The late eighties and early nineties in Germany were not only marked by the fall of the Wall and German unification, but also by the dramatisation of the political issue of asylum, resulting in outbreaks of xenophobic violence. In the context of the asylum debate of the early nineties, a number of punk bands produced songs between 1991 and 1994 which criticise the xenophobic climate created by the asylum debate and undermine an exculpatory official discourse about the violent attacks. The (...) lyrics of these songs will be analysed as instances of counter-discourse emerging from a subcultural sphere that nurtures a critical distance from hegemonic public and political discourse, arguing that Critical Discourse Analysis should pay more attention to defiance of hegemonic discourse. (shrink)

This paper presents a critical multimodal analysis of the representation of robots and work in recent commercials. Commercials were selected that represented robots not as tools of industry but as workers. Robots are increasingly endowed with the ability to not only take on the work of human workers engaged in productive, material forms of labour but immaterial, affective forms of labour as well. Rather than being represented as dead capital, the robots instead function within the narratives as living labour and (...) therefore capable of producing value. What is most notable in these commercials is how the demands and conditions of ‘employment’ for the robots echoes neoliberal transformations of work from individuated Fordist forms of production to post-Fordist team-based forms in which workers must increasingly participate in their own management and, therefore by extension, their own subordination. (shrink)

ABSTRACTOver recent years, an increasing body of research in social and cultural studies has investigated the contemporary processes of social change from the point of view of affective capitalism....

This article, taking a social semiotic approach, analyses two pieces of music written, shared and exalted by two pre-1945 European fascist movements – the German NSDAP and the British Union of Fascists. These movements, both political and cultural, employed mythologies of unity, common identity and purpose in order to elide the realities of social distinction and political–economic inequalities between bourgeois and proletarian groups in capitalist societies. Visually and inter-personally, the fascist cultural project communicated a machine-like certainty about a vision for (...) a new society based on discipline, conformity and the might of the nation. In this article, we are interested in the ways that these very same discourses are also communicated through sound and music in two songs: The Horst Wessel Lied and the BUF marching song, two songs that used the same melody. We analyse the discourses communicated by the semiotic choices made in melody, arrangements, sound qualities, rhythms as well as in lyrics. The article first identifies some of the underlying semiotic resources for meaning making in sound and then shows how these are used in order to communicate specific ideas, values and attitudes. (shrink)

Much significant work on the topic of privacy and identity on social network sites stems from the realms of media, information and cultural studies, and sociology eschewing language-based disciplines almost entirely. To redress the balance, this article draws on discourse-centred online ethnography, an approach which blends online ethnography with discourse analysis, to explore how self-presentation on Facebook is regulated by means of privacy. To this end, I analyse a dataset of statuses, comments, links, photographs and interviews from five Greek users. (...) The findings highlight users’ creativity and criticality in combining software affordances with linguistic signals and textual practices to manage their privacy and hence their identity. (shrink)

Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Followingother scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how wecan draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe thesemiotic resources available to composers to (...) allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying. (shrink)