Dissertations / Theses on the topic 'Popular culture – 21st century'
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Ingvoldstad, Bjorn Paul. "Post-socialism, globalization, and popular culture 21st century Lithuanian media and media audiences /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3219906.
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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2006.Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 1962. Adviser: Barbara Klinger. "Title from dissertation home page (viewed June 21, 2007)."
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Bremner, Natalia Katherine. "The politics of popular music and youth culture in 21st-century Mauritius and Réunion." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8985/.
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This thesis examines the politics of popular music and youth culture in two geographically close but socioculturally distinct Indian Ocean islands: Réunion (a French overseas département) and Mauritius (independent from Britain since 1968). Neither island has an indigenous, pre-colonial population: the respective societies have thus formed through successive waves of immigration, including the importation of slaves and indentured workers from Madagascar, Africa, and Asia, resulting in extremely ethnically diverse populations, on both a communal and individual level. The island societies both began the twentieth century as sugar-producing plantation colonies, but by the beginning of the twenty-first century, their socioeconomic landscapes had been dramatically transformed: independent Mauritius was proclaimed as an ‘African tiger’ thanks to astute state management of limited resources, and Réunion became a French département d’outre-mer, with living standards now similar to those of metropolitan France. Although both island societies experienced dramatic and rapid transformation, however, modern-day Réunion and Mauritius have come to represent opposing postcolonial experiences. This has resulted in the adoption of opposing approaches to the question of ethnic and racial difference: whereas the Mauritian Constitution officially acknowledges the existence of ethnoreligious ‘communities’, ethnic difference is not officially recognised in Réunion due to colour-blind French Republican policy. The following analysis seeks to show that the study of contemporary popular culture can provide particular insights into the workings of these two creolised, postcolonial societies. Considered here principally through the lens of popular music and youth culture, it will be argued that contemporary Réunionese and Mauritian popular music and youth cultures engage with political and social issues specific to each context. This is discussed in Part II in relation to Kreol language politics, which shows that popular music can be said to work towards changing mentalities still influenced by colonial language prejudices; and in Part III as concerns popular culture’s engagement with discourses of inclusion and exclusion within the national community.
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Cunningham, T. LaRae. "Eating soil and air the culinary avant-garde at the turn of the 21st century /." Diss., Online access via UMI:, 2007.
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Abbott, Carol A. "A 21st Century Investigation of the Historical, Musical and Acoustical Contexts of a 19th Century Comic Opera, Schermania in America, Composed by Dr. Gabriel Miesse, Jr." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1303937248.
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Galletta, Thiago Pires 1979. "Cena musical independente paulistana - início dos anos 2010 : a "música brasileira" depois da internet." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279205.
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Orientador: Pedro Peixoto FerreiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Os desenvolvimentos sócio-técnicos observados em torno da internet, ao longo dos anos 2000, são fundamentais para entendermos o processo de formação de uma nova geração produtora e consumidora de música no Brasil. Este processo é especialmente significativo quando se considera a música produzida pela chamada ?cena brasileira independente? contemporânea. Neste contexto, cada vez mais artistas partícipes desta cena, viabilizando seus trabalhos sem o aporte de grandes gravadoras, têm alcançado repercussão significativa junto a públicos segmentados, obtendo crescente reconhecimento em premiações nacionais de música e em uma gama variada de mídias especializadas, nas quais esta produção musical tem sido apontada como responsável por muitas das inovações e contribuições estéticas mais significativas no atual panorama da ?música brasileira? contemporânea. A chamada ?cena independente paulistana? do início dos anos 2010, e seus artistas, têm assumido um papel de relevo neste cenário, projetando muitos dos principais nomes associados ao que tem sido identificado e discursado, no período, como um ?novo momento da música brasileira?. O objetivo principal desta pesquisa foi identificar e analisar - a partir de vasto levantamento de dados sobre o campo enfocado e de entrevistas com artistas e produtores, realizadas presencialmente ou obtidas a partir de publicações na internet - as principais especificidades desta ?cena paulistana? responsáveis por singularizá-la, potencializar suas condições criativas e/ou de produção e a distinguir em relação a: (1) momentos anteriores da ?produção musical independente? no Brasil; (2) o conjunto da produção fonográfica contemporânea no país; (3) a ?cena independente e o novo momento da música brasileira?, mais particularmente. Com respeito aos conjuntos (1) e (2) assume importância fundamental as novidades trazidas pelas tecnologias digitais e pelos novos processos econômicos e novas políticas culturais observados no país nos últimos 15 anos. Na composição da especificidade da ?cena paulistana? em relação à ?cena independente brasileira? mais ampla (3), têm se destacado centralmente as oportunidades privilegiadas encontradas em São Paulo-SP para o desenvolvimento, sustentabilidade e repercussão de trabalhos musicais autorais independentes. Estas oportunidades serão responsáveis pela migração de um conjunto significativo de artistas independentes de outros estados brasileiros para o solo paulistano, nos últimos anos. A contribuição estética variada e diferenciada, trazida por estes músicos migrantes, se somará à peculiaridade da cultura musical paulistana e aos talentos criativos de seus artistas, bem como às vivências urbanas próprias à cidade, compondo-se, assim, a especificidade musical desta cena - cena marcada, de modo importante, por um alto nível de produção colaborativa entre seus agentes, e por trabalhos que tem buscado se afirmar para além de gêneros e categorizações musicais específicas
Abstract: The socio-technical developments related to the Internet between 2000 and 2010 are essential for an understanding of the process of formation of a new generation of music producers and consumers in Brazil. This process is especially significant when one considers the music put out by the so-called contemporary "independent Brazilian scene." Growing numbers of musicians took part in this scene and produced their work with no backing from the large recording companies and they have been very well received by segmented markets. They have won Brazilian awards in music and they have been recognized in a broad range of specialized media, where their musical output has been considered responsible for many of the innovations and significant aesthetic contributions in today's panorama of contemporary "Brazilian music." The so-called "São Paulo independent scene" of the early 2010s and its musicians have assumed an outstanding role in this context, projecting many of the most outstanding names associated with what has been described as a "new moment in Brazilian music." The main objective of the study for this paper was to identify and analyze the main specific aspects of this "São Paulo scene." The research is based on a careful collection of data about the field and on interviews with musicians and producers. Interviews were carried out in person or taken from publications found on the Internet. Several specific aspects of this "São Paulo scene" are responsible for stimulating the creativity and productivity of this phenomenon and, at the same time, distinguish it (1) from preceding historical periods of "independent musical production" in Brazil; (2) from the overall contemporary phonographic production in Brazil; and, especially, (3) from the "independent scene and new moment in Brazilian music." With respect to Items 1 and 2, new aspects brought on by digital technologies, new economic advances and new political-cultural observed in Brazil over the last 15 years have all been particularly important. The exceptional opportunities found in São Paulo for the development, continuation and repercussion of independent musical production have all stood out in the specific character of the "São Paulo scene" vis-a-vis the broader "independent Brazilian scene" (Item 3). These opportunities stimulated the migration to São Paulo of a great many independent musicians from other states in Brazil in recent years. The varied and distinct aesthetic contribution brought by these musicians has joined hands with the peculiar musical culture of São Paulo, the creative talent of its musicians, and the city's intense urban character. It is a scene strongly marked by a high level of cooperative output by its agents and by work that has sought to assert itself beyond specific musical genres and categories
Mestrado
Sociologia
Mestre em Sociologia
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Palko, Amy Joyce. "Charting habitus : Stephen King, the author protagonist and the field of literary production." Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/1263.
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While most research in King studies focuses on Stephen King’s contribution to the horror genre, this thesis approaches King as a participant in American popular culture, specifically exploring the role the author-protagonist plays in his writing about writing. I have chosen Bourdieu’s theoretical construct of habitus through which to focus my analysis into not only King’s narratives, but also into his non-fiction and paratextual material: forewords, introductions, afterwords, interviews, reviews, articles, editorials and unpublished archival documents. This has facilitated my investigation into the literary field that King participates within, and represents in his fiction, in order to provide insight into his perception of the high/low cultural divide, the autonomous and heteronomous principles of production and the ways in which position-taking within that field might be effected. This approach has resulted in a study that combines the methods of literary analysis and book history; it investigates both the literary construct and the tangible page. King’s part autobiography, part how-to guide, On Writing (2000), illustrates the rewards such an approach yields, by indicating four main ways in which his perception of, and participation in, the literary field manifests: the art/money dialectic, the dangers inherent in producing genre fiction, the representation of art produced according to the heteronomous principle and the relationship between popular culture and the Academy. The texts which form the focus of the case studies in this thesis, The Shining, Misery, The Dark Half, Bag of Bones and Lisey’s Story demonstrate that there exists a dramatisation of King’s habitus at the level of the narrative which is centred on the figure of the author-protagonist. I argue that the actions of the characters Jack Torrance, Paul Sheldon, Thad Beaumont, Mike Noonan and Scott Landon, and the situations they find themselves in, offer an expression of King’s perception of the literary field, an expression which benefits from being situated within the context of his paratextually articulated pronouncements of authorship, publication and cultural production.
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Leach, Nicole. "Humanistic School Culture and Social 21st Century Skills." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1333669153.
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Barrett, Steven W. "Liberatory education in the 21st century : learning from Paulo Freire /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3115522.
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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Babb, Trevor R. "The Christian church as a prophetic voice challenging 21st century American culture /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Jones, Kevin B. "Ethical Insights of Early 21st-Century Corporate Leaders." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/413.
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From 2001 to 2010, a lack of documented standards within ethics programs inhibited decision making, management practices, and corporate strategies for corporate leaders in the United States. Seminal theories in transformational, charismatic, servant, spiritual, and ethical leadership formed the conceptual framework for this phenomenological study, whose intent was to explore how senior leaders of Fortune 500 companies in Washington, DC integrated ethics into daily business decisions and the role in organizational performance. A convenience sample of 20 Fortune 500 leaders participated in face-to-face semistructured interviews to explore the assessment, definition, and documentation of various ethical standards in the company; the different mechanisms for ensuring ethical standards influenced decision making; and whether a senior leader's moral code influences the development of a code of ethics, ethical standards, or organizational culture. Using Saldana's coding process as an exemplar, 6 themes emerged from this investigation: ethical standards, organizational culture, ethics training, role modeling, values, and moral dilemmas. Findings revealed the need for scenario-based ethical training to guide senior leaders through dilemma-oriented problems. Implications for positive social change include benchmarks for ethical integration successes in business strategy that improve corporate social responsibility and change hiring practices to help build ethical corporate cultures.
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Secord, Penelope Anne. "Artisan naturalists : science as popular culture in nineteenth century England." Thesis, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271809.
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Smyth, Patricia. "Illusion in early nineteenth century French painting and popular culture." Thesis, University of Essex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433566.
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Gervin, Kelly J. "Music and Environmentalism in Twenty-First Century American Popular Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1494162797534902.
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Silvestri, Lisa Ellen. "Friended from the front: social media and 21st century war." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5633.
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Using Facebook from a theater of war provides a particularly unique vantage point from which to study the broader shift in our communication environment. While many communication technologies began in warzones for mission purposes--connecting planes to the ground, connecting and coordinating strikes and ambushes, reporting needs for medics, and so on, warzones are not known for connecting the war front and the home front. Thus the culture of perpetual contact ushered in by social media technologies like Facebook collides with a situation quintessentially associated with a lack of contact. Surprisingly this point has received little scholarly attention.
This dissertation examines the way US troops use Facebook from a theater of war to narrate their experiences to their civilian network members, to each other, and to themselves. The project explores how US troops define and are defined by existing discourses of war; how they shape and are shaped by technological advancements, and how all these relationships are changing what "war" means in this millennium. Data include 20 semi-structured in-person interviews, which took place on active bases in Okinawa, Japan and Camp Pendleton, California. Data also include the field notes from those visits as well as field notes and screen captures of Facebook observations.
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Nambord, Estelle. "A historical person - three different popular historynarratives. : A gender analysis of popular history media's relationship to historicaltruth in the 21st century." Thesis, Malmö universitet, Malmö högskola, Institutionen för samhälle, kultur och identitet (SKI), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42871.
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Följande uppsats undersöker tre svenska populärhistoriska mediers förhållande till begreppethistorisk sanning. Syftet med uppsatsen är att undersöka hur de populärhistoriska mediernakonstruerar historiska narrativ genom att finna likheter och skillnader i mediernas förhållandetill begreppet historisk sanning. Undersökningen grundas i en genusanalys med komparativmetod. Uppsatsen diskuterar även definitionerna av historia som riktar sig till en bred publikutifrån olika forskares syn på populärhistorien. Uppsatsen fann att de undersökta mediernahade olika förhållande till historisk sanning och således olika ingångar för att bedrivanarrativet i historien. Gemensamt för alla medierna var dock att de tjänar på att ta efter någraav den vetenskapliga historiens metoder, som t.ex. att använda sig av arkivstudier och bedrivaanalyser i sina produktioner.
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Hsu, Matthew. "Indie-Folk™: Vintage sensibilities in the 21st century." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127050/1/Matthew_Hsu_Thesis.pdf.
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This project investigates the indie-folk music scene, characterised by lo-fi and vintage sensibilities evoking the Western colonial 'frontier spirit'—marked by old-timey handmade aesthetics, acoustic instruments and a back-to-basics ethos. Beginning as a niche genre then exploding into mainstream awareness in the 2000s, its popularity grew alongside cultural trends for all things natural, eco-friendly and 'rootsy'. Through interviews with artists, industry practitioners and fans, this research reveals the complexities involved in vintage sensibilities existing in a digitally-connected modern world, and how they relate to authenticity, hipster culture, green consumerism, gender, race and class.
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Higginbotham, Derrick. "A pauper's feast?, popular culture and theater in fifteenth-century York." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/MQ51357.pdf.
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Harbord, Jack. "Representations of blackface and minstrelsy in twenty first century popular culture." Thesis, University of Salford, 2015. http://usir.salford.ac.uk/36899/.
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Blackface minstrelsy just ain’t what it used to be. This statement should not be understood as a call for the return of the minstrel show. Quite literally, minstrelsy and its central feature blackface manifest themselves in divergent ways from their nineteenth and twentieth century manifestations, convey a range of meanings, and serve a number of social and artistic functions in the twenty-first century. Through the analysis of a variety of texts and practices from across cultural fields including music, television, film, journalism, social media, and academic discourses of minstrelsy this thesis identifies how blackface and minstrelsy are manifested, their function in critical, artistic, and social contexts, and the effects of their appearance in popular culture. To achieve this, discussion utilises the analytical methodologies of semiotics and discourse analysis to identify the themes and tropes and consistencies and inconsistencies that form the image and concept of blackface minstrelsy in the twenty-first century. Initial conclusions point to a number of contrasting functions and effects: the notion of equivalency with cultural and industrial practices; use as a discursive and iconographic signifier of racism, exploitation, and marginalisation in cultural criticism; application in comedic, dramatic, and artistic contexts as a tool of satire, parody, and irony; and public displays of blackface, seemingly ignorant of its problematic signification. In conclusion, the thesis locates its findings within wider discourses of race, appropriation, and marginalisation in American society. Moreover, this is positioned in the light of recent tensions between African American communities and the police, the fiftieth anniversary of the ‘Bloody Sunday’ confrontation on the Edmund Pettus Bridge in Selma, Alabama, and the proposal of post-racialism following the election of Barack Obama as United States President in 2008.
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Rainey, James Edward. "Blurring Boundaries: The Rorschach Idea in Twentieth-Century American Popular Culture." W&M ScholarWorks, 2008. https://scholarworks.wm.edu/etd/1539626549.
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Griffith, Megan. "Naughty in the Aughties, 21st Century British Adolescent Culture and Alienation in Skins Seasons 1-2." ScholarWorks @ UVM, 2013. http://scholarworks.uvm.edu/graddis/95.
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This thesis explores representations of British youth culture and adolescent identity formation in the ‘first generation’ (seasons 1-2) of the British television teen drama Skins (2007-8). Like its peers in the Teen TV genre, Skins focuses on normative teenage angst and rebellion that results in ‘naughty behavior’: sex, drug and alcohol use, and conflict with and alienation from parents. Skins sets itself apart from genre standards by heightening and glamorizing the way these behaviors are visually depicted. Furthermore, the characters experience very few substantial consequences or repercussions from parents or other authority figures, but rather repercussions come from within their own close-knit group. The primary source of tension in the series occurs during the moments when the group of friends challenge the cultural, biological and ideological constraints under which they find themselves when their preoccupied, self-involved, neglectful, and otherwise overbearing parents directly contribute to the conditions that fuel their excessive ‘naughtiness.’ The series creators, writers, producers and actors promote Skins as an authentic representation of teenage experience and this thesis ultimately seeks to explore the implications of this representation in order to gain a better understanding of British youth culture in the new millennium.
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Carter, Sophie. "Purchasing power : representing metropolitan prostitution in eighteenth-century English popular print culture." Thesis, University of East Anglia, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267322.
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Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke." University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Thesis (M.L.A.)--University of South Florida, 2003.
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ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.
ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.
ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.
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Nkeokelonye, G. D. "Managing diversity in business organizations in the 21st century global economy." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/33219.
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The world is spinning and spinning faster than ever before in different spheres- economic, political, social, and cultural. It’s difficult to say which is accurate: that we are at an inflection point or past it already. The impacts of macro-social and macro-economic forces and globalization that have spun out of those have had broad-based implications for economic systems of nations, and businesses organizations have been affected in many ways. Forward-looking business organizations (small or large) see a challenge therein to embrace and adjust their organization to the new dynamics of a different- remarkably different- environment than they knew half a century ago. This is true especially for traditional, well-established corporations with long operational history.
When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/33219
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Reibel, Shannon. "THE FUTURE OF AESTHETICS IN/AND VISUAL CULTURE ART EDUCATION IN 21ST CENTURY ART EDUCATION." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1752.
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This grounded theory project researches and analyzes publications from 1990-2008 assessing the debate over aesthetics in/and VCAE in 21st century art education. Through a series of visual models, a working theory and its supporting evidence assess this contested subject. Within the context of Modern and Postmodern paradigm conflict, art educators’ debate over aesthetics in/and VCAE fundamentally deals with differing conceptions of identity and freedom. Although commonly sharing the goal of fostering the formation of student identity through the provision and exercise of freedom, art educators’ differing perspectives on identity and freedom result in differing prescriptions for 21st century art education. By presenting qualitative data analysis through grounded theory, I guide fellow art educators through this debate by providing snapshots of information as well as detailed portraits of the scholars and their multifarious rationales.
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Schmalzer, Sigrid. "The people's Peking Man : popular paleoanthropology in twentieth-century China /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3137238.
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Rambarran, Sharadai Devi Amparo. "Innovations in contemporary popular music and digital media, and reconstructions of the music industry in the 21st century." Thesis, University of Salford, 2010. http://usir.salford.ac.uk/26874/.
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The thesis investigates how certain types of contemporary popular music have played a prominent role in digital media, aided by ICTs (Internet, digital music distribution, consumption), music technology (sampling, remix, MP3) and creative artistic technology (music video, performance, virtual groups). As these technologies lie behind many innovations in popular music over the last decade, the focus, here, is on specific artists and producers who have successfully employed such technologies to compose music, and whose reception has been mixed in terms of the reaction from the industry and consumers. The dissertation, therefore, contains case studies of Danger Mouse, Gnarls Barkley and Gorillaz. The following all gained recognition from new media rather than the traditional radio plug: The Grey Album, the experimental and illegal mash-up of the Beatles and Jay-Z by Danger Mouse; 'Crazy' by Gnarls Barkley, which gained interest following a television advertisement; and Gorillaz, a virtual group, created by Damon Albarn of Blur. These projects were composed of a fusion of musical styles and visuals, and were made possible by digital technology. To understand the logic behind these projects, it is important to explore the contributions that assisted the success of the musicians in question. The cultural-social context of the music is analysed and theorized: the music and the performer (involving postmodern features such as authorship and genre-blending); its impact on the music industry (copyright, digital consumption); and the reception of the audience (digital music consumption, distribution technologies, activism). This thesis argues that the internal and external aspects of the compositions and arrangements by Danger Mouse, Gnarls Barkley and Gorillaz constitute innovative examples of contemporary popular music facilitated by digital media, and that this helped to reconstruct the music industry in the twenty-first century.
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Cocarla, Sasha. "Straddling (In)Visibility: Representations of Bisexual Women in Twenty-First Century Popular Culture." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34608.
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Throughout the first decade of the 2000s, LGBTQ+ visibility has steadily increased in North American popular culture, allowing for not only more LGBTQ+ characters/figures to surface, but also establishing more diverse and nuanced representations and storylines. Bisexuality, while being part of the increasingly popular phrase of inclusivity (LGBTQ+), however, is one sexuality that not only continues to be overlooked within popular culture but that also continues to be represented in limited ways. In this doctoral thesis I examine how bisexual women are represented within mainstream popular culture, in particular on American television, focusing on two, popular programs (The L Word and the Shot At Love series). These texts have been chosen for popularity and visibility in mainstream media and culture, as well as for how bisexual women are unprecedentedly made central to many of the storylines (The L Word) and the series as a whole (Shot At Love). This analysis provides not only a detailed historical account of bisexual visibility but also discusses bisexuality thematically, highlighting commonalities
across bisexual representations as well as shared themes between and with other identities. By examining key examples of bisexuality in popular culture from the first decade of the twenty-first century, my research investigates how representations of bisexuality are often portrayed in conversation with hegemonic understandings of gender and sexuality, specifically highlighting the mainstream "gay rights" movement's narrative of "normality" and "just like you" politics. Finally, it is in recognizing how representations of bisexuality are framed by specific reoccurring
themes/tropes, as well as how these themes/tropes work together within larger social, cultural, and political climates, that it becomes possible to challenge existing gender and sexuality norms and ideals and create a more nuanced and complex understanding of bisexuality.
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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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Coats, Jerry Brian. "Las Cantigas de Santa Maria: Thirteenth-Century Popular Culture and Acts of Subversion." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862766/.
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Across medieval Europe, the pilgrimage route to Santiago de Compostela in Spain traced a lattice web of popular culture. From the lowest peasant to the greatest king and churchmen, the devout walked pathways that created an economy and contributed to a social and political climate of change. Central to this impulse of piety and wanderlust was the veneration of the Virgin Mary. She was, however, not the iconic Mother of the New Testament whose character, actions, and very name are nearly absent from that first-century compilation of texts. As characterized in the words of popular songs and tales, the mariales, she was a robust saint who performed acts of healing that exceeded those miracles of Jesus described in the Bible. Unafraid and authoritative, she confronted demons and provided judgement that reached beyond the understanding and mercy of medieval codes of law. Holding out the promise of protection from physical and spiritual harm, she attracted denizens of admirers who included poets, minstrels, and troubadours like Nigel of Canterbury, John of Garland, Gonzalo de Berceo, and Gautier de Coinci. They popularized her cult across Europe; pilgrims sang their songs and celebrated the new attributes of Mary. This dissertation uses the greatest collection of these songs, Las Cantigas de Santa Maria compiled in the thirteenth century under the direction of Alfonso X, King of Castile and Leon, to construct the history of a lay piety movement deeply rooted in medieval popular culture. Making the transition from institutionalized, doctrinal saint to popular heroine, Mary becomes a subversive conduit through which culture moved from Latin poetry to vernacular verse and from the monasteries of scholasticism to the popular pathway of Wycliffite reform.
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Harper, A. C. "Lo-Fi aesthetics in popular music discourse." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:cc84039c-3d30-484e-84b4-8535ba4a54f8.
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During the late twentieth and early twenty-first centuries, 'lo-fi,' a term suggesting poor sound quality, the opposite of 'hi-fi,' became a characteristic perceived in certain popular-music recordings and eventually emerged as a category within independent or 'indie' popular music. It is typically taken to express the technical and technological deficiencies associated with amateur or 'DIY' musical production, namely at home using cheap recording equipment. However, this thesis rejects the assumption that lo-fi equates to a mode of production and charts it as a construction and a certain aesthetics within popular music discourse, defined as 'a positive appreciation of what are perceived and/or considered normatively interpreted as imperfections in a recording.' I chart the development and manifestation of lo-fi aesthetics, and the ways it focuses on various 'lo-fi effects' such as noise, distortion ('phonographic imperfections') and performance imperfections, in several decades of newspapers, magazines and websites covering popular music in the English-speaking world. I argue that lo-fi aesthetics is not merely the unmediated, realist authenticity that it is often claimed to be, but one that is also fascinated with the distance from perceived commercial norms of technique and technology (or 'technocracy') that lo-fi effects signify. Lo-fi aesthetics derives from aesthetics of primitivism and realism that extend back long before phonographic imperfections were positively received. I also differentiate between lo-fi aesthetics and aesthetics of noise music, distortion in rock, glitch, punk and cassette culture. An appreciation for recording imperfections and the development of 'lo-fi' as a construction and a category is charted since the 1950s and particularly in the 1980s, 1990s and in the twenty-first century, taking in the reception of artists such as the Velvet Underground, Bob Dylan, Hasil Adkins, the Shaggs, Jandek, Daniel Johnston, Beat Happening, Pavement, Sebadoh, Guided By Voices, Beck, Will Oldham, Ariel Pink and Willis Earl Beal.
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Madrid, David G. C. "In Search of Elysium: Spanish Poetry of Difference at the Dawn of the 21st Century." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1468574822.
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Deepwell, M. "Contested futures : the development of West Norwood Cemetery into the 21st Century : a material culture perspective." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1301993/.
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In the context of the challenges facing historical cemeteries in England, this thesis poses the question of how issues such as space shortages, decay and lack of income have developed over the last century, and examines how these issues are or how they can be addressed in order to provide a viable future for such cemeteries. Based on an in-depth ethnography of West Norwood Cemetery in London, with an emphasis on phenomenological exploration of its landscape and material culture, this thesis addresses the development, contemporary significance and situation of West Norwood Cemetery in order to gain insight into both its’ own and, by extension, other cemeteries’ contested futures. First the historical context of the debate, the methodological strategies and theoretical framework of the thesis, as well as the main field-site are introduced. Here a discussion of the material culture perspective and phenomenological approach demonstrates the rationale for the methodology adopted, as well as placing the ethnography in its anthropological context. West Norwood Cemetery is explored through a thick ethnographic description of a phenomenological walk through the cemeteryscape. This leads to an analysis of the historical development of West Norwood Cemetery starting with the issues faced in English urban churchyards at the start of the 19th century, the garden cemetery movement, burial in perpetuity and the socio-cultural context within which cemetery development took place. Drawing on a variety of historical and ethnographic sources the subsequent biographical account of the site demonstrates how past practices laid the foundation for those issues which dominate the debate surrounding West Norwood Cemetery and similar sites today. The latter part of this thesis seeks to contribute to this debate by examining the contemporary situation of the site with a focus on the contested nature of the cemeteryscape, heritage practices and different stakeholder groups. It concludes by exploring how new developments in disposal culture and cemetery design may influence the future development of the site.
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Ictech, Omar Bradley II. "Smartphones and Face-to-Face Interactions: Extending Goffman to 21st Century Conversation." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1812.
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The Smartphone is a technological innovation that has transformed for the better how billions of people live by enabling them to transcend time and space to remain socially connected to potentially millions of others despite being thousands of miles apart. Although smartphones help people connect from a distance, there has been much concern about how they affect face-to-face interactions. This study explored, drawing on Goffmanian concepts, how and why smartphones affect face-to-face encounters. The findings show there are three types of smartphone cross-talk: exclusive, semi-exclusive, and collaborative. With the addition of smartphone play and solo smartphone activity, interactants can engage in five different types of smartphone use during a social encounter. Smartphones can both disrupt and facilitate face-to-face encounters at any given time. A theory of cross-talk was created as an extension of Goffman’s work to help explain the phenomenon.
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Curran, Kieran. "Cynic sensibility in British popular literature and culture, 1950 to 1987." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9494.
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In my thesis, I focus on delineating 'The Cynic Sensibility' in British Popular Literature and Culture (1950-1987). Focusing primarily on literature and music (and, to a lesser extent, cinema/television), this works seeks to write a cultural history through analysing cultural texts. The sensibility has three key characteristics: I) it is a Bohemian sensibility; ii) it is apolitical, in that it does not endorse any political alternative to the status quo at any given time, and iii) it is popular, and exists across traditional high/low cultural lines. Connected to this last point is a tendency to oppose stylistic Modernism and its attendant obscurities. Underpinning my thesis are the work of the philosopher Peter Sloterdijk on cynicism as a philosophical phenomenon, and the cultural theory of Raymond Williams. Using this approach, I seek to not only connect spheres of culture which hitherto have been kept separate, but to provide a different insight into 20th century British cultural history.
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Walton, Shireen Marion. "Camera Iranica : popular digital photography in/of Iran." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7f6516bf-64c6-4551-b58c-08e42915183f.
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This thesis explores the contemporary genre of popular digital photography, with a specific look at photographs taken in/of Iran. It focuses on the contemporary practice of 'photoblogging' or photography-based weblogging. Photoblogs are the result of the daily posting of digital photographs concerning everyday life in Iran on personal blogs specifically dedicated to photography. The title of the thesis, Camera Iranica, refers to the subject and scope of the study, as well as to its digital-ethnographic field site. I demarcate this as a conceptual and transnational cultural field, encompassing the multitude of places and spaces, on- and offline in which Iranians across the world engage in the practice of producing and viewing popular digital photography. Iranian photoblogs are shown to operate in a manner contingent upon a particular 'visual legacy' of contested cultural identity politics since the Islamic Revolution of 1979, propagated inside Iran and in 'the West'. The thesis traces the social, economic and political implications of developments in photography and digital technologies in Iran in light of this backdrop, and explores how and why Iranians in Iran and abroad are taking up popular digital photography for visual storytelling projects, with 'Iran' as their visual subject. Based on the study's empirical findings, I extrapolate theoretical arguments concerning historical and cultural understandings of digital photographs shown and seen in online environments, and propose innovative methodological strategies for digital-visual anthropologists to continue work in these fields.
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Gribble, Laura. "Metropolitan philanthropy : popular education and political culture in early nineteenth-century England (1800-1830)." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313552.
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Yang, Qiong. "Mr. Science Goes Popular: Science as Imagined in Twentieth-Century Chinese Literature and Culture." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480543527922239.
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Thomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.
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Turner, Robert Charles Grey. "Counterfeit culture : truth and authenticity in the American prose epic since 1960." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709455.
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Buthelezi, Thabisile M. "Body Image : Gender Subtexts in the Popular Print Media Available in South Africa at the beginning of the 21st Century." Thesis, University of Zululand, 2001. http://hdl.handle.net/10530/510.
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A dissertation submitted in fulfillment of the requirements for the degree of D. Litt. In Communication Science University of Zululand, 2001.In this dissertation, I present the results of an analysis of the role of female body image in the promotion of commercial products in magazines that are available in South Africa at the beginning of the 21st century. The South African legislation is progressive towards promoting gender equality. But the central problem is that there are still gaps between the progressive legislation and the attitudes and beliefs of South Africans towards gender equality, particularly in the use of female body images in magazine adverts by the advertising industry. This gap between de jure and de facto is due to gender differences and stereotypes that have been entrenched in every aspect of our lives (for example, in language, culture, religion, and so on). According to Deacon (1997:376-410) and Pease and Pease (2000:60-61), because of the gendered social environment in the ancestral world, our brains (as females and males) evolved differently within the continuing gendered social environment. So, our fore brain, which is responsible for thinking, reasoning and planning processes, has helped us to reconstruct our gendered social environment by the formulation of legislation that promote human rights including the right to equality. However, the legislation on equality is not sufficient to reconstruct our environment. The evidence is that within the good legislation that has been made in South Africa, the advertising industry is continuing with the biased portrayal of female and male body images in the magazine adverts, in particular. Besides, the female body image is still portrayed in stereotypical roles. For example, the female is presented in passive roles and as objects as well as sex objects. However, the consumers do not adequately challenge the advertising industry about this gendered portrayal of the female body images in magazine adverts because the consumers themselves have a gendered view of the world. Therefore, other social programmes (in schools and communities) should supplement legislation that has been made in order to try and reconstruct the gendered social environment in South Africa. But, there are still areas for further research in the area of gender and body image to try and uncover the effects that the body image has on the consumers.
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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.
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Simpson, Yifat Fellner. "Unmasking the revels medium and message in the popular music culture of sixteenth-century Venice /." Online version, 2004. http://bibpurl.oclc.org/web/28634.
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Fellner, Simpson Yifat. "Unmasking the revels : medium and message in the 'popular' music culture of sixteenth-century Venice." Thesis, Royal Holloway, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419868.
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Di, Franco Manuela. "Popular magazines in Fascist Italy, 1934-1943." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/286061.
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The dissertation examines the field of popular magazines in 1930s Italy, by first examining the broad field of magazine production under Fascism and then undertaking three case studies of individual magazines - L'Avventuroso (1934 - 1943), Omnibus (1937 - 1939), and Grazia (1938 -) - in order to build an in-depth analysis of the production, format and reception of the popular press in this period. In the interwar years, and in particular from 1934 onwards, innovative printing techniques and production methods transformed the periodical press worldwide. The emergence of new forms of illustrated magazines expanded the readership and started a process of standardisation and mass production of periodicals. The dissemination in Italy of the rotocalco, a new product aimed at the masses that was developed in the 1930s, offers a particularly interesting starting point for analysing the development of a modern Italian mass press and culture within the peculiar dynamics of a controlling Fascist regime and the mixed national and international forces that shaped it. Modern Italian magazines developed in dialogue with foreign industries, imitating models from abroad and adapting them to the Italian culture. The development of popular press in the 1930s represented a challenge for the Fascist regime, which approached it both as a threat and an opportunity to shape Italian popular culture. Through the analysis of three case studies, each from a key sector of popular press - comics, general cultural magazines, and women's magazines - and each produced by one of the three main publishing companies in the field - Nerbini, Rizzoli, and Mondadori - the dissertation aims to provide a detailed picture of the development of mass print culture in Italy during Fascism. The analysis provides examples of the impact of and cracks in Fascist censorship and cultural autarchy on the periodical press and argues that the Italian popular press developed in dialogue with European and American culture, which influenced both the form and content of rotocalchi, reinterpreting and adapting these models to Italian standards and to the constrictions of Fascist control.
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Lombard, Deborah-Eve. "Racism's tangible lifeline 20th century material culture and the continuity of the white supremacy myth /." Thesis, University of Iowa, 1999. http://ir.uiowa.edu/etd/194.
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Thesis (M.A.)--University of Iowa, 1999.Supervisor: MacCann, Donnarae. Title-page, preliminaries, Certificate of approval, Table of contents, text and appendices issued in paper (ii, 17 leaves, bound ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (46 files, 3.29 megabytes).
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Anslow, James A. "The tabloid Trickster : a post-Jungian evaluation of early 21st century popular British newspaper journalism characterised by that of 'The Sun'." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19677/.
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At the beginning of the 21st century, British tabloid newspapers, whose circulations were already in steep decline, faced twin existential challenges: a growing tendency by consumers to access free information and entertainment content from the internet, and demands for more stringent regulation of ‘print’ journalists, particularly those employed by, or servicing, ‘tabloid’ titles. The latter challenge was characterised in 2012 by the report of the Leveson Inquiry (Part 1) into the culture, practices and ethics of the press, ordered by the UK government as ‘phone-hacking’ revelations triggered the closure of the tabloid News of the World, then one of the most read English language newspapers in any country, and led to a string of high-profile court cases, one of which culminated in the conviction and imprisonment of the title’s former editor Andy Coulson. For decades, influential media theorists had condemned many aspects of British popular newspaper journalism, a critique fuelled by the Leveson Inquiry and associated criminal investigations. Some analysts argued that Britain would be psychosocially healthier if newspapers such as the News of the World’s sister publication, The Sun, either ceased to exist or were radically revised. However, this work uniquely explores the proposition that British tabloid journalism is driven archetypally by what Carl Jung identified as Trickster, a collective shadow reflecting an ambiguous but necessary principle portrayed in myths, folklore, literature and contemporary media as a disruptive, lascivious, liminoid troublemaker. This thesis investigates and amplifies earlier explorations of Trickster—notably, but not exclusively, by post-Jungian thinkers—and applies its conclusions to a depth-psychological assessment of contemporaneous popular British newspaper journalism. By revealing the archetype behind the tabloid stereotype, I suggest that UK statutory press regulation would ‘castrate’ the tabloid Trickster, rendering it unable to perform its psychosocial function, to the detriment of a society already challenged by a fragmenting post-modern media landscape.
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Wongratanapitak, Paphutsorn. "Thai music and its others : the Westernisation, modernisation and globalisation of Thai music culture in the 21st century." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30313/.
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Rhodes, Molly Rae. "Doctoring culture : literary intellectuals, psychology and mass culture in the twentieth-century United States /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9809139.
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Broxson, Gene Marshall. "A comprehensive examination of the precode horror comic books of the 1950's." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2429.
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