"The article is interested in the role of humour employed in memes on X by the government of Ukraine in the war following the invasion by Russia in 2022. It brings insights from cultural and humour studies as well as psychology into politics and shows how and what kind of humour the government aroun
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d President Volodymyr Zelenskyy, a professional comedian, uses in their meme communication via social media in order to communicate with the public, seek global legitimacy and support, as well as depict and attack the enemy. It shows that the government uses a broad set of different humour types, styles and theories while completely avoiding self-deprecation as a humour style and humour which corresponds to relief theory. While this absence may not seem surprising at first in a situation of war in which there is a need to maintain tension towards the enemy, to galvanize support and avoid emphasizing own faults which might make it appear weak, the void of such forms of humour should be reconsidered. While this absence may not seem surprising during a war – a time in which there is a need to maintain tension towards the enemy, to galvanize support and to avoid emphasizing one’s own faults so as not to give the appearance of weakness – the void of such forms of humour should be reconsidered. The article calls for further research on the benefits and limitations of laughter in war. It argues that both relief theory and self-deprecation can be effective tools of crisis communication as these forms of humour can contribute to the portrayal of confidence and strength, while also providing a means of dealing with the difficult and traumatic experiences the population is facing in times of war." (Abstract)
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"While the importance of visualization of war, conflict, and violence has gathered great momentum in disciplines such as International Relations (IR), far less has been said about the visualization of peace in IR, history, and even in Peace and Conflict Studies. As Maria Elena Diez Jorge and Francis
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co Muñoz Muñoz point out, "[v]iolence has received the attention, while peace and its entire semantic sphere have been left out of the spotlight". It is this relative blind spot that this special issue wants to address as it aims to reflect on the politics, policy, and pedagogy of visualizing peace. Among other questions, it will reflect on how peace is visualized in cultural artifacts and what these representations of peace (and their absence) do politically. In other words, what is presented in the picture of peace and what is left out? What consequences can this have for the construction of politics? In addition, the special issue considers how visual artifacts can contribute to real-world peace after violent conflict. How can visualization in film, photography, or documentaries help build peace and contribute to conflict resolution, reconciliation, transitional justice, and peace pedagogy? If we accept the argument of the cultural turn and believe in the co-constitution of culture and politics and in the idea that cultural artifacts such as movies take part in the construction of a dichotomous understanding of self and other, thereby contributing to the legitimation of violence and conflict, then this may also work the other way around: Cultural artifacts like movies can play an important role in peace processes." (Page 5)
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"Visual metaphors stand at the border between text and image, as they are linguistic figures that visualize the spoken. Based on this assumption and on the existing knowledge on the discourse analytical method of metaphor analysis, Part One of the article develops a method of visual metaphor analysi
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s (VMA). Part Two uses this method to examine the metaphors of peace found in the acclaimed movie Mango Dreams, the winner of the Peace on Earth Film Festival 2017. The film by John Upchurch tells a story of Dr. Amit Singh, whose family was killed by Muslims during the partition of India and who is suffering from the onset of dementia. In order to confront his fading memories and in pursuit of peace, he commences on a journey to his childhood home in what today is Pakistan. On his travel, he is aided by Muslim rickshaw driver Salim, whose wife was raped and murdered by Hindus. During the long journey across India in a rickshaw, the two form a close friendship and help each other find the peace they have been searching for. Based on our visual metaphor analysis (VMA) of the film, as well as an interview with the director, the article demonstrates how metaphors are employed to visualize a positive concept of peace, particularly HOME, JOURNEY, and BRIDGE, which has a specific temporal, spatial, and moral dimension. In contrast to much of the international relations research on visualization of peace and conflict, the conceptualizations of peace in Mango Dreams metaphorically envision positive peace, instead of the more familiar conceptualization of negative peace, through a representation of PEACE not only in terms of a place (HOME) or process (JOURNEY) but as practice (BRIDGE)." (Abstract)
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