Thematische Bibliographien / Humanities -> art -> popular culture

Auswahl der wissenschaftlichen Literatur zum Thema „Humanities -> art -> popular culture“

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Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Humanities -> art -> popular culture"

Lindner, Christoph. „The oblique art of shoes: popular culture, aesthetic pleasure, and the humanities“. Journal for Cultural Research 19, Nr. 3 (26.03.2015): 233–47. http://dx.doi.org/10.1080/14797585.2015.1021992.

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Thurner, Mira. „The Painting that Leapt Through Time: Popularized High Art on Screen“. Journal of Asia-Pacific Pop Culture 7, Nr. 1 (01.05.2022): 51–71. http://dx.doi.org/10.5325/jasiapacipopcult.7.1.0051.

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Abstract Much high art of the twenty-first century is influenced by popular culture and, conversely, high art often finds its way into representation in popular culture media to varying levels and degrees. An example of this is the anime The Girl Who Leapt through Time, which uses a fictional artwork to significantly drive a narrative arc within the plot situating the important action within the museum environment. The artwork is both a signifier of the film’s central themes of loss, memory, and a representation of humanities creative impulse. The painting is explored via art formalist means and as metaphor to outline a speculative museology of the high art object inside and outside of the bounds of the particularity of the physical museum. This analysis and discursive treatise probes the importance of the interplay of “high” art and popular culture in a contemporary paradigm and the broader concern of art as bound to the human experience.

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Snaevarr, Stefán. „Pragmatism and Popular Culture: Shusterman, Popular Art, and the Challenge of Visuality“. Journal of Aesthetic Education 41, Nr. 4 (01.12.2007): 1–11. http://dx.doi.org/10.2307/25160248.

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Guard, Julie, D’Arcy Martin, Laurie McGauley, Mercedes Steedman und Jorge Garcia-Orgales. „Art as Activism“. Labor Studies Journal 37, Nr. 2 (05.01.2012): 163–82. http://dx.doi.org/10.1177/0160449x11431895.

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Popular theater has significant, although largely overlooked, potential as a tool for unions to raise members’ political consciousness and strengthen their relationship to the union movement. Activist theater validates workers’ own knowledge, builds workers’ solidarity and self-confidence, and fosters an activist culture. It can also raise gender consciousness within unions. It has particular value for unions attempting to organize precarious workplaces such as call centers, where workers are especially vulnerable and often unfamiliar with unions and union culture. The experience of one group of workers demonstrates how popular theater can be integrated into the labor movement’s repertoire of strategies for building solidarity and revitalizing unions.

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Shin, Shamyung. „A Comparative Study on the Functional Discourse of Popular Culture in Korea and China“. Korean Society of Gyobang and Culture 4, Nr. 2 (30.06.2024): 179–204. http://dx.doi.org/10.58936/gcr.2024.6.4.2.179.

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The purpose of this paper is to examine the meaning of popular culture in Korea and China, and to analyze and compare the pure and dysfunctions of popular culture in the two countries. In China since its transition into the market economy by the reform and opening, its people have become well-off and had more desire to enjoy culture. Under these circumstances pop culture played affirmative roles such as relieving economical and mental stress, educating people and forming civic society. On the other hand, because of cultural imperialism, cultural values and a way of thinking from the West have influenced upon Chinese pop culture and collapsed its traditional spiritual culture, causing the crisis of Chinese humanism. In Korea, the positive aspects of its pop culture are as follows: the Korean pop culture not only serves as a way to express oneself and relieve mental stress but also produces economical profit. However likewise the Chinese case, South Korea is confronted by the crisis of the humanities, traditional art and folk culture. Studying these diverse functions of the two nations’ pop cultures, I could understand the two cultures and seek plans to achieve mutual development gradually through the two countries’ cultural interchanges.

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Salmon, Catherine, und Rebecca L. Burch. „Popular Culture“. Evolutionary Studies in Imaginative Culture 5, Nr. 1 (01.06.2021): 149–52. http://dx.doi.org/10.26613/esic.5.1.232.

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Salmon, Catherine, und Rebecca L. Burch. „Popular Culture“. Evolutionary Studies in Imaginative Culture 5, Nr. 2 (01.12.2021): 155–58. http://dx.doi.org/10.26613/esic.5.2.262.

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Salmon, Catherine, und Rebecca L. Burch. „Popular Culture“. Evolutionary Studies in Imaginative Culture 6, Nr. 1 (01.04.2022): 147–50. http://dx.doi.org/10.26613/esic.6.1.292.

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Salmon, Catherine, und Rebecca L. Burch. „Popular Culture“. Evolutionary Studies in Imaginative Culture 6, Nr. 2 (01.12.2022): 165–68. http://dx.doi.org/10.26613/esic.6.2.317.

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Szekely, Ilona. „Art at the Mall: A Look at the Aesthetics of Popular Mall Art Culture“. International Journal of Art & Design Education 27, Nr. 2 (Juni 2008): 192–201. http://dx.doi.org/10.1111/j.1476-8070.2008.00574.x.

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Dissertationen zum Thema "Humanities -> art -> popular culture"

Georgelas, Althea. „Media to Medium: Representations of Violence, War & Women in Pop Culture“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1822.

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My work is inspired by the mass Media and how it affects the world around me. I am interested in how violence, war and women are represented in popular culture and how this has trickled down into social behavior. I also wonder how much entertainment media reflects deep social ideals. I define mass media as the viral proliferation of ideas using television, cinema, video gaming and the Internet. I am concerned about the social and psychological affects of violent media and how it impacts the lives of women and girls. This is of particular interest to me because I am a woman who has grown up in a media-saturated culture. Many aspects of my life and my identity have been shaped through media influence. I frequently use source material collected from the Internet. My method is to choose a specific word or phrase, and then use search engines to retrieve the associated media. By doing this I am assured that, on any given day, the images and videos returned to me are those most disseminated in mass media for that particular subject. Once I have collected this media I regularly use it to create digital collages, multi channel sound compositions and animated video. There are two threads within this process that intersect as I am working through an idea. At times I manipulate media and synthesize new material to represent my own personal vantage point. This allows me to directly comment on popular media and how it affects my life. The other thread in my practice is the subversion of media to challenge its meaning. These two approaches enable me to comment on media using a format of art-making that is similar to mass media itself. By using appropriated images and sound from popular media I am adopting a language that is understood by media makers and consumers alike. Working in this vein allows me to insert my own voice into the ongoing media-driven dialogue and thus help shape its collective consciousness. At the root of this exploration is a deeply unsettling concern for how mass media shapes social behavior in a way that reduces the individual voice and strips its power to resist. Mass media influences culture but it can also represent collective thought and action. There is a relationship that exists between media and how people act in the real world. Media and consumer are caught in a kind of feedback loop and I question how the individual identity fares. How do women survive in a culture where the blending of entertainment and violence so often targets makes them a target? How has violent popular media affected my life and those around me? How can people secure a truly representative voice against the media that oppresses them? I want my art to push these boundaries so that marginalized voices can be heard.

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Lane, Julia M. „Vessels for the devil: Exploring the rhetoric of the monstrous-feminine in graphic culture“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2580.

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The feminine has long been demonised via popular cultural narratives and in graphic culture. The current state of societal gender imbalance is consistently signified by the visual representation of the feminine as other. This project aims to dissect the feminine in graphic culture, exploring how the feminine comes to be defined as other via the metaphor of the monster. The purpose of this research has been to analyse, identify and respond to the visual rhetoric apparent within and between images of the monstrous-feminine, and also how these images communicate with their audiences. This inquiry is also concerned with the intent of the creators of such monstrosities. As this study is centred around the cultivation of gendered abjection of the feminine, I have employed a Kristevean and feminist body political perspective to unearth rhetorical connections between such visceral representations of the feminine. The creative research undertaken aims to subvert past rhetorics and challenge the use of the monster as an icon of evil within an overly simplistic gender dichotomy. The work aims to playfully question whether monstrosity can be reframed as strength, beauty, and agency within the contemporary visual economy of our increasingly imagistic world. Through this research I discovered that the predominant features that made feminine monsters so terrifying, were the same as those being reappropriated contemporarily to symbolise power and agency.

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Ferreri, Frank. „Sports and the American Sacred: What are the Limits of Civil Religion?“ [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000545.

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sellinger, becky s. „Play Doh's Cave and The Pursuit of the American Cream“. VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3886.

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Take a minute. Imagine Wiley Coyote and Road Runner are in a domestic partnership. What would that look like? Close your eyes and Pause for 30 seconds. Don’t you see? Coyote never catches up. They keep running faster and faster. Everything in the house gets swept into the whirlwind they’ve created in their paths - the books, the shelves, the bed, and the desk lamp. Their circling movement creates a vacuum, which ultimately causes the entire structure to implode upon itself. This text is an examination of my work and its relationship to the economic and the domestic. The metaphor of the tragicomic perpetually failing in the spotlight is a dominant motif standing against a backdrop of an overflowing bloat of unidentifiable mass desperately trying to repel gravity. In the first section of this text I offer a brief overview of my two-year trajectory, and an analytical perspective of my culminating thesis exhibition. In the second section, I share with you a trough of incomplete jokes, and standalone punch lines. This Rolodex I keep of “word sketches” catalogues my search for the shape of a laugh.

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Fèvres, Jessica. „Infographie, images de synthèse et patrimoine monumental : espace de représentation, espace de médiation“. Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00751452.

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La présente thèse pose la question de l'usage des techniques infographiques et images de synthèse pour représenter les vestiges du passé et plus exactement le patrimoine archéologique et architectural. Cette réflexion est bâtie autour d'une approche multiple. Les dispositifs infographiques appartenant, en effet, à l'ensemble des inventions médiatiques et culturelles nées dans la société d'après-guerre, notre étude se veut profondément transdisciplinaire, empruntant des théories à l'Histoire de l'art, l'Archéologie et les Sciences de l'Information et de la Communication. Le parcours suivi consiste à sortir de la dimension purement technicienne afin d'analyser ces dispositifs comme des espaces culturels de représentation, au sein d'une communauté scientifique (les " spécialistes ") et à destination du grand public (les " néophytes "). La figuration du patrimoine monumental à l'aide des outils infographiques n'est assurément pas apparue spontanément en tant que telle du jour au lendemain, que ce soit dans la sphère publique ou dans la sphère plus restreinte de la communauté des chercheurs. Si ce phénomène est évidemment intimement corrélé à l'évolution du secteur informatique, il serait bien trop simpliste de le considérer comme seulement consécutif de cette révolution technologique. En effet, des transformations des espaces médiatiques et scientifiques se jouent parallèlement. La conservation des monuments historiques et sites archéologiques, leur inscription dans l'espace public ou leur mise en exposition suscitent par conséquent débats et controverses au sein de la sphère des chercheurs et des institutionnels. Ces sujets interpellent plus généralement le concept de patrimoine, autant pour des raisons idéologiques qu'historiques. Il s'agit donc de déceler à travers cette étude les éléments socioculturels qui ont engendré l'émergence et le développement de ces pratiques à la fois graphiques, informatiques et scientifiques. Ainsi défini, le contexte nous donne ensuite accès à l'analyse des usages et des appropriations de ces outils par les différents acteurs de la sphère patrimoniale. Il convient enfin de s'attarder sur la matérialité de ces images et de mettre en évidence les espaces de médiation que créent ces dispositifs. En définitive, il semble que ce que nous donnent à voir ces nouvelles représentations, c'est une hybridation des pratiques de communication et des codes signifiants entre culture " savante " et culture " populaire ".

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Merida, Victor M. „Life in the Penit: Framing and Performing Miami's Graffiti Subculture“. FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1184.

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In the tradition of the Birmingham School of cultural studies, this thesis focuses on Miami’s graffiti subculture and the conflicts between market economies and economies of social meaning. As a reference point, I consider Miami’s “Penits”: the name given to the seemingly abandoned buildings where graffiti is performed. Short for penitentiary, the term derives from the 1980s after a large building rumored to be a prison was defunded midway through its construction. After this first reclamation, every other graffiti heterotopia in Miami has been similarly recoded as spaces that mock structures of discipline and industry. Through Michel Foucault’s biopolitical framework I argue that the sovereign state and marketplace conspire to dually criminalize and commoditize the subculture’s performative defiance. I conclude by illustrating how the market itself reinforces the carceral archipelago by framing the subculture’s vandal aesthetic through the normalized, self-interested boundaries of conduct that the market itself deems il/legal.

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Branca, Andrea. „Identity and Popular Culture In Art Therapy“. Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/100.

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This paper explores the psychological concept of identity and how popular culture may be used as a theme in art therapy for exploring and repairing life story. The literature review defines identity from varying perspectives with emphasis on awareness of parallels between popular culture and the client’s personal story. These parallels may offer art therapists a framework of images and memories useful specifically to exploring identity development with clients. The case study places client’s identity into the context of popular culture unique to the experiences of the client at varying life stages.

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Mayhew, Margaret 1936. „Modelling subjectivities: life-drawing, popular culture and contemporary art education“. Phd thesis, Department of Gender and Cultural Studies, 2009. http://hdl.handle.net/2123/7735.

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Sutcliffe, Paul J. C. „Contemporary art in Japan and cuteness in Japanese popular culture“. Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5642/.

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This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture. Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.

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Mayhew, Margaret. „Modelling Subjectivities: Life Drawing, Popular Culture and Contemporary Art Education“. Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/9542.

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This thesis examines life-drawing as a social, cultural and aesthetic practice. It is principally concerned with the changes occurring within life-drawing classes since the mid twentieth century; and how life drawing has spread from being a highly regulated practice confined to art institutions to proliferating among a variety of recreational, semi-professional and pedagogical settings. It is also critically concerned with the discourses surrounding life-drawing, and how these discourses permeate the spaces and practices within life classes. This thesis is concerned with the blind spots in vision, the invisible spaces in the life-room, and how life-drawing as a social practice mediates and manages the imaginary spaces between all participants; spaces of desire, aspiration, alienation and agency. In examining life drawing as a constellation of discourses, aspirations and behaviours, occurring across a number of social and cultural fields, this thesis moves t hrough a number of critical disciplines. The interdisciplinary research involved in this thesis, has involved the development of a number of critical methodologies derived from cultural studies and feminist art theory, and redeployed in a critical examination of life drawing, as a social practice, as a discursive field, and as a compelling and troubling site for inter-subjective encounters. The research for this thesis has been fuelled by the author's experiences as a visual artist and artists’ model in Sydney, and informed by extensive participant observation of life-drawing classes in Australia and internationally. The research consisted of interviews with over fifty participants, comprising artists’ models, artists and senior art-educators, from Sydney, New York, Paris, and the United Kingdom. This thesis develops an account of life-drawing as a performative practice, enabling life classes to exist as liminal spaces where the boundaries between art and sex, education and recreation, and between various cultural mili! eus clai ming and affiliation with ‘high’ art are actively produced and contested. Most critically, this thesis demonstrates the necessity and possibility for the socially reflexive grounding of critical examinations of contemporary art practice. In consciously examining the tacit values aligned with institutionalised categories of art practice and examining the claims, discourses and practices within a range of professional, paraprofessional and amateur art settings, this thesis develops a rigorous interdisciplinary account of how life drawing is experienced, and how a critical understanding of art as a social and cultural practice is necessary to any appreciation of contemporary art and visual culture.

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Bücher zum Thema "Humanities -> art -> popular culture"

Andrew, Buchwalter, Hrsg. Culture and democracy: Social and ethical issues in public support for the arts and humanities. Boulder, Colo: Westview, 1992.

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DeMello, Margo. Teaching the animal: The humanities. New York: Lantern Books, 2010.

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Munson, Deats Sara, und Lenker Lagretta Tallent, Hrsg. Aging and identity: A humanities perspective. Westport, Conn: Praeger, 1999.

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Williams, Bronwyn, und Amy A. Zenger. New media literacies and participatory popular culture across borders. New York, NY: Routledge, 2012.

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Williams, Bronwyn, und Amy A. Zenger. New media literacies and participatory popular culture across borders. New York, NY: Routledge, 2012.

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Funk, Clayton. Contemporary art culture. 2. Aufl. Dubuque: Kendall Hunt Pub Co, 2009.

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Lewery, A. J. Popular art: Past & present. Newton Abbot: David & Charles, 1991.

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Dawson, Beverley. Ballet, popular culture and high art. [Guildford]: University of Surrey, 1998.

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Jane Voorhees Zimmerli Art Museum. Pop art & after: Prints+popular culture. New Brunswick, N.J: Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, 2008.

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Jane Voorhees Zimmerli Art Museum. Pop art & after: Prints+popular culture. New Brunswick, N.J: Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, 2008.

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Buchteile zum Thema "Humanities -> art -> popular culture"

Danesi, Marcel. „AI-Generated Art“. In AI-Generated Popular Culture, 105–25. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-54752-2_6.

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Dao, Myriam. „Visual Art as Alternative Epistemological Approach“. In Digital Culture and Humanities, 215–33. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9209-4_12.

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King, Barbara Amelia. „When Art Was Science“. In Outer Space and Popular Culture, 19–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91786-9_2.

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Crabbe, Anthony. „Museums of Fine Art and their Public“. In Readings in Popular Culture, 208–15. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20700-8_25.

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Peraica, Ana. „Large Datasets and the Particularity of Art: Will There Be Any Art in the Deep Learning Age?“ In Digital Culture and Humanities, 131–43. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-9209-4_7.

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Griffiths, John. „‘Indian Decorative Art’, in The Art Journal Supplement 1886, The Colonial and Indian Exhibition of 1886, p. 5“. In Empire and Popular Culture, 372–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351024709-60.

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Jack, James. „The Art of Upcycling in the Seto Inland Sea“. In Introducing Japanese Popular Culture, 463–74. 2. Aufl. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003302155-54.

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Parham, John. „‘Eco-Cinema’: Art Film and Documentary“. In Green Media and Popular Culture, 177–204. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-00948-7_7.

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Pfefferman, Richard. „Conclusion: The Art of Strategic Reinvention“. In Strategic Reinvention in Popular Culture, 161–65. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137373199_11.

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King, Barbara Amelia. „The Limitless Horizons of Space Art“. In Outer Space and Popular Culture, 53–73. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91786-9_3.

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Konferenzberichte zum Thema "Humanities -> art -> popular culture"

Kera, Denisa. „From Data Realism to Dada Aggregations: Visualizations in Digital Art, Humanities and Popular Culture“. In 2010 14th International Conference Information Visualisation (IV). IEEE, 2010. http://dx.doi.org/10.1109/iv.2010.99.

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Seglins, Valdis, und Agnese Kukela. „ANCIENT GREEN �WISH STONE� OF HATTUSA, TURKEY“. In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s04.04.

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The territory of modern Turkey is abundant in ancient monuments of a various kind and historical periods. Among most notable ones are the ruins of the ancient Hittites capital near modern settlement of Bogazkoy / Hattusas. The remains of the stone structures located in that area have been studied for more than a century and there are many documented discoveries. However, some of these discoveries are still lacking a reliable scientific research data. For that reason, such objects often become popular subjects for discussions by visitors with a wide variety of views. This also applies for the green stone monolith in its shape similar to a cube, located in Hattusa. The time and purpose of the installation and shaping of that stone is unknown, which has given rise to dozens of folklore stories talking about the importance of this stone block, called also as a �wish stone�, where both secret cults and evidence of aliens� technologies and invasions are present. Current study is based on a systematic analysis of images of this green stone artifact, which allowed us to access the damages visible on exposed surfaces of this object. The study is more of a methodological orientation, although some of the similarities in images found on the exposed stone surfaces, indicate the connection of this object with the Ancient Egyptian culture.

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Zhang, Dianhong, und Suning Xu. „Research on Humanistic Technology of Urban Design of Historical Blocks in Harbin“. In 55th ISOCARP World Planning Congress, Beyond Metropolis, Jakarta-Bogor, Indonesia. ISOCARP, 2019. http://dx.doi.org/10.47472/xdcr5147.

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Nowadays, with globalization sweeping across cities, more and more cities tend to develop in the same way, while the sense of existence of local identity becomes weaker. It is often the preferred choice of the city government to construct distinctive characteristics with the help of urban design. Historical blocks have their own unique cultural connotations. How to make them retain their own traditional context in the rapid urban renewal and maintain vitality with the development of the city is an urgent problem to be solved in urban design. In this paper, the research objects are two historical blocks in Harbin which is a representative historical city located on the Northeast China. One of objects is the Central Street of Harbin, which attracts countless foreign visitors every year as a popular tourist area. The other object is the Chinese Baroque Historical Block, which is deserted after renovation and planning. On the basis of urban design, this paper makes a comparative analysis of two historical blocks from the perspective of social humanities, and puts forward the humanistic technology of urban design. Humanistic technology are divided into two technical routes: human and culture. The study of human includes the living needs of local residents, the behavioural feelings of foreign users, the control and management of government development and the distribution of interests of investors. The study of culture includes the combing of the history and culture of the block, the embodiment of space culture and the promotion of value culture. This paper attempts to build a universal theory framework. Humanistic technology will be used as research foundation for urban design in the renovation and conservation planning of cultural heritage.

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Kaliyadasa, P. E., und G. H. N. Maheepala. „In vitro Regeneration of Gypsophila Paniculata L.Through Nodal Segments“. In SLIIT International Conference on Advancements in Sciences and Humanities 2023. Faculty of Humanities and Sciences, SLIIT, 2023. http://dx.doi.org/10.54389/cbho6581.

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Gypsophila (Gypsophila paniculata L.), commonly known as baby’s breath, is a very popular ornamental plant in the floriculture industry. Gypsophilas are often grown as ornamental plants in many European gardens. They are valuable as a cut flower in floristry to add as a filler to flower bouquets. A protocol for the regeneration of Gypsophila paniculata L. using nodal explants grown in the field was established. The induction of multiple shoots was best obtained on Murashige and Skoog (MS) medium supplemented with 1 mg L-1 BAP and 0.5 mg L-1 NAA. After 8 weeks of initial culture, multiple shoots were regenerated from the explants and transferred to the rooting medium with different concentrations of IBA and NAA. The highest number of roots was obtained from the MS medium supplemented with 0.5 mg L-1 IBA and 0.5 mg L-1 NAA within 6 weeks. Rooted plantlets were hardened and established in pots with 89% highest survival rate.

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Amaraweera, Sankaja, und Sucheru Dissanayake. „Pronunciational Swings: British and American Influences on the English Pronunciation of English as a Second Language Learners in Sri Lanka“. In SLIIT International Conference on Advancements in Sciences and Humanities 2023. Faculty of Humanities and Sciences, SLIIT, 2023. http://dx.doi.org/10.54389/nqmf2634.

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In Sri Lanka, which used to be British Ceylon for nearly 15 decades, BrE used to hold a dominant position in all aspects of life. Under globalisation, a shift is observed taking place towards AmE due to numerous developments in science, technology, industry, commerce, politics, and popular culture. Academics and professionals depend on audiovisual recordings of presentations produced either in Standard British English (BrE) or Standard American English (AmE) and broadcast in public media. Against this background, this paper examines the dynamicity of English pronunciation in Sri Lanka caused by BrE and AmE, to which the ESL learners on the island are daily exposed. It also investigates the extent to which BrE and AmE respectively influence English pronunciation in Sri Lanka, filling a notable gap in the existing literature. The research provides valuable insights into some emerging trends in English pronunciation in Sri Lanka, the conditions that influence the Sri Lankan speakers’ attitudes toward the two varieties of English, and the support the ESL teachers can derive from their awareness of pronunciational swings between BrE and AmE in organising teaching practices and materials. Further, some major pronunciation differences between BrE and AmE are explored, highlighting both disparities and exceptions consistent in certain phonetic features. Finally, it explores the dynamicity of English pronunciation in Sri Lanka, emphasizing the need to consider both local and global factors in ESL teaching, with suggestions for effective language learning and communication in global contexts.

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Kim, Charyung, Changyong Jung und Hyunggi Kim. „Kinetic Art: Popular Culture, Invisible ‘Transmission’ of Power“. In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.113.05.

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Xu, Yadi. „Public Pedagogy, Popular Culture and Feminine Consciousness Awakening“. In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.197.

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Cao, Zixuan. „Study of Creatively Popular Short Videos for Chinese Intangible Cultural Heritage“. In 2022 International Conference on Social Sciences and Humanities and Arts (SSHA 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220401.021.

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Joemono, Isabelle Christine, und Roswita Oktavianti. „Popular Culture in Video Content on YouTube“. In 3rd Tarumanagara International Conference on the Applications of Social Sciences and Humanities (TICASH 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220404.204.

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Chairunnisa, Baiq Clara Dita, und Ade Solihat. „Henna Art in Global Era: From Traditional to Popular Culture“. In Joint proceedings of the International Conference on Social Science and Character Educations (IcoSSCE 2018) and International Conference on Social Studies, Moral, and Character Education (ICSMC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icossce-icsmc-18.2019.41.

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Berichte der Organisationen zum Thema "Humanities -> art -> popular culture"

Faces of Northeastern Brazil: Popular and Folk Art. Inter-American Development Bank, Februar 2002. http://dx.doi.org/10.18235/0005912.

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On occasion of the IDB¿s 43rd Annual Meeting of Governors this exhibition honors the City of Fortaleza, capital of the State of Ceará in Brazil. Around eighty wooden sculptures depicting animals, fantastic imagery and religious figures, toys, ceramic plaques, masks, were displayed along with an assortment of objects associated with popular traditions and imagination in Brazil. Outstanding among the pieces is a real Jangada, the boat developed and used by the local fisherman which has become the symbol of the State of Ceará. The Center worked in collaboration with Mrs. Dodora Guimaraes, Chief of the Raimundo Cela Visual Arts Center in Fortaleza, part of the Secretariat and Culture.

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