By Jeff Lewis
Language Wars is an engaging account of the connection among the media, tradition and new kinds of worldwide, political violence. utilizing an cutting edge procedure, Jeff Lewis exhibits how language and the media are implicated in worldwide terrorism and the US-led reprisals within the struggle on terror. via an exam of the language of terrorism and battle, Lewis illuminates key occasions within the present wave of political violence---the 11th of September assaults on big apple and the Pentagon, the Beslan siege, the invasion of Afghanistan and Iraq, the Bali bombings and the continuing career within the center East. He argues that the language used to document incidents of violence has replaced, not only in legit channels yet in wider cultural contexts, and exhibits the effect this has on social perceptions. Lewis deconstructs those new discourses to bare how Islam has been construed because the antagonist of freedom, democracy and the rule of thumb of legislations. perfect for college kids of media experiences and cultural reviews, it is a sophisticated account of the relation among language and tradition that exposes a perilous new east-west divide in renowned discourse.
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Additional resources for Language wars : the role of media and culture in global terror and political violence
This hyperreal consciousness, in fact, enables particular conceptions of the ‘real’, including the sense in which knowledge may be visually constituted. As Fredric Jameson (1991) has famously noted in his discussions of postmodernism, the essential qualities of time and space are radically re-imagined in a culture that is bound to the visualization of its reality. Paul Virilio claims that this new conflux of dynamic mediation and static resolution constitutes a form of ‘polar inertia’, a context in which all time is surrendered to the televisual image: Lewis 01 intro 32 25/8/05 16:11:55 Mediated Terror and the Politics of Representation 33 As on stage, all things are concentrated on the spot, everything is played out in the privileged instant of the act, the immeasurable instant that replaces extension and protracted periods of time.
While a number of commentators have acknowledged the importance of the media for modern terrorism, they have tended to treat the process involved as one of simple message delivery. When we remind ourselves that the media is formed through a set of relationships – producer, text, audience – within a cultural and governmental context, it becomes obvious that the predisposition toward violence is reflexive and somewhat paradoxical. Violence generally, and political violence in particular, are major revenue generators for the media industries: violence, through its various permutations, is part of the fiscal and semiotic foundations of the modern media.
Truth, honesty and transparency in government are immediately surrendered, Rampton and Stauber (2003) claim, when governments believe their elite interests and the perspective of the broader electorate might be in contention. The war on terror was declared, various critics suggest, because citizens are more likely to indulge the government’s obfuscation in the name of national interest. As Rampton and Stauber argue in Weapons of Mass Deception, the complicated web of meanings that led to the American war on Iraq confounds the tension between transparency and information: Reality is messy, of course, especially in the aftermath of war, and these developments do not necessarily imply that disaster looms on the horizon as the United States tries to juggle the tension between occupying Iraq militarily and acting as its liberator.