Dissertationen zum Thema „Humanities -> art -> popular culture“
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1
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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Reekie, Duncan. „Not art : an action history of British underground cinema“. Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2329.
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My thesis is both an oppositional history and a (re)definition of British Underground Cinema culture (1959 - 2(02). The historical significance of Underground Cinema has long been ideologically entangled in a mesh of academic typologies and ultra leftist rhetoric, abducting it from those directly involved. The intention of my work is to return definition to the 'object' of study, to write from within. This process involves viewing the history of modem British culture not as a vague monolithic and hierarchic spectrum but rather as a distinct historical conflict between the repressive legitimate Art culture of the bourgeoisie and the radical illegitimate popular culture of the working class. In this context, Underground Cinema can be {re)defined as a radical hybrid culture which fused elements of popular culture, Counterculture and Anti-Art. However, the first wave of Underground Cinema was effectively suppressed by the irrational ideology of its key activists and the hegemonic power of the Art tradition. They disowned the radical popular and initiated an Avant-Garde/Independent cinema project which developed an official State administrated bourgeois alternative to popular cinema. My conclusion is that Underground Cinema still has the potential to become a radical and commercial popular culture but that this is now frustrated by an institutionalised State Art culture which has colonised the State funding agencies, higher education and the academic study of cinema. If the Underground is to flourish it must refuse and subvert this Art culture and renew its alliance with radical, experimental and commercial pop culture. My methodology is an holistic interactive praxis which combines research, writing, film/video making, digital design, performance and political activism. My final submission will be an open and heterodox mesh of polemic, history and entertainment. Its key components will be a written thesis which will locate this praxis within its intellectual context and a web site which will integrate my research and practice 1997-2003.
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Bonner, Sarah. „Fairy tales and feminism in contemporary visual art and popular culture“. Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518484.
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Vest, Jacques. „Making Authenticity: Polk Miller and the Evolution Of American Popular Culture“. VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2303.
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This thesis examines the life and musical career of James "Polk" Miller of Richmond Virginia, a Confederate veteran, and successful pharmacist. Miller claimed to offer the only authentic version of antebellum slave music, and was renowned as a convincing "negro delineator." In his focus on race, performance, and authenticity, Miller straddled a number of cultural currents linking him to his nineteenth century predecessors as well as the cultural milieu of the twentieth century. About the turn of the century, he added a black quartet to his act in order to more fully capture his conception of the "authentic" slave music of his youth, a decision that ultimately led to his failure as a stage performer. Audiences' receptions of Miller's quartet illuminate the dynamic way in which performance and race intersected in the early twentieth century.
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Dungan, Drew W. „South Park and absurd culture war ideologies the art of stealthy conservatism /“. To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
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Sherwell, Tina. „Imaging the homeland : representations of Palestine in Palestinian art and popular culture“. Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269144.
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Gustafsson, Malin, und Linn Rix. „Contemporary Popular Culture for Educational Purposes – Teaching English“. Thesis, Malmö högskola, Lärarutbildningen (LUT), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34842.
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The purpose of this dissertation is to examine four teachers’ of English perceptions of the use of CPCE in their teaching. When reading the control documents of the Swedish school, indications pointing towards the use of CPCE texts in teaching were found. Therefore we took an interest in finding out how teachers choose to implement CPCE in their teaching. We have combined the methods of semi structured qualitative interviews and the use of a focus group to gather the data needed. Our main findings consist of how the concept of popular culture is understood by our informants. They find the concept vast as it entails such a broad variety of texts such as TV shows, film, the Internet, magazines and literature. Teachers select appropriate CPCE materials with regards to their pupils’ preferences. However, our findings of how these materials are implemented in their teaching of English vary and are to be considered limited.
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Woods, Carrie L. „Visual Culture: A Case Study“. Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193266191.
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Hockemeyer, L. „Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture“. Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
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Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
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Egerton, Jacqueline Linda. „Beyond the sentiment : the image of Victorian motherhood in literature, art and popular culture“. Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273194.
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Muzart, Fonseca dos Santos Idelette. „Em demanda da poética popular : Ariano Suassuna e o Movimento Armorial /“. Campinas : Ed. da Unicamp, 1999. http://catalogue.bnf.fr/ark:/12148/cb37730759r.
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Farinas, Rebecca Lee. „The Aesthetic Agency of Popular Culture in the Writings of Pierre Bourdieu and Arthur C. Danto“. OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/949.
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ABSTRACT The Aesthetic Agency of Popular Culture: In the Writings of Pierre Bourdieu and Arthur C. Danto Rebecca L. Farinas, Ph.D. Pierre Bourdieu and Arthur C. Danto are significant interlocutors in the areas of aesthetics and popular culture. This study affirmatively answers a question raised by both writers, that popular culture puts forward a strong enough aesthetic to change elitist views of society, which concern people's disrespect for the importance of commonplace and everyday experiences. Bourdieu approaches the problem by applying sociology to aesthetics, and Danto raises the question through a view of aesthetics based on his philosophy of culture, which he begins to cultivate in his late writings. Each approach is important, in that firstly through looking at culture through sociology we can omit highbrow abstractions of some philosophies, and look evidentially at the dynamics of aesthetic agency. Secondly, thinking about culture philosophically, we can reveal how people's feelings and actions make meaningful and ethically valuable aesthetic representations. Comparing the two perspectives, we find two different views of how contemporary societies change for the better through individual and communal aesthetic actions. It is Danto's theory of culture, however, which answers the question of the agency of popular culture fully, because his theory of the third realm of beauty is constituted through communal values, which grow out of people's relationships as they interact through everyday, commonplace experiences. Bourdieu and Danto's writings converge on many points, and we can notice several similarities and one major difference in their philosophies. The main similarities are; that feelings and perceptions change social conditions through ideas and actions, that popular culture is facilitated by people's common relationships with one another, and that people who contribute to a commonplace ethos of mutual respect and openness re-possess popular culture with agency, in contrast to a weak sense of culture that is controlled by abstracted concepts and elitist judgements. Danto's distinction in aesthetics through value making, is especially important because in our contemporary, interconnected, global world popular culture needs to do more than merely create nationalistic standards and static traditions. For Danto, people develop a more creative and fair world through understanding and acting on their commonality of inner beauty. Inner beauty is an aesthetic spirit of virtues made through our reciprocal participation in our cultural representations, and we use this agency to propagate our belief in each other as unique and caring human beings.
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Schneck, Christie. „Between Words: Popular Culture and the Rise of Print in Seventeenth Century England“. Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5485.
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Seventeenth century England was forced to come to terms with events such as the Civil War and the regicide of King Charles I, in the midst of contending with the cultural changes brought upon by print culture, the effects of which appeared throughout all aspects of English society. These changes helped form a relationship between print and oral culture, one of negotiation among the producers and regulators of work and the society consuming the works. The discussion of this negotiation has led to varying conclusions concerning the true impact of printed materials on English society and culture, all of which tend to see the relationship in one of two ways: print's undeniable and unprecedented influence on culture, or its function as supplement to oral and visual communication. The latter conclusion helped form the foundation of this study, which aims to further understand the negotiation between print and English society. The close analysis of recurring themes of the supernatural, specifically prophecy, witchcraft, regicide, and the natural world, will show unmistakable similarities between popular entertainment and written works. Through the examination of these themes, this thesis will illustrate the extent to which common imagery and wording appeared in newsbooks and what this says about oral communication and culture in early modern England.ID: 031001459; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Peter Larson.; Title from PDF title page (viewed July 8, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 95- 104).
M.A.
Masters
History
Arts and Humanities
History
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Cascardo, Ana Beatriz Soares. „Grafite contemporâneo no Brasil: da subversão à incongruência conceitual a serviço da arte“. Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4679.
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A pesquisa analisa os discursos construídos em torno da manifestação cultural conhecida como grafite, abordando os conceitos flutuantes sobre o que seria grafite e o seu papel no mundo da arte. O grafite é abordado como uma manifestação cultural urbana, típica das grandes metrópoles contemporâneas, destacando-se seu caráter popular, que surge e se desenvolve a partir do cotidiano das pessoas no meio social. Foram enumerados e analisados os recursos utilizados para a construção ideológica do grafite como arte e como se dá esta relação, que ocorre de maneira negociadaThis research is focused on the ideas concerning the cultural manifestation known in Brazil as grafite and on the identification of a great range of different concepts regarding the meaning of graffiti and its role in the art world. We see the grafite as an urban and cultural manifestation, characteristic of the contemporary big cities and we captured its popular nature, which emerges and develops in the everyday practices. We listed and analyzed the resources used for the ideological construction of the graffiti as a form of art and how this relation is constructed
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Marfella, Claudia. „Art, industrial design, science and popular culture : modernism and cross-disciplinarity in Italy and Great Britain, 1948-1963“. Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/33746/.
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Conceived inside a chronological frame, which starts in 1948, the year the Institute of Contemporary Arts in London founded, and ends in 1963, when Gillo Dorfles wrote a crucial essay on industrial design, concluding more than a decade of discussions, the thesis aims to examine some artistic and cultural phenomena identified in Italy and Great Britain, and seen as the acknowledgement or as the reaction to modernity. Topics and fields taken in consideration within the thesis are technology, science (fact and fiction), vision of the future, the relationship between arts and the awareness of industrial design as a new discipline. All these aspects, that might seems unusual in relationship with visual arts, are perceived as the expression of a second phase of Modernism. The British personalities included in the thesis are Reyner Banham, Richard Hamilton, Nigel Henderson, John McHale, Eduardo Paolozzi, Alison and Peter Smithson, all members of the Independent Group. With the presence of architects, visual artists, photographers, critics and, in a broader sense, designers, the group encompassed a variety of popular interests, with the inclusion of mass‐produced goods. The Italian figures presented in the thesis – Gillo Dorfles, Bruno Munari, Ettore Sottsass and Giuseppe Pinot‐Gallizio – focused on industrial design objects, viewed as a new artistic branch, to promote, to plan or to question. Other recurring figures analysed in the thesis are Max Bill, Asger Jorn and Tomás Maldonado, who give international connections to the themes and British and Italian personalities examined. In order to provide a wider understanding of the 1950s and their crucial function in the story of post‐war Europe, the thesis aims to emphasise the role played at different level by British and Italian visual artists, designers and critics, and explain the reasons that, in the following decade, would push Italy in its industrial miracle and Great Britain at the peak for its popular culture, pop music and fashion creativity.
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Fredwest, Janice M. „Popular Library: Rethinking the Cultural Relevancy of the American Public Library“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277140389.
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Fernandez, Samuel. „Popular religiosity and Hispanic liturgy toward a mutual enrichment /“. Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Vermorel, Fred. „Biography & identity, celebrity & fanhood : researching intersections of avant-garde and popular culture“. Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22495/.
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This PhD by publication critically reviews the background, context, and reception of work published from 1978-2008. The work surveyed, comprises popular music biography, texts on art school influenced bohemia and counterculture, and on celebrity and fan culture. The social and cultural context of the work is mapped and methodological and stylistic issues addressed. The origins of the punk aesthetic through the Sex Pistols is charted. The turn in celebrity studies towards a "fan culture" based approach is demonstrated by the publication of 'Starlust' in 1985. Subsequent work on "fan culture" is discussed. Issues relating to researching and theorising popular culture and cultural and design history are debated. Extracts from the publications cited are provided.
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Atashroo, Hazel A. „Beyond the 'Campaign for a Popular Culture' : community art, activism and cultural democracy in 1980s London“. Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/414571/.
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This thesis offers a new cultural history of State sponsored cultural production in London under the Labour led Greater London Council during the 1980s, bringing the GLC’s cultural policy interventions to the attention of historians of art and culture. The Greater London Council’s Arts and Recreation Committee, and in particular its new ‘Community Arts’ and ‘Ethnic Arts’ Sub-Committees, sought to challenge the Arts Council’s dominant model of cultural sponsorship which aimed to broaden public access to ‘the arts’. The GLC attempted instead to foster a participative ‘cultural democracy’ in London, often centred upon particular political themes and identities. Alongside existing accounts which focus exclusively upon the GLC’s cultural policy discourse, this new cultural history attends to the other side of the sponsorship equation, namely, what cultural forms were prioritised by the various committees, how such policies were perceived by the recipient cultural producers, what cultural texts were produced as a result of GLC sponsorship and how these cultural forms were received more broadly. It explores how the GLC impacted upon cultural production in London, looking to the interrelationship between particular GLC sponsored cultural outputs, whether artworks, murals, posters or films, and wider political and social themes pertinent to that historical moment. In particular, this thesis interrogates cultural forms funded under the auspices of two city-wide campaigns, ‘GLC Peace Year’ (1983) and ‘London Against Racism’ (1984), in order to consider the relationship between GLC cultural sponsorship, cultural production, new social movement activism and democratic participation. Cultural forms of nuclear criticism were funded during ‘Peace Year’ to raise awareness about the GLC’s Nuclear-Free Zone, contradicting central government’s nuclear stance in 1983. These included artist-commissioned poster campaigns and banners, peace murals, pop concerts, community theatre, photography exhibitions and documentary films, including some related to peace activism by women. This case study traces Peace Year’s cultural output to consider the effects of this appeal to London’s nuclear anxieties. The second case study offers a re-reading of the GLC’s new ‘Ethnic Arts’ Sub-Committee’ and its attempts to instigate an anti-racist cultural policy, as part of a broader campaign that sought to address the issue of discrimination in London and across all areas of Council work. It begins by recording a number of the GLC’s initiatives in this area, including its sponsorship of various forms of black cultural production and in particular, the controversial ‘Anti-Racist Mural Project’. Through an examination of contemporaneous and subsequent critical accounts of the GLC’s experiments alongside Council minutes and papers, this account adds nuance to existing narratives by identifying the climate of coexisting and competing discourses at the GLC relating to the state sponsorship of culture and diversity. Ultimately, ‘Beyond The ‘Campaign For A Popular Culture’: Community Art, Activism And Cultural Democracy In 1980s London’ presents a history of the practices and policies of the GLC that is pointedly cultural in focus and attempts to open this field of study to researchers interested in visual culture, art history, community art, identity politics, activism and urban history, alongside those with an interest in cultural policy making at a local government level.
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Koehler, June, und June Koehler. „An Old Art for a New Culture: The Popular and the Avant-Garde in Josep Renau's Nueva Cultura“. Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12418.
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The Spanish artist Josep Renau (1907-1982) published the propaganda
periodical Nueva cultura from 1935 to 1937. Although richly illustrated with cuttingedge
graphic design and photomontage, it made use of popular culture with more
frequency than might be expected in a left-wing, vanguard publication. This is seen
most notably in the March 1937 special edition, published to coincide with a local,
popular festival. In the special edition, Renau primarily utilized popular forms of
illustration in the layout. Further, by publishing it in the regional language rather
than Castilian Spanish, he attested to the importance of addressing people in their
own language, both linguistically and formally. This thesis examines the periodical in
relation to philosopher Mikhail Bakhtin’s writings on folk culture and James V.
Wertsch’s research on collective remembering.
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Arias, Chris. „Culture and a Connection“. VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1762.
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Culture and a Connection In the Spanish province of Asturias, many homes built in the16th and 17th centuries are constructed of dry-stacked stone and large timbers for floor joists, rafters, decking. They are topped with large, irregularly shaped roof slates. Alongside many of these homes stands a rectangular granary called a cabazo. The cabazo, similarly constructed, is a stand-alone structure about twenty feet tall, six feet wide and twenty feet long. The main portion, (the storage area), stands ten feet off the ground atop two large, tapered columns. The upper level is typically separated form the lower level by a massive flat, horizontal stone that protrudes past the face of the columns. This one stone is the floor of the granary. The height above the ground and the continuous flat stone keep the food dry and safe from animals. The stone of the columns, quarried from nearby hills, consists of pieces as small as driveway gravel and as large as shoeboxes. Even though they were built of varying size stones the builders created large, extremely flat vertical planes. Two beams, roughly hewn from chestnut logs, span one column to the next, and support the storage area and roof. These curious structures, born from utility and perched on the hills of the Asturias countryside, have become local cultural icons. A record of visible human participation is left in the traces and details made by the tools of the workmen who built these cabazos. The traces make the connection between the structure and the hand of man, an immediate expression of the granary’s essence and thus an integral part of the local culture. The industrial age introduced powerful machinery into the tool set of the designer. Extruded steel and reinforced concrete enable designers to create monumental structures within relatively short periods of time. Although the advent of these methods signaled the loss of the record of human participation, the hand of man was also lost in the repetition and redundancy found on the factory floor. The scale of the effort was hidden and diluted by the machinery used to construct the modern forms. The absence of visible traces of the men who built the structures creates a disconnect between humans and the built environment. It is not feasible to go back to creating homes by stacking stones together or using hand tools to construct office buildings, but the materials that are produced by factories can become a new source of raw materials for designer and builder in a way that engages the craftsman. I believe that through the careful use of technology and materials, as well as the inclusion of the craftsman, an environment can be created that extends beyond formal appreciation and expresses a deeper connection between man, culture, and the built environment.
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Sherrick, Howard Joseph Jr. „Ewiges Deutschland as an Examination of Popular Political Culture in National Socialist Germany 1939-1940“. VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/205.
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Under the Reich Ministry of Propaganda and Popular Enlightenment functioned the Winterhilfswerk des deutschen Volkes (the “WHW”), or Winter Assistance Program of the German people. Initially designated in 1933 to assist the unemployed, the WHW expanded its reach by disseminating propaganda in the form of an annual edition of the Ewiges Deutschland:Ein deutsches Hausbuch household book from 1939 through 1943, intended to entertain and politically educate German family members throughout the year. Decidedly more comprehensible than Mein Kampf, another widely popularly disseminated book in Nazi Germany for weddings, Ewiges Deutschland likely enjoyed a more satisfied audience of readers. A study of all five original volumes published totaling approximately 1,800 pages of primary source material, together with secondary supporting resources, suggests a dynamic relationship between the political intentions and propaganda value of the material published and the existing popular political culture. The Propaganda Ministry clearly understood this relationship and attempted to exploit and manipulate it. This relationship however was not static, and the explicit propaganda, its message, and associated literature changed over the course of the years studied according to the context of current events. This study illuminates our understanding of what daily life, culture, and many widely held beliefs were, and what they were intended to be, during the Third Reich. It concludes that popular political culture was less ideologically Nazified and radicalized than generally assumed.
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Toukan, Hanan. „Art, aid, affect : locating the political in post-civil war Lebanon’s contemporary cultural practices“. Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604312.
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Levitt, Linda. „Hollywood Forever: Culture, Celebrity, and the Cemetery“. [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002416.
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34
Swanson, Joshua. „Talk This Way: A Look at the Historical Conversation Between Hip-Hop and Christianity“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3810.
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Christianity and Hip-Hop culture are often said to be at odds with one another. One is said to promote a lifestyle of righteousness and love, while the other is said to promote drugs, violence, and pride. As a result, the public has portrayed these two institutions as conflicting with no willingness to resolve their perceived differences. This paper will argue that there has always been a healthy conversation between Hip-Hop and Christianity since Hip-Hop’s inception. Using sources like Hip-Hop lyrics, theologians, historians, autobiographies, sermons, and articles that range from Ma$e to Tipper Gore, this paper will look at the conversation between Hip-Hop and Christianity that has been ongoing for decades. This thesis will show why that conversation is essential for the church and necessary for Hip-Hop artists to express themselves fully. This paper will show rap and Hip-Hop culture to be a complex institution with its own theology, history, and prophets – that uses its own voice to express how urban youth view not only their lives but also how God and the church are present in their lives.
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Ryan, Michael Joseph. „Hard knocks on a thick skull training the body for a "closed habitus" in a Venezuelan civilian combative art /“. Diss., Online access via UMI:, 2007.
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Weller, Rebecca Ann. „Los Angeles look(ing) process, perception, and popular culture in the art of Larry Bell, Craig Kauffman, and John McCracken /“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 270 p, 2008. http://proquest.umi.com/pqdweb?did=1601513221&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Boneh, Galia. „Moving from entertainment towards art a new model for creating performance on HIV/AIDS /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1568127991&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Laforge, Frédéric. „De la question éthique à l'esthétique /“. Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.
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Jones, Danielle Lynise. „Perception of cuteness and beauty“. Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002538.
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Cavazos, Nina. „The Art of Devotion: Style, Culture, and Practice in Mid-Nineteenth-Century Kashmir“. DigitalCommons@USU, 2016. https://digitalcommons.usu.edu/etd/4878.
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This thesis critically examined gutkas – illuminated, pocket-sized anthologies of texts, hymns, and prayers that a Hindu would recite in a sacred place in the home, usually near an altar – produced in the Kashmir Valley during the mid-nineteenth century. Previously relegated to the periphery of scholarly discourse due to academic discriminations against “folk” culture, the goal here was to consider these objects and their paintings through the combined lenses of art history, cultural history, and religious studies in order to speak about gutkas in a deeper and more meaningful way. Here, gutkas from Utah State University, the Smithsonian Freer|Sackler Galleries, and the British Library were used as a tool to situate their makers within intricate familial webs of artistic practice, identify patterns of consumption and attitudes of ownership among a South Asian middle class, and reconstruct the objects’ function within Hindu devotional practice.
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Dantas, Maria Josevânia. „Cenopoesia, a arte em todo ser: das especificidades artísticas às interseções com a educação popular“. Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8581.
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This paper brings up an important issue in popular culture, but rarely addressed in the academic setting: the “cenopoesia”. The phenomenon stands in the study anchored by the themes of art and popular education. It aims at understanding and interpreting the “cenopoesia” as artistic specificity to unravel whether we can identify it as an expression of popular education. Methodologically, the study has a qualitative approach, referenced by the dialectical method and has an exploratory purpose. As investigative tools, we use the literature and documents, participant observation and open questionnaire applied to ten (10) “cenopoetas”, analyzed in the light of the technique content analysis. The research highlights the artistic nature of “cenopoesia” from the historical analysis of the concept of art emphasizing its hybrid aspect and its open work perspective arguing that we can all live and make art. Strives to learn the meaning, of its “cenopoesia” history, how it is, constituted and how it expresses itself. Uses historical review and the foundations of popular education by examining the perceptions of “cenopoetas” as for their views on “cenopoesia” and their approaches to popular education. Finally, it presents some interpretations of the “cenopoetas” acting weighted by an analysis between theory and practice. The study reveals that “cenopoesia” is guided in an artistic perspective with hybrid basis, in which its actions result from an open and democratic creation process accepting all forms of expression along its manifestations, knowledge, experience and languages through an autonomous and affective dialogue. It searches for overcoming the artistic exceptionality in order to restore the ontological creative condition of the people. Its practice is characterized by the articulation of human repertoires and its compositions are made through various modalities. The performance of “cenopoetas” legitimizes “cenopoesia” as knowledge built in praxis, from experiences and life experiences. The "cenopoesia" emerges in a popular background, adopted by people who are involved and active along the transformation of the environment where they live. It appears as a movement in defense of the creative freedom, communicative democratization, human emancipation, empowered by the inventive form of resistance created to highlight its presence in history.
Esta dissertação traz à baila um tema relevante na cultura popular, mas pouco abordado no cenário acadêmico: a cenopoesia. O fenômeno ergue-se no estudo ancorado pelos temas da arte e da educação popular. Objetiva compreender e interpretar a cenopoesia enquanto especificidade artística, a fim de desvendar se podemos identificá-la como expressão da educação popular. Metodologicamente, o estudo tem abordagem qualitativa, referenda-se pelo método dialético e tem finalidade exploratória. Como instrumentos investigativos utilizamos o levantamento bibliográfico e documental, observação participante e questionário aberto aplicado a 10 (dez) cenopoetas, analisados à luz da técnica análise de conteúdo. A pesquisa sublinha a natureza artística da cenopoesia a partir da análise histórica do conceito de arte, destacando seu aspecto híbrido e sua perspectiva de obra aberta, defendendo que todos somos capazes de viver e de fazer arte. Empenha em conhecer o significado, a trajetória, como se constitui e como se manifesta a cenopoesia. Recorre à revisão histórica e aos fundamentos da educação popular, ponderando as percepções dos cenopoetas quanto às suas concepções sobre a cenopoesia e as suas aproximações com a educação popular. Por último, tece algumas interpretações sobre a atuação dos cenopoetas, mediadas por uma análise entre o discurso e a prática. O estudo revela que a cenopoesia pauta-se numa perspectiva artística de base híbrida, em que suas obras resultam de um processo de criação democrático e aberto, acolhendo nos seus atos todas as formas de expressão, de saberes, de experiências e de linguagens, por meio de diálogo autônomo e afetivo. Busca a superação da excepcionalidade artística de modo a restaurar a condição ontocriativa das pessoas. Sua prática caracteriza-se pela articulação de repertórios humano e suas composições se efetivam por meio de diversas modalidades. A atuação dos cenopoetas legitima a cenopoesia como um saber construído na práxis, a partir de vivências e experiências de vida. A cenopoesia emerge em solo popular, sendo praticada por pessoas que estão envolvidas, ativas, na transformação do meio onde vivem. Configura-se como uma manifestação em prol da liberdade criativa, da democratização comunicativa, da emancipação humana, fortalecendo-se como uma forma inventiva de resistência criada pelo povo para se fazer presença na história.
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Chen, Hsiao-ping. „The Significance of Manga in the Identity-Construction of Young American Adults: A Lacanian Approach“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1292280906.
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Wish, Cyndi. „It's the way it shatters that matters“. Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/27840.
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The following dissertation is an investigation of print, language, political rhetoric, and use of the multiple in identifying and evolving culture. It is also a description of American culture over the last century, and the figureheads in the arts, from Duchamp to G. G. Allin, who were crucial in creating the confusing entity that is contemporary American culture.
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Adams, Alissa Rachel. „The emperor is dead, long live the emperor: Paul Delaroche's portraits of Napoleon and popular print culture“. Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2431.
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This master's thesis seeks to dispel the myth that nineteenth century painter Paul Delaroche's art was either apolitical or politically conservative. Through an examination of Delaroche's portraits of the late Napoleon I in conjunction with contemporary napoleonic prints, one finds that Delaroche was, indeed, deeply involved with contemporary politics. A close examination of his portraits shows that this involvement manifested itself in support for both the Cult of Napoleon and for the Bonapartist party.
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Dias, Paulo Henrique Barbosa. „Musica que meu povo gosta“. [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280467.
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Orientador: Jose Mario Ortiz RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A tese analisa os modos como um grupo de sujeitos localizados socialmente define suas preferências por bens simbólicos em geral e por obras, intérpretes, gêneros e estilos musicais em particular. Para tanto procuro 1) definir que lugar ocupa o consumo de bens simbólicos ¿ em especial a música ¿ no conjunto de experiências de que os sujeitos participam ¿ a posição deste tipo de consumo na hierarquia de suas prioridades; e 2) descrever as situações concretas em que as obras são apreendidas e os processos através dos quais as experiências de que o sujeito participa cotidianamente definem os significados atribuídos às obras.. A pesquisa toma por referencial empírico habitantes de uma região localizada na periferia de Campinas (Distrito Industrial de Campinas, o DIC). Tal escolha deveu-se ao meu interesse em abordar a discussão sobre gosto ancorando-a no espaço social definido pelo pertencimento aos segmentos populares. Assim, associa-se, na pesquisa, análises de correlações entre fatores sócio-econômicos e práticas de consumo de bens simbólicos às baseadas em observações etnográficas dos comportamentos e percepções dos atores. Entre muitos padrões observados pode-se perceber a predominância dos repertórios caracterizados pelo ecletismo, o que em determinadas situações estaria associado a algum grau de tolerância à diversidade
Abstract: This thesis analyze the ways that groups of specific places define your preferences about symbolic goods in general and about oeuvres, interprets, genders and musical styles in particular. To make this work try to:1) define the place of the consume of symbolic goods ¿ especially music ¿ in these peoples¿ experiences ¿ the position of this kind of spend in the priorities¿ hierarchy; 2) To describe the concrete situations where the artistic oeuvres are apprehended and the process through of the daily experiences of this people define the meanings attributed to this oeuvres. The research uses as empiric referential, the habitants of a region placed in the Campinas¿ periphery (Industrial District of Campinas, DIC). This choice comes from my interests in approaching the discussion about taste linked in the social space defined by the belonging to the popular social segments.Thus, it is associated in the research, analysis of correlations between socioeconomics factors and practices of consume of symbolic goods. Among many patterns observed it is possible to perceive the predominance of repertories characterized by the eclecticism. It, in some circumstances, could be associated to the tolerance to the diversity
Doutorado
Doutor em Ciências Sociais
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D'Olimpio, Lauralin. „The moral possibilities of mass art“. University of Western Australia. Philosophy Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0172.
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This Thesis critically examines the moral possibilities of mass art. Mass art is often dismissed by critics as pseudo or ersatz art, described as 'kitsch' and lacking in aesthetic and moral value. I will critically examine several definitions of mass art which argue whether or not mass art can and should be classified as art qua art, and what its moral possibilities are given that definition. I focus my analysis on the theories proposed by Noel Carroll, Clement Greenberg, R. G. Collingwood, Dwight MacDonald, Walter Benjamin, T. W. Adorno and Max Horkheimer with a view to defending a positive account of mass art as art with moral capabilities while also arguing that the ethical concerns raised by Adorno and Horkheimer must be taken seriously. After examining the aesthetic and ethical issues that are raised by mass art and how these inter-relate, I explore the link between aesthetic and ethical education. Drawing upon Martha Nussbaum's theory of literary education, I outline a supplementary moral theory that I term
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Rioux, Christine. „Découverte d'une industrie culturelle, la reproduction des oeuvres d'art au Québec“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29118.
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This dissertation explores the process of reproduction of works of art in the province of Quebec. Reproduction is studied historically, considering its significance as a cultural industry and its characteristics as a mode of communication. The dissertation first engages the theoretical discourse surrounding the novelty of technologies of reproduction of art works at the turn of the century and further pursues an exploration of reproduction within the framework of postmodernity. The phenomenon is studied with special attention to the movement of art works into private spaces.In considering the history of reproduction with regard to works of art in Quebec, four distinct periods have been established: 1936-1950, the novelty of techniques of reproduction; 1950-1970, the era of education; 1970-1980, the discovery of national identity through reproductions of Quebec artists; and 1980-1989: the consolidation of a new market; 1989-1990: the economical boom of the market and the structures get organized.
The portrayal of this new cultural industry is traced and its different characteristics considered. Selection of works, styles, marketability and motives for purchase are presented problematically. Thus, in the last chapter, a theory for art reproductions as a silent mode of communication in the private space is explored.
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Miller, Elizabeth. „Manipulating the Hype: contemporary art's response to media cliches“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10099.
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Manipulating the Hype addresses art’s reaction to the barrage of signs produced by the media. The paper researches contemporary art’s response to clichéd media stereotypes and elucidates artists’ multifaceted perspective on overtly obvious yet widely embraced paradigms marketed by the media. Contemporary art’s strategic reconfiguration of media stereotypes is a valuable introspection upon the superficiality and impracticability of advertising and entertainment industry constructs. By reconsidering the mediated image, art has the ability to inspire reevaluation of cultural values. The thesis additionally attempts to ascertain the reinterpretation of media stereotypes as a common thread linking principal art movements and historically significant artworks from around the world since 1960. How does contemporary art respond to the extensive cultural influence of the media? Is a reaction to mass media a thematic commonality linking contemporary artists in the age of globalization? Manipulating the Hype is a dual outcome investigation comprised of written thesis and studio practice. The written thesis combines experience from a lengthy professional practice with historical and theoretical research. The visual thesis consists of twelve photographic works taken at on the Big Island of Hawaii. The images juxtapose artificial icons of power from popular culture with the natural force of the active lava flow. The process of research discloses how the advertising and entertainment industries capitalize upon innate human desires through the manipulative proliferation of archetypal imagery. Furthermore, the thesis establishes the widespread retort to media clichés as a palpable commonality in studio practices worldwide. The findings in the research make evident that although contemporary art does not have sufficient influence to reform the media, it can heighten public awareness of media tactics.
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Lederman, Jonathan E. „Ethical applications of free culture applied for art education : piloting chinavine as an interactive model“. Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1444.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Philosophy
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Harrison, Mia Jayne. „Using Zombies in the Critical Medical Humanities: A Transdisciplinary Methodology for the Development of Ethical Thinking and Feeling“. Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/24010.
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This thesis investigates the critical potential of the zombie figure for the enhancement of ethical debates in the areas of health and medicine, both as an illustrative intervention into current debates and as a way of provoking new ones. Situated within the emerging field of critical medical humanities, it draws on transdisciplinary theoretical precepts to conduct a close study of two types of narratives: those produced in popular zombie films and television, and those popularly generated out of scientific and public understandings of medical phenomena. Through four transdisciplinary case studies, it utilises a qualitative and experimental research approach combining methods of close textual analysis, critical discourse analysis, thought experiments, and radical qualitative comparison. These case studies analyse a series of cinematic and cultural zombie types and use them as a source of theory to critically and affectively investigate a range of biomedical topics. Through this process, this thesis develops a transdisciplinary methodology for addressing difficult ethical questions posed both in the specialised field of medical ethics and in broader public discourse. In doing so, it responds to a call in medical ethics for a more expansive approach to ethical thinking, arguing that close critical attention to popular culture broadly, and the zombie specifically, can promote feeling-inflected approaches to addressing ethical and philosophical opportunities in health and medicine. Furthermore, it argues that feeling and affect produced through popular culture constitute a strong and much-needed mechanism for ethical thinking in health and medicine. In developing this transdisciplinary, multimodal methodology and applying it to biomedical and bioethical case studies, the approach of this thesis offers a rich, flexible, and generative contribution to critical medical humanities and beyond.