https://hdl.handle.net/20.500.12766/1 Fri, 13 Nov 2026 20:53:21 GMT 2026-11-13T20:53:21Z https://hdl.handle.net/20.500.12766/916 Young people as ethical consumers: Emotional tensions, identity work and household involvement Feijoó Fernández, Beatriz; Vizcaíno Verdú, Arantxa This study examines how ethical consumption among young people is shaped by emotions and identity work, and how these processes influence their involvement in household purchasing. Drawing on survey data from 1088 participants aged 12–17 in Spain, we analyze links between ethical sensitivity, consumption-related emotions, and symbolic identity expression. Findings show that ethical consumption is positively associated with discomforting emotions such as guilt and shame, and negatively with interest, highlighting tensions between reflective consumption and product appeal. Identity expression was also tied to ethical orientation and predicted young people’s participation in family purchases across five product categories. Overall, the study highlights young people as active consumer agents whose ethical orientations inform household purchasing decisions and contribute to the negotiation of consumption within family life. Se deposita la versión aceptada (AAM) del artículo Thu, 01 Jan 2026 00:00:00 GMT https://hdl.handle.net/20.500.12766/916 2026-01-01T00:00:00Z https://hdl.handle.net/20.500.12766/915 Beauty and Gore: Unsettling Audiences in the 2018 Production of Ang Paglilitis ni Mang Serapio Marco, Sophia Martha B.; Antropova, Svetlana Ang Paglilitis ni Mang Serapio (1968) by Paul Dumol is a gem of Philippine theatre. Being one of the first post-modern plays written in Filipino, it has gained popularity with the Filipino audiences. Framed as a trial of beggars, this play opens the wounds of contemporary society and poses existential questions to the spectator. Already forming part of a trial, the audience could not but judge the sins of human cruelty, injustice, and social inequality. Although there have been innumerable productions, both professional and amateur, the 2018 production stands out among them. Even the playwright, Paul Dumol, declared it his favorite. The 2018 fiftieth-anniversary production of Ang Paglilitis ni Mang Serapio, was a collaboration between Theatre Titas and Duende Theatre and performed in Poblacion, Makati City, in Novembre, 2018. It was staged by an acclaimed theatre director and Dumol’s disciple, Christian Vallez, also known as Juan Ekis. The play received notable recognition at the Broadway World Philippines Awards, where it earned a total of nine nominations and ultimately won two awards: Best Director, awarded to Juan Ekis, and Best Featured Actress (Andrea Fe Padilla, as Interrogator 2). Vallez is a writer and playwright himself who has won Palanca Awards for his plays: Twenty Questions (2003), Kapeng Barako Club: Samahan ng Mga Bitter (2010), and Pingkian (2024), which he put onstage. His latest play L.E.G.I.O.N (2024), a university-based comedy, was highly influenced by staging of Ang Paglilitis ni Mang Serapio in its atmosphere, design, and interaction with the audience. Vallez also worked with National Artist for Film Marilou Diaz-Abaya and taught screenwriting and film production at her institute. This interview, which took place on June 6, 2025, is the conversation with Vallez about the 2018 production of Ang Paglilitis ni Mang Serapio. Wed, 01 Jan 2025 00:00:00 GMT https://hdl.handle.net/20.500.12766/915 2025-01-01T00:00:00Z https://hdl.handle.net/20.500.12766/914 Analysis of CLIL-Related Research in School Settings: A Systematic Review Poveda, Belén; Antropova, Svetlana Background: Content Language Integrated Learning (CLIL) is an emerging approach in the global educational landscape, and as such, there is a lack of a systematic review of this field. Purpose: To explore CLIL-related scientific publications in school settings around the world. Method: A systematic review was performed following the PRISMA guidelines in WoS and Scopus databases. A total of 142 articles published in the period 2018-2022 were analysed according to three types of variables: extrinsic to the scientific process, methodological, and content based. The results of the methodological and content-based variables were contrasted with the portfolio of CLIL evaluation measures and analysed through the lens of the 4Cs framework. Results: The findings revealed that CLIL studies were performed in a wide range of countries across continents. It was the secondary school which drew most scientific interest. Apropos of the methodological variable, there was a balance between qualitative and quantitative studies, and a questionмnaire as a tool was favoured by the researchers. The major scientific interest lay in the communication principle, while cognition was understudied. Conclusions: There was a growing scientific interest in CLIL. Although the major interest laid in linguistic gains, other fields of research transpired. The conclusions provide further agenda for CLIL research. Mon, 01 Jan 2024 00:00:00 GMT https://hdl.handle.net/20.500.12766/914 2024-01-01T00:00:00Z https://hdl.handle.net/20.500.12766/913 Tribunal Theatre in Spain: Jauría and the La Manada Gang Rape Antropova, Svetlana; García Mingo, Elisa Jauría (2019) was the first tribunal verbatim play in Spain and it had a great impact on audiences in the context of heated debate about how national legislation had a long-standing legacy of sexism. Based on the transcripts of the legal proceedings of the La Manada gang-rape case, Jauría not only clarifies this controversial case for different types of audiences, but it also poses very important questions concerning the nature of rape and how the judicial system treats the victims of rape. This article studies the performative force of tribunal verbatim in shaping the audience’s understanding of an actual gang-rape case and indicates how a feedback loop is created in the performance itself, transforming the spectators’ attitudes. Svetlana Antropova is a lecturer at Villanueva University in Madrid. Her recent publications include ‘Filming Trauma: Bodiless Voice and Voiceless Bodies in Beckett’s Eh Joe’, in Elspeth McInnes and Danielle Schaub, eds., What Happened? Re-presenting Traumas, Uncovering Recoveries (Brill/Rodopi 2019), and ‘De/Construction of Visual Stage Image in Samuel Beckett’s Play’ (Anagnórisis: Revista de Investigación Teatral, XXII, 2020). Elisa García Mingo is an associate professor in Sociology at the Universidad Complutense de Madrid and is an associate member of the Centre for Transforming Sexualities and Gender at the University of Brighton. Thu, 11 Nov 2021 00:00:00 GMT https://hdl.handle.net/20.500.12766/913 2021-11-11T00:00:00Z