen uns aus mit Seuchen, für euch ist das neu“, sagt eine Kongolesin, „darum beten wir jetzt für euch in Europa." (Buchrücken)
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"This Is Not an Atlas gathers more than 40 counter-cartographies from all over the world. This collection shows how maps are created and transformed as a part of political struggle, for critical research or in art and education: from indigenous territories in the Amazon to the anti-eviction movement... in San Francisco; from defending commons in Mexico to mapping refugee camps with balloons in Lebanon; from slums in Nairobi to squats in Berlin; from supporting communities in the Philippines to reporting sexual harassment in Cairo. This Is Not an Atlas seeks to inspire, to document the underrepresented, and to be a useful companion when becoming a counter-cartographer yourself." (Publisher)
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"Welcome to the world of melodrama—and to the melodramas of the world. This book introduces nearly one hundred cinematic masterpieces from various periods and different cultural contexts—ranging from early Hollywood to emergent and popular Bollywood, from Latin American and New German Cinema to ...contemporary Nollywood, from classic melodrama and commercial blockbusters to arthouse film and meta-melodrama, while also encompassing a number of other local forms and styles in their hybrid or revisionist varieties. Our collection features discussions of seemingly timeless stories of love and loss, demonstrating the possibility and power of melodramatic plots to portray the overcoming of differences and antagonisms. Yet it also reveals how the melodramatic code is time and again used for asserting political claims and articulating critique—and hence for (re)producing powerful dichotomies of good vs. evil, innocence vs. corruption, virtue vs. vice. Melodrama performs and rehearses moral conflict and emotional crisis management on a broad scale, involving intimate relationships and familial relations, on the one hand, and global constellations of oppression, violence, war, and regime changes, on the other. Thus, like no other genre, melodrama indeed makes the political personal and the personal political." (Introduction, p.13)
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