Studies show that during the COVID-19 pandemic, quarantining, lockdowns and a palpable shortage of outdoor activities led to increased media consumption as a means for audiences to keep themselves...Show moreStudies show that during the COVID-19 pandemic, quarantining, lockdowns and a palpable shortage of outdoor activities led to increased media consumption as a means for audiences to keep themselves occupied, as they cope with the psychological consequences of extended periods of social isolation. Not only did the quantity of consumption increase, but the nature in which audiences engaged with media has changed also. For instance, many have started listening to podcasts during the pandemic. This appears indicative not only of a desperation to try new things, but also that new listeners were attempting to mimic social interaction somehow. Para-social interactions, the one-sided interactions between mediated personalities and their audiences, have existed long before the Web 2.0 era of media. This specific development is a hint that audiences were not only increasingly subjected to these interactions, they may have been actively seeking them out. Cum Town, a vulgar podcast featuring three comedians who have basically become niche micro-celebrities, is one such podcast that saw its audience grow during the pandemic. Given the mischievous character of this show, it seems pertinent to ask whether an increase in such interactions is a good thing, as well as what other repercussions come with this type of consumption.Show less
Nowadays a lot of people have existential crises. They ask themselves: Why am I here? What is the meaning of life? Why must I suffer this existence? Their question reflects an age old question:...Show moreNowadays a lot of people have existential crises. They ask themselves: Why am I here? What is the meaning of life? Why must I suffer this existence? Their question reflects an age old question: suffering for what? They fall prey to nihilistic tendencies, a loss of all meaning. A pain, a depression, a pessimism that they do not seem to be able to shake. They lack the strength of Atlas, who carried the world on his shoulders. The burdens of the earth too heavy for them to bear. Taking life serious is a massive mountain weighing upon one’s shoulders. I want to release these darkened souls of humanity from the anchor that keeps them from lifting up to the lightness of the clouds and teach them of the laughter of the child. By reading Nietzsche's 'Genealogy of Morality' through the 'metamorphosis of Zarathustra' I want to show how the metaphor of 'the Child' is able to combat and overcome the nihilism, that Nietzsche speaks of in the Genealogy, through the act of not-taking-serious, or even more so, making-fun-of any form of nihilism. When we understand the steps of the metamorphosis, the reading of the Genealogy of Morality will become clearer. Not only will this provide us with a deeper insight into the Genealogy, but it will also offer us the necessary tools to extend beyond the conclusion of the Genealogy of Morality. This conclusion being: “to conclude by saying what I said at the beginning: man still prefers to will nothingness, than not will at all. . .” It is in this conclusion that we find the importance of this thesis. The genealogy of morality ends up finding ‘the will to nothingness’, or ‘nihilism’, the conclusion that there is no meaning to be found in the universe. Yet, the genealogy offers no real salvation to overcoming this will to nothingness. It is through the metamorphosis that we can find this overcoming of the great danger to mankind, its most sublime temptation and seduction. It is through the metamorphosis that we can combat standstill, mankind looking back wearily, turning its will against life, and the onset of the final sickness becoming gently, sadly manifest. By reading the genealogy of morality through the metamorphosis of Zarathustra I will be able to go beyond Nietzsche’s teachings and show that the not-taking-serious, which I view as the most important aspect of the child, combats nihilism. To do this we first have to understand the three metamorphoses. In the second part, I will explain the genealogy of morality through the metamorphosis. In the last part, I will argue how the child is able to overcome the nihilism in the genealogy of morality.Show less
Uitvoerig onderzoek naar de Bromance als genre-hybride in film. Ten eerste wordt de traditie van de term retrospectief belicht. Ten tweede wordt gekeken hoe de Bromance zich verhoudt tot reguliere,...Show moreUitvoerig onderzoek naar de Bromance als genre-hybride in film. Ten eerste wordt de traditie van de term retrospectief belicht. Ten tweede wordt gekeken hoe de Bromance zich verhoudt tot reguliere, klassieke genres zoals sciencefiction, horror of comedy. Is de Bromance als afzonderlijke genre-categorie te beschouwen of heeft de Bromance altijd een samenhang met een ander genre? Om deze vraag te beantwoorden, kijkt deze scriptie eerst naar specifieke genres die met terugwerkende kracht duidelijke kenmerken hebben van de Bromance: de western (hoofdstuk 1), de road movie (hoofdstuk 2), en klassieke comedy's (hoofdstuk 3). Vervolgens wordt in hoofdstuk 4 nagegaan hoe de films die vandaag de dag tot Bromance gerekend worden zich hiervan onderscheiden, en daarbij de vraag te beantwoorden of dat verschil rechtvaardigt dat de Bromance als een op zichzelf staand genre kan worden beschouwt met eigen (vertel)conventies.Show less
The voices of Roman slaves have been silenced in death, as in life, and it is with difficulty that we try to locate slavery in the archaeological record. It is therefore important to use all extant...Show moreThe voices of Roman slaves have been silenced in death, as in life, and it is with difficulty that we try to locate slavery in the archaeological record. It is therefore important to use all extant material at our disposal, and the figurines of slave characters in Roman comedy represent a rich, untapped resource. One character in particular, the ‘clever slave’, with his tricky schemes and quick wit, captured the imagination of all levels of Roman society in a way that real slaves never could. This clever slave’s popularity is confirmed by the rich archaeological record, which preserved thousands of charming figurines in a variety of styles and materials, spanning different time periods and geographical areas of the Classical world. They are not only fascinating for their iconography, but for the insights they give us into the technicalities of ancient acting. They have been unearthed in homes, sanctuaries and tombs- diverse contexts that hint at their multitudinous purposes. By examining the ancient texts along with a representative sample of the material evidence, I can establish the nature of these unruly slave characters, how they became so popular and why their image was a recognisable and welcome sight around the Roman world for centuries. Through this analysis I will elucidate on the significance of these statuettes in Roman society, positing how this character and these types of artefacts may have been perceived by slaves. The methodology employed in this thesis also aims to demonstrate how archaeology and classics can be used in tandem to reveal something novel and meaningful that can add to the studies of Roman slavery.Show less
