Exploring online criticisms of the ‘take the knee’ protest during ‘Euro 2020’, this article examines how alt- and far-right conspiracies were both constructed and communicated via the social media platform, Twitter. By providing a novel exploration of alt-right conspiracies during an international football tournament, a qualitative thematic analysis of 1,388 original tweets relating to Euro 2020 was undertaken. The findings reveal how, in criticisms levelled at both ‘wokeism’ and the Black Lives Matter movement, antiwhite criticisms of the ‘take the knee’ (...) protest were embroiled in alt-right conspiracies that exposed an assumed Cultural Marxist, ‘woke agenda’ in the tournament’s organization and mainstream media coverage. In conclusion, it is argued that conspiratorial discourses, associated with the alt-right, provided a framework through which the protest could be understood. This emphasises how the significance of conspiracy functions to promote the wider dissemination of alt-right ideology across popular cultural contexts, such as sport. (shrink)

The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...) past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

LEITE (Fábio Rodrigo) – STOFFEL (Jean-François), Introduction (pp. 3-6). BARRA (Eduardo Salles de O.) – SANTOS (Ricardo Batista dos), Duhem’s analysis of Newtonian method and the logical priority of physics over metaphysics (pp. 7-19). BORDONI (Stefano), The French roots of Duhem’s early historiography and epistemology (pp. 20-35). CHIAPPIN (José R. N.) – LARANJEIRAS (Cássio Costa), Duhem’s critical analysis of mecha­ni­cism and his defense of a formal conception of theoretical phy­sics (pp. 36-53). GUEGUEN (Marie) – PSILLOS (Stathis), Anti-­scepticism and epistemic humility (...) in Pierre Duhem’s philosophy of science (pp. 54-72). LISTON (Michael), Duhem : images of science, historical continuity, and the first crisis in physics (pp. 73-84). MAIOCCHI (Roberto), Duhem in pre-war Italian philos­ophy : the reasons of an absence (pp. 85-92). HERNÁNDEZ MÁRQUEZ (Víctor Manuel), Was Pierre Duhem an «esprit de finesse» ? (pp. 93-107). NEEDHAM (Paul), Was Duhem justified in not distinguishing between physical and chemical atomism ? (pp. 108-111). OLGUIN (Roberto Estrada), «Bon sens» and «noûs» (pp. 112-126). OLIVEIRA (Amelia J.), Duhem’s legacy for the change in the historiography of science : An analysis based on Kuhn’s writings (pp. 127-139). PRÍNCIPE (João), Poincaré and Duhem : Resonances in their first epistemological reflec­tions (pp. 140-156). MONDRAGON (Damián Islas), Book review of «Pierre Duhem : entre física y metafísica» (pp. 157-159). STOFFEL (Jean-François), Book review of P. Duhem : «La théorie physique : son objet, sa structure» / edit. by S. Roux (pp. 160-162). STOFFEL (Jean-François), Book review of St. Bordoni : «When historiography met epistemology» (pp. 163-165). (shrink)