Constrained physical mobility and oppositional action during the COVID-19 pandemic in the Philippines drove many Filipinos to turn to social media affordances, like Twitter’s hashtags, as sites of free speech, dissent, and collective action. One of which, #MassTestingNowPH, called for the implementation of mass testing for the vulnerable population and objected to Rodrigo Duterte’s militaristic pandemic response. This paper examined how #MassTestingNowPH tweets served as acts of citizenship and exerted their rhetorical functions in the digital space during this global medical crisis. Using rhetorical political analysis, this research found that #MassTestingNowPH tweets manifested acts of citizenship by asserting citizens’ rights and responsibilities, and exacting government’s accountability in newly-formed ad hoc publics. Users criticized the country’s COVID-19 response and the injustices of VIP testing for some of its officials. These criticisms enabled them to generate collective grievances for medical frontliners and the marginalized. With these sentiments, netizens called on their audiences to act on their judgment and assert their citizenship in online and offline platforms. These tweets, as acts of citizenship, performed three rhetorical functions: forensic, epideictic, and deliberative. This rhetorical process shaped Twitter’s hashtag as an ad hoc public and the meaning of citizenship in our highly-networked world.
{"title":"#MassTestingNowPH tweets as acts of citizenship: The rhetorical functions of tweets in pandemic-stricken Philippines","authors":"Charles Erize P. Ladia","doi":"10.52518/2023-09ceplad","DOIUrl":"https://doi.org/10.52518/2023-09ceplad","url":null,"abstract":"Constrained physical mobility and oppositional action during the COVID-19 pandemic in the Philippines drove many Filipinos to turn to social media affordances, like Twitter’s hashtags, as sites of free speech, dissent, and collective action. One of which, #MassTestingNowPH, called for the implementation of mass testing for the vulnerable population and objected to Rodrigo Duterte’s militaristic pandemic response. This paper examined how #MassTestingNowPH tweets served as acts of citizenship and exerted their rhetorical functions in the digital space during this global medical crisis. Using rhetorical political analysis, this research found that #MassTestingNowPH tweets manifested acts of citizenship by asserting citizens’ rights and responsibilities, and exacting government’s accountability in newly-formed ad hoc publics. Users criticized the country’s COVID-19 response and the injustices of VIP testing for some of its officials. These criticisms enabled them to generate collective grievances for medical frontliners and the marginalized. With these sentiments, netizens called on their audiences to act on their judgment and assert their citizenship in online and offline platforms. These tweets, as acts of citizenship, performed three rhetorical functions: forensic, epideictic, and deliberative. This rhetorical process shaped Twitter’s hashtag as an ad hoc public and the meaning of citizenship in our highly-networked world.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"10 8","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139130103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the late 1950s and throughout the 1960s, faculty and students of the newly organized Department of Speech and Drama (later Department of Speech Communication and Theatre Arts) at the University of the Philippines (UP) were at the forefront of managing the radio station DZUP, mounting radio productions on campus and shaping the academic curricula for classes in radio speech and writing. These pioneering contributions, though significant, have yet to receive due documentation from communication scholars, researchers, and historians in the country. In this essay, I address this gap by bringing into focus archival documents—photographs, newspaper accounts, official memos, and personal correspondences between academics and administrators—that clarify the academic department’s role in the early systems and operations of DZUP. I argue that these efforts are important because of four main reasons. First, they highlight the often-overlooked relationship between speech education and campus radio in the national university. Second, they emphasize the ways in which the radio booth worked alongside the public speaking platform and the theatre stage as a fundamental space where speech-related pedagogies, performances, and practices played out. Third, they show disciplinary genealogy that links the disciplines of speech communication and mass communication in the University of the Philippines. And finally, they shed light on the pedagogical process involved in teaching, training, and transforming Filipino students into a kind of speaking subjects in the postcolonial Philippines.
{"title":"Voices on the air: Speech education and campus radio in the postcolonial Philippine university","authors":"O. T. Serquiña","doi":"10.52518/2023-08srqna","DOIUrl":"https://doi.org/10.52518/2023-08srqna","url":null,"abstract":"In the late 1950s and throughout the 1960s, faculty and students of the newly organized Department of Speech and Drama (later Department of Speech Communication and Theatre Arts) at the University of the Philippines (UP) were at the forefront of managing the radio station DZUP, mounting radio productions on campus and shaping the academic curricula for classes in radio speech and writing. These pioneering contributions, though significant, have yet to receive due documentation from communication scholars, researchers, and historians in the country. In this essay, I address this gap by bringing into focus archival documents—photographs, newspaper accounts, official memos, and personal correspondences between academics and administrators—that clarify the academic department’s role in the early systems and operations of DZUP. I argue that these efforts are important because of four main reasons. First, they highlight the often-overlooked relationship between speech education and campus radio in the national university. Second, they emphasize the ways in which the radio booth worked alongside the public speaking platform and the theatre stage as a fundamental space where speech-related pedagogies, performances, and practices played out. Third, they show disciplinary genealogy that links the disciplines of speech communication and mass communication in the University of the Philippines. And finally, they shed light on the pedagogical process involved in teaching, training, and transforming Filipino students into a kind of speaking subjects in the postcolonial Philippines.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"80 17","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139132222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Academic studies often explore the dynamics between Malay women and popular culture within the context of Malaysian modernity. Researchers commonly investigate resistance to the government’s moral initiatives for women in society. This article examines how popular culture, specifically serial television drama, depicts the portrayal of Malay women during the COVID-19 pandemic, with a focus on the concepts of obedience, disobedience, and control. The government’s “Duduk Rumah” [Stay at home] and “Kita Jaga Kita” [We take care of ourselves] campaigns, initiated by then Prime Minister Muhyidin Yassin to combat the COVID-19 epidemic, placed additional burdens on women, assigning them significant domestic responsibilities as household managers, including the well-being and education of their children, as well as maintaining family cohesion. We argue that these targeted government policies exacerbated the concerns and uncertainties experienced by Malay women during lockdowns. Furthermore, we contend that the government demonstrated less sensitivity, care, or coordination in managing the COVID-19 pandemic, leading to an increase in domestic violence, divorce, depression, and emotional stress among Malay women. These challenges were prominently depicted in Malay television serials, serving as a vital platform for contemplating the impact of the government’s moral initiatives on Malay women. Our research offers insights into the enduring progress, or lack thereof, in the status of women both within and beyond the domestic sphere, as part of Malaysia’s pursuit of modernity.
{"title":"Narrative of Malaysian modernity: COVID-19, Malay women portrayals and popular television serials","authors":"Md Azalanshah Md Syed, Muhammad Zaiamri Zainal Abidin, Christine Runnel, Rosya Izyanie Shamshudeen","doi":"10.52518/2023-11ssra","DOIUrl":"https://doi.org/10.52518/2023-11ssra","url":null,"abstract":"Academic studies often explore the dynamics between Malay women and popular culture within the context of Malaysian modernity. Researchers commonly investigate resistance to the government’s moral initiatives for women in society. This article examines how popular culture, specifically serial television drama, depicts the portrayal of Malay women during the COVID-19 pandemic, with a focus on the concepts of obedience, disobedience, and control. The government’s “Duduk Rumah” [Stay at home] and “Kita Jaga Kita” [We take care of ourselves] campaigns, initiated by then Prime Minister Muhyidin Yassin to combat the COVID-19 epidemic, placed additional burdens on women, assigning them significant domestic responsibilities as household managers, including the well-being and education of their children, as well as maintaining family cohesion. We argue that these targeted government policies exacerbated the concerns and uncertainties experienced by Malay women during lockdowns. Furthermore, we contend that the government demonstrated less sensitivity, care, or coordination in managing the COVID-19 pandemic, leading to an increase in domestic violence, divorce, depression, and emotional stress among Malay women. These challenges were prominently depicted in Malay television serials, serving as a vital platform for contemplating the impact of the government’s moral initiatives on Malay women. Our research offers insights into the enduring progress, or lack thereof, in the status of women both within and beyond the domestic sphere, as part of Malaysia’s pursuit of modernity.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"20 12","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139008947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Studies of transnational families have explored the various approaches by which separated members of the family exchange care across distance. In the context of the Philippines, transnational caregiving is widely studied as transnational mothering, looking at how migrant mothers balance their breadwinning and mothering roles using available communications. In this article, I investigated how the circulation of global care among migrant families is increasingly and intensively mediatized in the past decades. Using Andreas Hepp’s (2013) mediatization approach and Loretta Baldassar and Laura Merla’s (2014) care circulation framework, I conducted interviews with 20 migrant parents in Hong Kong and their 25 left-behind children in the Philippines to reveal the stories of how digital and convergent technologies have altered the communicative practices surrounding the four main modes of transnational care circulation: gifts, cross-border mobilities, remittances, and transnational communication. I have also found how mediatized parenting is now a more intensive and embodied mode of distant caring that has sustained families across borders. This study aims to contribute to the mediatization research paradigm and draw practical implications for sustaining families affected by this transnational phenomenon.
{"title":"Intensive care: Mediatized parenting and the circulation of transnational family care between Hong Kong and the Philippines","authors":"Randy Jay Solis","doi":"10.52518/2023-10rjcsls","DOIUrl":"https://doi.org/10.52518/2023-10rjcsls","url":null,"abstract":"Studies of transnational families have explored the various approaches by which separated members of the family exchange care across distance. In the context of the Philippines, transnational caregiving is widely studied as transnational mothering, looking at how migrant mothers balance their breadwinning and mothering roles using available communications. In this article, I investigated how the circulation of global care among migrant families is increasingly and intensively mediatized in the past decades. Using Andreas Hepp’s (2013) mediatization approach and Loretta Baldassar and Laura Merla’s (2014) care circulation framework, I conducted interviews with 20 migrant parents in Hong Kong and their 25 left-behind children in the Philippines to reveal the stories of how digital and convergent technologies have altered the communicative practices surrounding the four main modes of transnational care circulation: gifts, cross-border mobilities, remittances, and transnational communication. I have also found how mediatized parenting is now a more intensive and embodied mode of distant caring that has sustained families across borders. This study aims to contribute to the mediatization research paradigm and draw practical implications for sustaining families affected by this transnational phenomenon.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136253770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Bromance in media often poses as a farce, but, oddly, also fortifies queer intimacies among men. According to Michael DeAngelis (2014), bromance acts with a dual function: ideologically and mythically. It plays a crucial role in representations of male-to-male friendship through its paradoxical capacity to both reinforce hegemonic norms and refuse heteronormative ideal for men. Imaginative illustrations of the antinomy of bromance is seen in anime, or Japanese animated cartoons whose most popular genre, shonen, depicts the hybridized goal of bromance to solidify male homosociality that often gets borderline homoerotic (if viewed through a queer lens). To demonstrate the hybridized capacity of bromance in media, this study presents a metaphorical analysis of the bromantic inter-male homosocial bonds in Beastars (Matsumi, 2019-2021), an anime featuring anthropomorphic animals. From an analysis based on bromance media studies, three thematic metaphors emerged: proximity, perversity, and concealment. These metaphors illustrate a reverence to “soft masculinity,” an East-Asia-formulated androgynous male performance which indirectly dismantle hegemonic representations of men by preventing the figurative death of the male-on-male friendship at the hands of the heteronormative gaze.
{"title":"The ritualistic death in (and of) the male friendship: Dismembering embodiments of inter-male homosocial relationships in Beastars","authors":"Kevin Michael De Guzman","doi":"10.52518/2023-06dgzmn","DOIUrl":"https://doi.org/10.52518/2023-06dgzmn","url":null,"abstract":"Bromance in media often poses as a farce, but, oddly, also fortifies queer intimacies among men. According to Michael DeAngelis (2014), bromance acts with a dual function: ideologically and mythically. It plays a crucial role in representations of male-to-male friendship through its paradoxical capacity to both reinforce hegemonic norms and refuse heteronormative ideal for men. Imaginative illustrations of the antinomy of bromance is seen in anime, or Japanese animated cartoons whose most popular genre, shonen, depicts the hybridized goal of bromance to solidify male homosociality that often gets borderline homoerotic (if viewed through a queer lens). To demonstrate the hybridized capacity of bromance in media, this study presents a metaphorical analysis of the bromantic inter-male homosocial bonds in Beastars (Matsumi, 2019-2021), an anime featuring anthropomorphic animals. From an analysis based on bromance media studies, three thematic metaphors emerged: proximity, perversity, and concealment. These metaphors illustrate a reverence to “soft masculinity,” an East-Asia-formulated androgynous male performance which indirectly dismantle hegemonic representations of men by preventing the figurative death of the male-on-male friendship at the hands of the heteronormative gaze.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"21 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139350552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Visual forms of communication are historically allied with the colonial project. Photography and film have been used both to create narratives about, or impart stories to, the colonized native, as part of framing their way of life, or lack of ‘civilization,’ and feeding them with the colonizer’s culture. Yet as with all things, these technologies and processes are pregnant with their opposites, as Marx put it. This short essay looks at two films, Walang Rape sa Bontok and Tokwifi, to examine how alternatives concerning the medium have been pursued. It focuses not just on the filmic content but also on the processes of the movies’ creation. Doing this betokens not just alternative representations of the Bontoc people but more importantly, alternative relationships materialized to make a historically marginalized group—the indigenous people–more present and active in procedures of storytelling, representation, and visualization. A preliminary wager is that both films approximate and bring to life the notion of communality or collectivity, counterpointing the arguably more dominant logic of tokenistic inclusion when it comes to the visibility of the indigenous in mainstream mass media.
视觉形式的交流在历史上与殖民项目联系在一起。摄影和电影既被用来创作关于被殖民的土著人的叙事，也被用来向他们讲述故事，作为塑造他们的生活方式或缺乏“文明”的一部分，也被用来向他们灌输殖民者的文化。然而，正如马克思所说，与所有事物一样，这些技术和过程也孕育着它们的对立面。这篇短文着眼于两部电影，《Walang Rape sa Bontok》和《Tokwifi》，以研究如何追求关于媒介的替代方案。它不仅关注电影的内容，也关注电影的创作过程。这样做不仅代表了邦托克人的另一种表现，更重要的是，另一种关系的实现，使一个历史上被边缘化的群体——土著人——在讲故事、表现和可视化的过程中更加在场和活跃。一个初步的赌注是，这两部电影都接近并赋予了社群或集体的概念以生命，当涉及到土著在主流大众媒体中的可见性时，与象征性的包容的可论证的更占主导地位的逻辑相反。
{"title":"The Igorot triangulates, tarries beside a TV: An analysis of Walang Rape Sa Bontok and Tokwifi","authors":"Ivan Emil Labayne","doi":"10.52518/2023-04lbyne","DOIUrl":"https://doi.org/10.52518/2023-04lbyne","url":null,"abstract":"Visual forms of communication are historically allied with the colonial project. Photography and film have been used both to create narratives about, or impart stories to, the colonized native, as part of framing their way of life, or lack of ‘civilization,’ and feeding them with the colonizer’s culture. Yet as with all things, these technologies and processes are pregnant with their opposites, as Marx put it. This short essay looks at two films, Walang Rape sa Bontok and Tokwifi, to examine how alternatives concerning the medium have been pursued. It focuses not just on the filmic content but also on the processes of the movies’ creation. Doing this betokens not just alternative representations of the Bontoc people but more importantly, alternative relationships materialized to make a historically marginalized group—the indigenous people–more present and active in procedures of storytelling, representation, and visualization. A preliminary wager is that both films approximate and bring to life the notion of communality or collectivity, counterpointing the arguably more dominant logic of tokenistic inclusion when it comes to the visibility of the indigenous in mainstream mass media.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135641926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-24DOI: 10.52518/2023-02alcntdmtr
G. Alcantara, Feorillo A. Demeterio III
YouTube brings the opportunity for people even to the members of Indigenous Cultural Communities/Indigenous People (ICCs/IPs) to upload, publish, and watch videos that do not require higher technical skills. Using Edward Said’s concept of Orientalism this paper evaluates several vlogs that deal with the life, culture, and tradition of the Indigenous Peoples in the Philippines. This study examined twenty videos of Filipino vloggers from an etic and emic perspective. The analysis is divided into three substantial parts: (1) orientalism in etic perspective; (2) orientalism in emic perspective; and (3) critical comparison of orientalism in etic and emic perspective. The paper looked into the characteristics of latent and manifest orientalism. In YouTube, vlogging gave IPs new ways to practice self-representation and counter-orientalism. This research intends to contribute to a better understanding of digital ethnography and indigenous studies in the Philippines by providing new and in-depth information about the representation of Indigenous Peoples in YouTube.
{"title":"Katutubong vlog: Isang pagsusuri sa oryentalismo sa mga vlog tungkol sa iba’t bang Indigenous Cultural Communities/Indigenous People (ICCs/IPs) sa Pilipinas","authors":"G. Alcantara, Feorillo A. Demeterio III","doi":"10.52518/2023-02alcntdmtr","DOIUrl":"https://doi.org/10.52518/2023-02alcntdmtr","url":null,"abstract":"YouTube brings the opportunity for people even to the members of Indigenous Cultural Communities/Indigenous People (ICCs/IPs) to upload, publish, and watch videos that do not require higher technical skills. Using Edward Said’s concept of Orientalism this paper evaluates several vlogs that deal with the life, culture, and tradition of the Indigenous Peoples in the Philippines. This study examined twenty videos of Filipino vloggers from an etic and emic perspective. The analysis is divided into three substantial parts: (1) orientalism in etic perspective; (2) orientalism in emic perspective; and (3) critical comparison of orientalism in etic and emic perspective. The paper looked into the characteristics of latent and manifest orientalism. In YouTube, vlogging gave IPs new ways to practice self-representation and counter-orientalism. This research intends to contribute to a better understanding of digital ethnography and indigenous studies in the Philippines by providing new and in-depth information about the representation of Indigenous Peoples in YouTube.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"29 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72692251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Referred to as digital mourning (Babis, 2020), the use of social networking sites to mourn seems to have become more prevalent amid the early months of the COVID-19 pandemic, causing observers to describe their Facebook timelines as resembling “virtual obituaries” (Cruz, 2021, para. 3). Using digital ethnography and computer-mediated discourse analysis, this paper illustrates the discourses on COVID-19 deaths as well as the digital mourning practices of Filipino Facebook users. The study found that Filipinos primarily tended to stick to their pre-digital cultural script and virtues when reacting to and mourning deaths on the social networking site (Wierzbicka, 1985). The discourses and reactions of Filipino FB users reflected and mimicked “offline” responses and reactions to death, thereby effectively mediatizing traditional death and mourning rituals. At the same time, newer mourning practices are also emerging in the digital sphere. Tied to the responses and comments regarding death were discourses on COVID-19 denial and folk medicine, as well as emotionally-laden articulations of alignment and disalignment with other Facebook users. These findings make apparent how Facebook news posts on COVID-19 deaths cultivate emotional exchanges and generate pockets of culture-specific networks of mourners and commiserators by circulating news of death, mediating discourses on death, and facilitating various expressions of mourning and commiseration. Through these networks, Facebook actively contributes to the reconfiguring and extending of offline mourning rituals in the digital sphere.
{"title":"Encountering death on Facebook: A digital ethnography of pandemic deaths and online mourning","authors":"Noreen Sapalo","doi":"10.52518/2023-01sapalo","DOIUrl":"https://doi.org/10.52518/2023-01sapalo","url":null,"abstract":"Referred to as digital mourning (Babis, 2020), the use of social networking sites to mourn seems to have become more prevalent amid the early months of the COVID-19 pandemic, causing observers to describe their Facebook timelines as resembling “virtual obituaries” (Cruz, 2021, para. 3). Using digital ethnography and computer-mediated discourse analysis, this paper illustrates the discourses on COVID-19 deaths as well as the digital mourning practices of Filipino Facebook users. The study found that Filipinos primarily tended to stick to their pre-digital cultural script and virtues when reacting to and mourning deaths on the social networking site (Wierzbicka, 1985). The discourses and reactions of Filipino FB users reflected and mimicked “offline” responses and reactions to death, thereby effectively mediatizing traditional death and mourning rituals. At the same time, newer mourning practices are also emerging in the digital sphere. Tied to the responses and comments regarding death were discourses on COVID-19 denial and folk medicine, as well as emotionally-laden articulations of alignment and disalignment with other Facebook users. These findings make apparent how Facebook news posts on COVID-19 deaths cultivate emotional exchanges and generate pockets of culture-specific networks of mourners and commiserators by circulating news of death, mediating discourses on death, and facilitating various expressions of mourning and commiseration. Through these networks, Facebook actively contributes to the reconfiguring and extending of offline mourning rituals in the digital sphere.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"17 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85249779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The dramatic increase in the touchscreen exposure of very young children has raised issues regarding the potentials and perils that digital media practices bring to children’s development. This research aimed to examine the touchscreen practices among infants and toddlers based on mothers’ self-reports, focusing on amount of screen time and its predictors, type of media content consumed, and maternal motivations and involvement in the regulation of touchscreen use. Questionnaires were administered to 124 mothers, whose children ages six to 42 months used tablets and smartphones. Results revealed an early onset of children’s touchscreen use. The children’s overall screen time averaged nearly two hours daily, and they frequently used the touchscreen device to watch video shows. Evaluations of the type of content of shows viewed suggested that the mothers seemed to deliberately choose shows that were more educational than non-educational. The child’s age, the parent’s active and diversionary mediation strategies, and the perceived maternal benefits of children’s touchscreen were found to predict screen time. The implications of the results for parenting in the digital age were discussed.
{"title":"Digital media practices among infants and toddlers based on Filipino mothers’ self-reports","authors":"Capulong Annalyn, Clemente Jose Antonio","doi":"10.52518/2023-03cplcmt","DOIUrl":"https://doi.org/10.52518/2023-03cplcmt","url":null,"abstract":"The dramatic increase in the touchscreen exposure of very young children has raised issues regarding the potentials and perils that digital media practices bring to children’s development. This research aimed to examine the touchscreen practices among infants and toddlers based on mothers’ self-reports, focusing on amount of screen time and its predictors, type of media content consumed, and maternal motivations and involvement in the regulation of touchscreen use. Questionnaires were administered to 124 mothers, whose children ages six to 42 months used tablets and smartphones. Results revealed an early onset of children’s touchscreen use. The children’s overall screen time averaged nearly two hours daily, and they frequently used the touchscreen device to watch video shows. Evaluations of the type of content of shows viewed suggested that the mothers seemed to deliberately choose shows that were more educational than non-educational. The child’s age, the parent’s active and diversionary mediation strategies, and the perceived maternal benefits of children’s touchscreen were found to predict screen time. The implications of the results for parenting in the digital age were discussed.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"48 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85707583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Boys’ Love (BL) is a genre of cultural products which features erotic and romantic relationships between men. This study seeks to examine the meaning-making of Thai BL from the perspectives of international media. Methodologically, corpus-driven discourse analysis is adopted. The 57,336-word corpus consists of coverage from 28 media outlets across 10 countries. It is sourced from content published between 2015 and 2021. The investigation is conducted at the word (keyword analysis), sentence (N-gram analysis) and paragraph (qualitative analysis) levels. Overall, three emerging themes have been captured. First, the strong affection theme regards Thai BL as a lyrical world replete with love and romance, outperforming its Western equivalent because of sensitivity to a romantic ideal known as “love conquers all.” Second, the determinant of audience participation theme considers Thai BL a factor that encourages participation from fandoms. This is exemplified in the cultural phenomenon of fans learning the Thai language in order to comprehend a series without dependence on subtitles. Third, the connection with reality theme treats Thai BL as a reflection of various real-life situations, including LBGT issues in Southeast Asia. This “reality” is comprised of two domains: what is happening in real life and what is missing in real life.
{"title":"The meaning-making of Thai Boys’ Love cultural products from the perspectives of international media: A corpus-driven approach","authors":"Nattawaj Kijratanakoson","doi":"10.52518/2022-17kntwj","DOIUrl":"https://doi.org/10.52518/2022-17kntwj","url":null,"abstract":"Boys’ Love (BL) is a genre of cultural products which features erotic and romantic relationships between men. This study seeks to examine the meaning-making of Thai BL from the perspectives of international media. Methodologically, corpus-driven discourse analysis is adopted. The 57,336-word corpus consists of coverage from 28 media outlets across 10 countries. It is sourced from content published between 2015 and 2021. The investigation is conducted at the word (keyword analysis), sentence (N-gram analysis) and paragraph (qualitative analysis) levels. Overall, three emerging themes have been captured. First, the strong affection theme regards Thai BL as a lyrical world replete with love and romance, outperforming its Western equivalent because of sensitivity to a romantic ideal known as “love conquers all.” Second, the determinant of audience participation theme considers Thai BL a factor that encourages participation from fandoms. This is exemplified in the cultural phenomenon of fans learning the Thai language in order to comprehend a series without dependence on subtitles. Third, the connection with reality theme treats Thai BL as a reflection of various real-life situations, including LBGT issues in Southeast Asia. This “reality” is comprised of two domains: what is happening in real life and what is missing in real life.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"203 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81086416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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