Abstract: The purpose of this study is to measure the intersection of environmental security entities in terrorist propaganda. To the best of author’s knowledge, this is the first study of its kind to examine this intersection within terrorist propaganda. Rosoka, natural language processing software and frame analysis are used to advance our understanding of how environmental frames function as emotive triggers. Violent jihadi demagogues use frames to suggest violent and non-violent solutions to their grievances. Emotive triggers are framed in a way to leverage individual and collective attitudes in psychological warfare. A comparative research design is used because of the differences and similarities that exist between two variants of violent jihadi propaganda that target western audiences. Analysis is based on salience and network text analysis, which generates violent jihadi semantic networks. Findings indicate that environmental frames are used as emotive triggers across both data sets, but also as tactical and information data points. A significant finding is that certain core environmental emotive triggers like “water,” “soil,” and “trees” are significantly salient at the aggregate level across both data sets. All environmental entities can be classified into two categories, symbolic and literal. Importantly, this research illustrates how demagogues use environmental emotive triggers in cyber space from a subcultural perspective to mobilize target audiences to their ideology and praxis. Understanding the anatomy of propaganda construction is necessary in order to generate effective counter narratives in information operations. This research advances an additional method to inform practitioners and policy makers of how environmental security and propaganda intersect.
Abstract: Historical narration is an act that necessarily develops
and deforms history. This “translation” is examined within the
historical and political context of the 1930 Berlin film premiere of
“All Quiet on the Western Front,” a film based on Erich Maria
Remarque’s 1928 best-selling novel. Both the film and the novel
appeared during an era in which life was conceived of as innately
artistic. The emergence of this “aestheticization” of memory and
history enabled conservative propaganda of the period to denounce
all art that did not adhere conceptually to its political tenets, with “All
Quiet” becoming yet another of its “victims.”
Abstract: Terror is a modern war strategy which uses violence as a means of communication in order to achieve political objectives. In today’s security environment narrowing the propaganda field of terrorist organization is the primary goal for the security forces. In this sense, providing and maintaining public support is the most necessary ability for security units. Rather than enemy and threat-oriented approach, homeland security oriented approach is essential to ensure public support. In this study, terror assumed as a homeland security issue and assigning the law enforcement forces with military status is analyzed.
Abstract: The main question of the research is - how did the Kazakhs manage to keep their religious thinking in the period of active propaganda of Soviet atheism, for seventy years of struggle against religion with the involvement of the scientific worldview as the primary means of proving the absence of the divine nature and materiality of the world?
Our hypothesis is that In case of Kazakhstan the conservative female religious consciousness seems to have been a factor that helped to preserve the “everyday” religiousness of Kazakhs, which was far from deep theological contents of Islam, but able to revive in a short time after the decennia of proclaimed atheism.
Abstract: The significance of psychology in studying politics
is embedded in philosophical issues as well as behavioural
pursuits. For the former is often associated with Sigmund Freud
and his followers. The latter is inspired by the writings of Harold
Lasswell. Political psychology or psychopolitics has its own
impression on political thought ever since it deciphers the concept
of human nature and political propaganda. More importantly,
psychoanalysis views political thought as a textual content which
needs to explore the latent from the manifest content. In other
words, it reads the text symptomatically and interprets the hidden
truth. This paper explains the paradigm of dream interpretation
applied by Freud. The dream work is a process which has four
successive activities: condensation, displacement, representation
and secondary revision. The texts dealing with political though can
also be interpreted on these principles. Freud's method of dream
interpretation draws its source after the hermeneutic model of
philological research. It provides theoretical perspective and
technical rules for the interpretation of symbolic structures. The
task of interpretation remains a discovery of equivalence of
symbols and actions through perpetual analogies. Psychoanalysis
can help in studying political thought in two ways: to study the text
distortion, Freud's dream interpretation is used as a paradigm
exploring the latent text from its manifest text; and to apply Freud's
psychoanalytic concepts and theories ranging from individual mind
to civilization, religion, war and politics.
Abstract: The cinema in Turkey during the 1940s was shaped
under the Second World War conditions. The amateur film makers
from different socioeconomic roots experienced movie production in
those years. Having similar socioeconomic characteristics and
autobiographies, each of them has a different understanding of
cinema. Nevertheless, they joined in making movies which address
native culture and audience. They narrated indigenous stories with
native music, amateur players and simple settings. Although the
martial law, censorship and economical deficiencies, they started to
produce films in the Second World War. The cinematographers of the
1940s usually called as thetransition period cinematographers in
Turkey, producing in the passage between the period of thetheatre
playersand the period of thenational cinema. But, 1940- 1950 period
of Turkish cinema should be defined not as a transition but a period
of forming the professional conscioussness in cinema.