Mashing Military And Popular Culture - By steven fraiberg - Kairos 14.3 topoi text

ÐÏ à¡± á > þÿ 5 7 þÿÿÿ 4 ÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿÿì¥Á ð ¿ ! bjbjoíoí $ ‡ ‡ ! ÿÿ ÿÿ ÿÿ · ¼ ¼ “ “ “ “ “ Ÿ “ ¨ î « « « « « « « « K M M M M M M – ¢ 8 V M « « « « ¯ M « « b ³ F « « K « K ¯ síÊ “ ù " 7 x 0 ¨ Ž Ž « « « ÿÿÿÿ ÿÿÿÿ ÿÿÿÿ ÿÿÿÿ ÿÿÿÿ ÿÿÿÿ ÿÿÿÿ ¼ ‰ E : Popular Culture In this section, I wish to begin by examining the ways that the military is mashed into popular culture within Israeli society. Useful for understanding this process is what Hawisher, Selfe, Guo, and Lu (2006) refer to as a cultural ecology. Taking up this concept, I examine the ways that the military is a complex constellation of factors mashed into everyday literacy practices. We can find this blending in the Tel Aviv train station terminal where soldiers routinely travel back and forth between their military bases and their homes. Evidence of this mashing is found on advertisements strategically placed through the station. [My examples are derived from two cell phone advertisements that appeared on the back of a train station billboard.] In the first example, we find two images side by side: a kitchen colander and an upside-down military helmet. These two images placed side-by-side reflect the ways that these segments of life are aligned in every day and routine contexts within Israeli society. We can furthermore find parallels in the language itself, which translates as “over the oven range” and “at the shooting range.” In this manner, we can begin to see the ways that the military is deeply woven into everyday contexts as images and texts are taken up, resisted and transformed in process that Danielle Lefkowitz in his book “Words and Stones” refers to as an “ongoing spiral negotiation” (p. 211). Taking another look at the ways that the military is deeply mashed into text and image in which we similarly find two images juxtaposed side-by-side: The first is an image of a pencil with a sharpened tip positioned along side a picture of a bullet with a sharpened tip. There are once again parallels in the language, which translates as “in a commando unit” or “in a bureaucratic unit” (neyeret). [In Hebrew, the word neeyret also refers to “red tape.”] With this information, we can begin to understand the contrast between a “pencil pusher” and an elite commando. In this manner, we can [literally] “see” the ways that the military is blended into the national imag(e)ination. The narrative is that in Israel one can always be reached not matter what the situation, whether battling bureaucracy or terrorists. In this manner we can see a complex mashing of different spheres of activity. ' . F M ! öòèòèò hálž h~5u 6 ] h~5u h¸?œ h kc 5 \ ¢ 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 ° 6 6 6 6 6 6 6 6 6 E÷…þƒÐ¶Ørº(¥Ø΢ ] ‹ô yl‹Ú#!MBò÷ ; ” B Ý ¤™¹÷ÜQ¹Þ ƒÚaLÎS¥Wy¡ îWá=š ‰n’#´Ï pÌ°âZNúâ| ½ ÓªÄV:”8Åz þ¶Š ôÍ1f؃k —Á; Ú‡ øÞèžcp7 ‰g/ ]þQAsÙ… (¢ÆÌà#›ªL Ê[ººÄß ÿÿ PK - ! K ö [Content_Types].xmlPK - Ball 1 Microsoft Macintosh Word @ FÃ# @ ~íríÊ @ bA síÊ G È! þÿÿÿPICT!À ÿg9ZÖc c Vµo{ZÖo{c c o{î ÿ Æ ÿI Æí ÿ w½ú ÿ w½û ÿ {Þw½ ÿ ÿw½þ ÿ ÿsœ{Þo{{Þw½ ÿsœo{kZ ÿ{Þ{Þw½sœw½sœw½ ÿw½w½ ÿkZw½sœ{Þw½sœg9{Þw½{Þsœý{Þ ^÷kZ^÷c ^÷w½c c ^÷ó ÿ Æ ÿw Æô ÿ {Þ{Þýsœ {Þw½{ÞkZ{Þ{Þo{w½ü{Þ w½w½{Þg9{Þ{Þo{w½sœ{Þw½w½{Þ{Þo{w½{Þ ÿ‡ Æñ ÿ%w½ ÿ ÿc {Þo{{Þ{Þ ÿ{Þ ÿo{sœ ÿ ÿsœ ÿsœ ÿw½sœsœ ÿ ÿ{Þ{Þ w½sœ{Þ ÿ{Þw½o{w½w½ ÿ{Þ ÿ{Þþw½ o{{Þsœsœo{w½{Þ{Þ ÿsœw½ý{Þ ÿ Æ ÿ‹ Æô ÿ sœ{Þc sœo{sœsœþo{ sœo{sœo{sœw½þsœ kZþsœ {Þg9ýsœ g9sœkZo{sœo{w½o{sœg9sœw½sœg9o{sœc ÿ Æ ÿ Æ¢ ÿ Æ ÿ Æ¢ ÿ Æ ÿ Æ¢ ÿ Æ ÿ Æ¢ ÿ Æ ÿ Æ¢ ÿ Æ ÿ Æ¢ o o t E n t r y ÿÿÿÿÿÿÿÿ À F œQ síÊ 8 € 1 T a b l e ÿÿÿÿÿÿÿÿÿÿÿÿ Document þÿÿÿNB6W Word.Document.8