Counter Narrative Analysis

for Muslims whom follow the terrorist group. This notable propaganda counter-offensive effort by the CSCC uses raw material gathered from

are telling about Southern histories, and their reputations evidenced the lingering effects of institutionalized racism, as Woodward often gets credit for opening Southern history to African American narratives. However, it was Franklin that did it first and allowed for agency, while Woodward’s narratives most featured black victimization/victimhood. Despite some differences in interpretation, Franklin and Woodward would become two of the most influential historians of the twentieth century. Only recently

Ironically, the ‘fake news’ narrative is mentioned four times in less than ten seconds intervals, accordingly showing a clip of Trump’s response to Charlottesville in which he furthers the ‘fake news’ claims and continues his initial statement of blame for Charlottesville’s lying with

exploits the target states’ gender stereotypes (Laster and Erez, 2015, Bloom, 2005). Nacos (2005) views the narratives attributed to female terrorists as a tactical choice used to exploit the target state’s inherent gender biases to further terrorist agendas (2005: 448). The main purpose of this work is to encourage policy makers to take these depictions into account when creating counter terrorism measures and to be aware of the use of females as a tactic. This is similar to the work of O’Rourke

mediums. This paper compares two texts, “Free speech is flunking out on college campuses” by Catherine Rampell, and “Restoring free speech on campus” by Geoffrey R. Stone and Will Creeley. This paper argues that any text, without provisioning a counter narrative for the core argument, is lacking in its sense of completeness and ability to pre-resolve reactionary dissent. Authors of both articles disagree the suppressing and censoring of free speech observed in some universities. While Rampell is disheartened

directly influenced their eventual status in the partitioned country.1 She suggested that in order to fully comprehend this “history of memories” it was necessary to understand the distinctions and interconnections between what she refereed to as “counter”, “popular”, and “official” memories.2 In order to support this argument, the author conducted a series of formulaic analyses on the German perception toward women in three major areas of Post-War German cultural memory; war rapes by Soviet soldiers;

different context, Williams (2009) presents the experience of high school students who identified themselves as being part of the Hip Hop culture by using their culture affiliation to change classroom practices towards the use of counter-narratives as a method of analysis of these students' realities, the development of these students' critical discourses, and their achievement of an state of consientização as a means to awake critical awareness of their position within the Hip Hop culture. This

art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events. To support this idea, Bordwell illustrates how art cinema motivates its narratives differently, through two principles: realism and authorial expressivity. Firstly

include different forms of mass communication, popular culture, and new technologies. It deepens the potential of literacy education to critically analyze relationships between media and audiences, information, and power. Along with this mainstream analysis, alternative media production empowers students to create their own messages that can challenge media texts

Book Review: Car Guys vs Bean Counters: The Battle For The Soul Of American Business By xxxx There is no question, especially in the light of the rear view mirror of the car industry in the last decade, that any book written by an ex-executive the industry will have some revisionist history. In this regard Lutz did not disappoint, and from a self-described product guy, he seems to lay out the reasons for the incredible collapse of his industry everywhere else except at his feet. For some reason