Bibliografías temáticas / Pleasure in popular culture

Literatura académica sobre el tema "Pleasure in popular culture"

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Publicado: 26 de julio de 2024

Última modificación: 27 de julio de 2024

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Artículos de revistas sobre el tema "Pleasure in popular culture"

Rafailović, Sanja. "Popular culture: Pinter's drama characters in the culture of body and pleasure". Drustveni horizonti 2, n.º 3 (2022): 87–103. http://dx.doi.org/10.5937/drushor2203087r.

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The topic of this paper is defining the concept of popular culture and determining its influence on the attitude and behavior of Harold Pinter's drama characters in the culture of body and pleasure. The first part of the paper relies on the theories of eminent sociologists regarding the conceptualization of popular culture, with a special focus on the element of popular pleasures and body. The body is viewed from a physical, class and gender perspective of popular culture which differs from the ruling ideology, while the performance of popular pleasures is seen through John Fiske's explication, which supports the view that subordinate social groups create their own meanings of content and develop popular pleasures in contrast to the hegemonic pleasures. Also, the paper studies the culture of pleasure and body from the point of view of Roland Barthes' division of the respective into jouissance and plaisir, as well as from the point of view of carnivalization of Mikhail Bakhtin. In the second part of the paper, the behavior of Harold Pinter's drama characters in the dramas Dumb Waiter, Birthday Party, Caretaker, Homecoming, No Man's Land, and Betrayal, is defined and explained by the comparative method, from the perspective of enjoying pleasures. More precisely, the thinking and acting of Pinter's protagonists are classified as manifestation of popular pleasures of jouissance and plaisir. The aim of the paper is to determine how Harold Pinter's drama characters behave in the culture of body, how they enjoy popular pleasures and to what extent popular pleasures affect their life course.

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Gainer, Jesse. "Social Critique and Pleasure: Critical Media Literacy with Popular Culture Texts". Language Arts 85, n.º 2 (1 de noviembre de 2007): 106–14. http://dx.doi.org/10.58680/la20076169.

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This article addresses the importance of opening space for young people to engage in critical media literacy learning using popular culture texts. Children’s background knowledge includes a wide-variety of texts that are often ignored or excluded from school curriculum. The author shows how popular music, for example, can offer powerful opportunities for dialogically teachable moments and engagement in literacy learning that is critical but does not come at the expense of children’s pleasure in such texts. The author introduces the concept of a pleasure-critique nexus to demonstrate how social critique and pleasurable experiences are not at odds with each other. Furthermore, in this conceptual space pleasure can be derived from engaging in social critique.

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Wilkinson, Eleanor. "Perverting Visual Pleasure: Representing Sadomasochism". Sexualities 12, n.º 2 (24 de marzo de 2009): 181–98. http://dx.doi.org/10.1177/1363460708100918.

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In this article I examine representations of sadomasochism in visual culture. Increasingly sadomasochistic imagery is becoming prominent and widespread in popular culture. I will ask which forms of sadomasochism are permitted and which are excluded or marginalized. The changing media regimes of visual representation will be addressed, arguing that cyberspace may provide a public forum for sadomasochists to challenge dominant stereotypical representations. Finally I will examine the impact of the current UK legislation to prosecute the viewers of `extreme' pornographic material. This legislation reveals that certain intimate images are still denied the right to exist in visual culture.

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Giroux, Henry A. y Roger I. Simon. "Schooling, Popular Culture, and a Pedagogy of Possibility". Journal of Education 170, n.º 1 (enero de 1988): 9–26. http://dx.doi.org/10.1177/002205748817000103.

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In this paper, the authors analyze the importance of critical pedagogy by examining its potentially transformative relations with the sphere of popular culture. Popular culture is viewed not only as a site of contradiction and struggle but also as a significant pedagogical terrain that raises important questions regarding such issues as the relevance of everyday life, the importance of student voice, the significance of both meaning and pleasure in the learning process, and the relationship between knowledge and power in the curriculum. In the end of the piece, the authors raise a number of questions that suggest important inquiries that need to be analyzed regarding how teachers and others can further develop the notion of critical pedagogy as a form of cultural politics.

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Epstein, Jonathon S. ":Disturbing Pleasures: Learning Popular Culture". Symbolic Interaction 18, n.º 1 (febrero de 1995): 93–94. http://dx.doi.org/10.1525/si.1995.18.1.93.

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Giroux, Henry A. "Disturbing Pleasures: Learning Popular Culture". College Composition and Communication 46, n.º 1 (febrero de 1995): 124. http://dx.doi.org/10.2307/358882.

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Lindner, Christoph. "The oblique art of shoes: popular culture, aesthetic pleasure, and the humanities". Journal for Cultural Research 19, n.º 3 (26 de marzo de 2015): 233–47. http://dx.doi.org/10.1080/14797585.2015.1021992.

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Soleh, Muhammad Soleh. "YOUTH, RELIGION, AND POP CULTURE: MODERNITAS DALAM GAYA HIDUP HEDONISME REMAJA DAN BUDAYA POPULER VERSUS EKSISTENSI AGAMA JAMAN NOW". SEMAR : Jurnal Sosial dan Pengabdian Masyarakat 1, n.º 02 (30 de junio de 2023): 35–44. http://dx.doi.org/10.59966/semar.v1i02.303.

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This research discusses the role of modernity in influencing the hedonistic lifestyle of teenagers and popular culture's impact on the existence of religion in the present time. Contemporary society is often confronted with cultural and value changes brought about by technological advancements and globalization. In this context, teenagers face complex challenges in navigating between the demands of popular culture that support pleasure and hedonism, and the more traditional values and teachings of religion. This study adopts a qualitative approach with interview techniques and observational data collection to understand teenagers' perceptions and experiences regarding religion and popular culture. The findings indicate that popular culture, such as social media, music, and entertainment, tends to promote a hedonistic lifestyle that emphasizes instant gratification and material pleasure. Meanwhile, religious values often appear marginalized and lose relevance for some teenagers. However, the research also discovered that some teenagers still hold onto their religious beliefs and try to integrate religious values with existing popular culture. Some religious groups also make efforts to leverage social media and other forms of popular culture as tools to spread religious teachings and maintain their presence in the modern world. In conclusion, teenagers in the present time face a conflict between the hedonistic lifestyle and the existence of religion, which can influence how they perceive and practice religion. It is essential for society and religious leaders to understand these dynamics and seek relevant and inclusive ways to interact with the younger generation so that religious values can remain relevant and beneficial in shaping the character and ethics of today's teenagers.

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Alam, Sohaib, Farhan Ahmad, Sadaf Khalid y Shubhi. "Mapping out Liberating Traces of the Fun of Undisciplined Play: A Search for an Alternative Aesthetic in Graffiti". Journal of Education Culture and Society 13, n.º 2 (27 de septiembre de 2022): 549–64. http://dx.doi.org/10.15503/jecs2022.2.549.564.

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Aim. The present study primarily engages with graffiti as a tactic of the weak who find pleasure in scandalising the dominant discourse. The prime focus here will be on the pleasure as resistance, on the construction of an alternative space into the dominant space, and on the multiple forms of evasive and resisting techniques through which the subordinate asserts their power. Thus, Graffiti can be read as a popular text, a signifying construct of potential meanings and pleasures for the subordinate. Concept. Conceptualised as the undisciplined play of the subordinate people that resists or evades hegemonic forces and a radical reimagining of the neo-liberal spaces, Graffiti has become a major expression of popular culture in recent times. The paper uses many such stances where the lateral thinking of the power helps to challenge the disciplinary discourses of the dominant. Results and Conclusion. The paper offers a popular reading of graffiti that opens up the way to escape control, scandalise top-down power and to assert bottom-up power at the micro-level. The real pleasure lies in scandalising the dominant discourse. Graffiti is read here as self-assertion of the marginalised who acquire public visibility and power through graffiti creation. Originality. The originality of the study depends on reviewing the manipulative actions of people in everyday lives and how this undisciplined play provides them with the opportunity to subvert the system and to escape social control. It supports the idea that the subordinate possesses transgressive deviation in relation to the everyday continuum.

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Rijal, Syamsul. "Consuming and Disputing Aisha Song: The Quest for Pleasure & Islamic Romance in Contemporary Indonesia". Indonesian Journal of Islam and Muslim Societies 12, n.º 1 (4 de junio de 2022): 1–29. http://dx.doi.org/10.18326/ijims.v12i1.1-29.

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Abstract The increasing consumption of Islamic popular culture in Indonesia has marked the deepening Islamisation among the Muslim majority. Some scholars have observed the interplay between Islam and popular culture among Indonesian Muslim youths. However, only a few scholars have studied how a particular religious product has been debated and contested within a Muslim society. This article examines the conflicting responses over an Islamic song that describes romantic expression between the Prophet and His wife, Aisha. It focuses on three groups: popular preachers, progressive writers, and YouTube audience. This study found that while some Muslim preachers and progressive writers have criticized the song’s lyrics, most Muslim audience keep consuming the song and regard it as an ideal model of Islamic romance as expressed by the Prophet and His wife, Aisha. The various responses from the three groups represent the diversity of Indonesian Muslims with regards to Islam and popular culture. It also suggests that the Muslim consumers do not always follow the opinions of popular religious elites. The popularity of the song has resonated with the increasing aspiration among pious young Muslims who seek the basis of Islamic romance through the lives of the Prophet and His wife.

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Tesis sobre el tema "Pleasure in popular culture"

Frischherz, Michaela. "Reparative rhetorics: women's pleasure in public, popular culture, and everyday life". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5473.

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Reparative Rhetorics intervenes on the occasion of a long and tumultuous history wherein the public expression of women's pleasure is regulated, policed, and disciplined. Working firmly at the intersection of rhetorical theory/criticism and feminist theory/criticism, the project makes use of some of these humanistic legacies to excavate moments whereby women articulate themselves in public despite the structures of power that have historically sought to constrain these expressions. I argue that when women elaborate their pleasures in public, we are given a glimmer of things as otherwise--futures others than capitalist and patriarchal formulas of meaning. The dissertation critically maps these moments in public culture in the reparative mode. Informed by the work of Eve Kosofsky Sedgwick, reparative reading strategies seek to "repair" the exclusively negative, bleak state of critical affairs. That is, while feminist and rhetorical scholarship often concludes its findings with the necessary (debilitating) effect of cultural ideologies, like patriarchy and capitalism, reparative criticism, instead, invests itself with the everyday, on-the-ground rhetorical enactments of individuals actually living, breathing, surviving, and thriving in culture. By moving from structure to the everyday within that structure, we are better able to attend to moments of human invention and agency. The dissertation carries with it three scholarly commitments. First, through each case-study chapter, I aim to expand that which "counts" as a matter of public concern. As is well-known, not all sexual practices enjoy the same level of public comfort. The dissertation queries where we might expand the scope of these public/private demarcations within contexts like sadomasochism practices, women's magazines, discussions about women's orgasm, and body visibilities. Second, the dissertation examines the ethics that undergird the expression of pleasure in public. Each chapter contributes to this discussion by asking to what extent holding the question of sexual ethics open is (im)possible. Third, the project aims to reinvest women with sexual agency by engaging in scholarship that does justice to their agential enactments. While much of the scholarly terrain remains committed to explicating how women are blindly trapped in an oppressive structure of control, this project instead, turns to moments wherein women voice themselves despite or because of those vectors of control. To animate this recognition, I draw from both cultural productions firmly at the normative center and the marginal periphery to critically map the effectivities of these constitutive articulations unto sexual-cultural meaning-making practices. In particular, the dissertation analyzes sexual publics forged around mainstream texts such as Fifty Shades of Grey (chapter two) and Cosmopolitan magazine (chapter one) in an effort to rescue these cultures from exclusively paranoid judgments and, instead, ask what a reparative reading strategy might offer these discourses of pleasure. Additionally, I also look to the marked margins, wherein sexual publics are born out of political discussions about women's orgasms (chapter four) and the (in)visibilities of women's bodies (chapter three) to imagine what kinds of sexual avenues are made possible therein. The three contributions emphasize the tremendous importance of attuning ourselves to context while critically preparing for the provisionality of cultural assessments. Taken together, the case-studies approximate that end and seek to highlight the multivocality of productive pleasure expressions in our everyday lives. The mode in which I engage these commitments serves a critical purpose often overlooked when scholars, teachers, and activists begin assessing women's relationships to sex, pleasure, and desire. A now oft-repeated trope in approaching these problematics surfaces as the question: is this liberating or oppressive? Are women, in this instance, hapless victims or transgressive agents? Reparative Rhetorics elucidates the naivety of such questions because lived realities are surely more complex than either/or explanatory logics. To ask if women are hapless victims or transgressive agents in this or that socio-political moment predestines the critical process to simplistic rhetorical assessments so inflexible, their relevance to the production of humanistic theories, classrooms, and future research falters. The project concludes by proposing that sharing pleasure knowledges in public builds productive resources for navigating our social-sexual worlds.

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Finlay, Sara-Jane. "Pleasure and resistance? : feminism, heterosexuality and the media". Thesis, Loughborough University, 2000. https://dspace.lboro.ac.uk/2134/7537.

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Feminist theory and research has made a distinction between heterosexuality as a practice and heterosexuality as an institution and the line between the two is an area of confusion and contradiction. Discussions have been hampered by an unnecessary binary that hinders and limits theorising, working to silence the debates from either side, produce unnecessary divisions within feminism and inhibit the development of links between theory and practice. In examining heterosexuality as either an institution or a practice, it has been constructed as dangerous or pleasurable, victimising or agentic, oppressive or liberating, social or sexual. Missing between these two is a link that would suggest how these liberating activities challenge the heterosexual institution or how the analysis of the institution can make a material impact on women's sexual relationships. Women who identify as feminist and heterosexual are situated at the intersection of these two discourses where heterosexuality as an institution is defined as dangerous and oppressive, and heterosex as a practice is seen as pleasurable and liberating. To consider the intersection of institution and practice, the research asked 40 self-identified heterosexual feminists, between the ages of 19 and 68, about their sexual practice in the light both of feminist theorising around heterosexuality and its construction in the media. Taking the media as an institution that may both sustain and reinforce a discourse of heterosexuality, the research explores the mediation of women's heterosexuality and the potential for a feminist practice of resistance through the pleasurable consumption of media images. Employing a broad analysis of the media the thesis adopts a multi-methodological approach in the range of data collected, the methods employed and the analysis undertaken. It addresses three aims. First, to contribute to the wider literature within feminism. about heterosexuality and sexual practice. Second, to understand the role of the media in formulating feminist and heterosexual identities. Third, to consider the use and application of a range of different methods for a feminist cultural politics. Drawing on data from qualitative and quantitative media reviews, a questionnaire study; and diaries, focus groups and telephone interviews with the participants, I discuss the construction of heterosexuality and feminism, and the women's talk about their sexual practice.

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Chadwick, Tobias Oliver. "Lurid pleasures : entertainment and modernity in republican Shanghai /". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18642.pdf.

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Lane, Barbara Diana. "Materiality and popular culture". Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/21803.

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Tam, Pui-kam Ada y 譚沛錦. "Postmodernism and popular culture". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26902448.

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Storey, John. "Hegemony and popular culture". Thesis, University of Sunderland, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337210.

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Cairns, David. "Sectarianism in popular culture". Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274136.

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Armstrong, Nancy Jane. "Reading girls reading pleasure : reading, adolescence and femininity". Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/661.

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This thesis is concerned with the reading girl and the potential pleasures and transgressions she experiences through popular fiction. Throughout modernity, the western bourgeois girl has been directed towards texts that both validate proper, and caution against improper, forms of femininity. This practice continues within the institutions of family and education as well as through the public library system and commercial booksellers. Although the contemporary girl is subjected to feminism, culture continues to insist on her domestic role. The notion of identification is central to societal fears about the material that finds its way into the hands of reading girls. Because the reading girl can align herself imaginatively with characters, commentators worry that she might absorb passivity from passive characters, wanton habits from wanton characters, or murderous habits from murderous characters. Reading theory tends to reinforce these fears through a particularly disparaging assessment of popular fictions. The girl‘s identifications with characters in popular fiction continue to worry her familial, educational, psychological and moral guardians.Using a methodology based on the psychoanalytic theories of Jacques Lacan, I consider the girl reader as a subject split between her unconscious and the identity she cobbles together through identifications with embodied and representational others. Because of this foundational split, she can never fully articulate reading pleasures and their effects can never be calculated with consequence. Reading participates in the girl‘s struggle to achieve the precarious feminine position, and provides her with pleasures along the way. To demonstrate some of the pleasures available to the girl, I undertake readings of texts associated with adolescence and femininity. I examine young adult fiction that is directed at the adolescent reader to expose the pleasures that lie beneath the injunction to adopt a heteronormative adult identity. From books addressing the girl, I move to melodramatic and sensational adult fictions located in the domestic. In these fictions, the girl is stifled and distorted because she is captive to her family and cannot escape to establish the direction of her desire and seek the recognition of the social Other. Finally, I look at texts marked by violence. Taking one fictional text from the horror genre, and one non-fictional true crime text, I explore the unspeakable pleasures of reading about blood and death.In these readings, I investigate both conservative and transgressive pleasures. These pleasures co-exist in all of the fictions explored in this thesis. All reading tends towards the cautionary, and the book cannot corrupt the normally constituted reading girl. Through identifying with characters, she can build up a repertoire of feminine masks and develop an awareness of the precarious position of womanliness. In the end, I argue, the adolescent reading girl cannot be determined or totalised despite the best efforts of the book and its commentators.

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Hitchin, Linda. "Technological uncertainties and popular culture". Thesis, Brunel University, 2002. http://bura.brunel.ac.uk/handle/2438/5247.

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This thesis is an inquiry into possibilities and problems of a sociology of translation. Beginning with a recognition that actor network theory represents a sociological account of social life premised upon on recognition of multiple ontologies, interruptions and translations, the thesis proceeds to examine problems of interpretation and representation inherent in these accounts. Tensions between sociological interpretation and social life as lived are examined by comparing representation of nonhuman agency in both an actor-network and a science fiction study of doors. The power identified in each approach varies from point making to lying. A case is made for considering fictional storytelling as sociology and hence, the sociological value of lying. It is by close examination of a fictional story that this study aims to contribute to a sociology of translation. The greater part of the thesis comprises an ethnographic study of a televised children's story. Methodological issues in ethnography are addressed and a case is made for a complicit and multi-site ethnography of story. The ethnography is represented in two particular forms. Firstly, and unusually, story is treated as a Storyworld available for ethnographic study. An actor network ethnography of this Storyworld reveals sociologically useful similarities and differences between fictional Storyworld and contemporary, social life. Secondly, story is taken as a product, a broadcast television series of six programmes. An ethnography of story production is undertaken that focuses attention on production performances, hidden storytellers and politics of authorship. Story is revealed as an unfinished project. A prominent aspect of this thesis is a recognition that fictional storytelling both liberates and constrains story possibilities. This thesis concludes that, in addressing critically important tensions in sociological representation, fictional stories should be included in sociological literature as studies in their own right.

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Daniels, Rebecca. "Walter Sickert and popular culture". Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410774.

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Libros sobre el tema "Pleasure in popular culture"

Power and pleasure in popular culture. [San Diego, Calif.]: Cognella, 2012.

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Rachel, Dwyer y Pinney Christopher, eds. Pleasure and the nation: The history, politics and consumption of popular culture in India. Delhi: Oxford University Press, 2002.

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David, Rowe. Popular cultures: Rock music, sport, and the politics of pleasure. London: Sage Publications, 1995.

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1969-, Guillory Monique y Green Richard C. 1967-, eds. Soul: Black power, politics, and pleasure. New York: New York University Press, 1998.

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From class struggle to the politics of pleasure: The effects of gramscianism on cultural studies. London: Routledge, 1992.

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Ross, Corey. Pleasure and power in Nazi Germany. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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Heinlein, Michael y Katharina Sessler. Die vergnügte Gesellschaft: Ernsthafte Perspektiven auf modernes Amüsement. Bielefeld: Transcript, 2012.

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Rachel, Dwyer y Pinney Christopher, eds. Pleasure and the nation: The history, politics, and consumption of public culture in India. New Delhi: Oxford University Press, 2001.

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Cormack, Patricia. Desiring Canada: CBC contests, hockey violence and other stately pleasures. Toronto: University of Toronto Press, 2013.

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Derek, Longhurst, ed. Gender, genre and narrative pleasure. London: Unwin Hyman, 1989.

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Capítulos de libros sobre el tema "Pleasure in popular culture"

Cameron, Deborah. "Pleasure and Danger, Sex and Death: Reading True Crime Monthlies". En Readings in Popular Culture, 131–38. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20700-8_16.

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Policek, Nicoletta. "The Pleasure Politics of Prison Erotica". En The Palgrave Handbook of Incarceration in Popular Culture, 685–97. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36059-7_42.

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Ravizza, Eleonora. "Fifties Self-Reflexivity: Pleasure, Media, and Cultural Politics". En Revisiting and Revising the Fifties in Contemporary US Popular Culture, 25–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-61874-5_3.

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Horn, Katrin. "Beyond Gay Men and After the Closet: Camp’s New Politics and Pleasures". En Women, Camp, and Popular Culture, 1–13. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64846-0_1.

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Sievers, Juliele Maria. "Papers, Please as Philosophy". En The Palgrave Handbook of Popular Culture as Philosophy, 1–14. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-97134-6_88-1.

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Johnson, Taylor. "Please Don’t Pet: Reflections on Life with My Diabetes Alert Dog". En Palgrave Studies in Science and Popular Culture, 195–201. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-83110-3_12.

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Hill, Rosemary Lucy. "Masculine Pleasure?" En Global Metal Music and Culture, 277–93. New York: Routledge, 2016. http://dx.doi.org/10.4324/9781315742816-21.

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Robb, George. "Popular Culture". En British Culture and the First World War, 160–85. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-04056-5_7.

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Broks, Peter. "Popular Culture". En Media Science before the Great War, 1–13. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25043-1_1.

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Plunkett, John, Ana Parejo Vadillo, Regenia Gagnier, Angelique Richardson, Rick Rylance y Paul Young. "Popular Culture". En Victorian Literature, 177–204. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35701-3_8.

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Actas de conferencias sobre el tema "Pleasure in popular culture"

Hsueh, Chiaho y Chien-Hsiung Chen. "Usability Study on the User Interface of Arts and Culture Activity Platforms". En 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005437.

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Cultural and artistic activities are thriving, and leisurely exploration of events has become a habit and a popular trend for many citizens around the world. According to the 2021 Taiwan Cultural Content Consumption Trends Survey by the National Academy for Educational Research, approximately 30% of the population participated in performing arts events in the past year, with the average number of exhibition visits on the rise. However, the current content on various cultural platforms is complex and lacks organization, making it difficult for users to find what they need and thus resulting in a poor user experience. Among these factors, the usability of the platform interface in accordance with user experience is a crucial key. Therefore, the purpose of this study is to enhance the user experience of cultural activity platforms to increase participation in events. The study will propose improvements and suggestions for information architecture pertinent to user interface design based on experimental results that align with user experience.In this research study, experiments were conducted to help analyze the information architecture and functionality of three existing cultural activity platforms. Smartphones were used as experimental devices, and a usability experiment design for task operations was implemented. The study also involved observing and recording participants' operational behaviors and task performances. Finally, the System Usability Scale (SUS) and the Questionnaire for User Interaction Satisfaction (QUIS) were also employed, along with semi-structured interviews, to help understand the strengths and weaknesses of the cultural activity inquiry system and to derive conclusions and recommendations.The results and recommendations of this study are as follows: (1) It is important to provide operation methods that align with users' mental models. (2) The platform's information architecture should be designed with shallow layers as well as a clear and concise hierarchical structure. (3) The design consistence regarding colors, icons and buttons should be maintained during the operation process. (4) It is necessary to optimize the site-wide search by providing visible and meaningful icons, enabling users to quickly locate information. (5) It is vital to provide clear and understandable feedback strategies to enhance the pleasure of user interactions.

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Cvetkovich, Thomas J. "Holography and popular culture". En Display Holography: Fifth International Symposium, editado por Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201888.

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Pasin, Burkay. "Privacy, Pleasure And Homosociability: Gendering of Victorian Turkish Baths". En 7th International Conference on Gender Studies: Gender, Space, Place & Culture. Eastern Mediterranean University, 2019. http://dx.doi.org/10.33831/gspc19/55-76/04.

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Vehrer, Adel. "Teaching popular culture 3D/VR technology". En 2017 8th IEEE International Conference on Cognitive Infocommunications (CogInfoCom). IEEE, 2017. http://dx.doi.org/10.1109/coginfocom.2017.8268297.

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Lim, Cristina Teresa. "POPULAR CULTURE: THE SYMBOL OF GLOBALIZATION". En 3rd Annual International Conference on Political Science, Sociology and International Relations (PSSIR 2013). Global Science and Technology Forum Pte Ltd, 2013. http://dx.doi.org/10.5176/2251-2403_pssir13.64.

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Pavlichenko, Irina. "The libraries’ communicating popular scientific knowledge". En The Book. Culture. Education. Innovations. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-223-4-2020-178-181.

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The author examines how the public libraries could promote scientific knowledge. M. Lermontov Interdistrict Centralized Library System develops programs targeted at different population groups. The project activity is being accomplished in partnership with academic and research institutions, and universities.

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Rietveld, Hillegonda C. "Dubstep: Dub plate culture in the age of digital DJ-ing". En Situating Popular Musics, editado por Ed Montano y Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.30.

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Stanca, Nicoleta. "From Religious Icons to Popular Culture Icons". En DIALOGO-CONF 2019. Dialogo, 2019. http://dx.doi.org/10.18638/dialogo.2019.6.1.7.

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Priyatna, Aquarini, Lina Meilinawati Rahayu y Mega Subekti. "The Representation of Mothers in Popular Culture". En 1st International Conference on Folklore, Language, Education and Exhibition (ICOFLEX 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201230.009.

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"D’Academy Indosiar as a Popular Culture Practice". En Nov. 20-22, 2017 Kuala Lumpur (Malaysia). URST, 2017. http://dx.doi.org/10.17758/urst.iah1117018.

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Informes sobre el tema "Pleasure in popular culture"

Haynes-Clark, Jennifer. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.20.

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Da Matta, Roberto. Understanding Messianism in Brazil: Notes from a Social Anthropologist. Inter-American Development Bank, septiembre de 1996. http://dx.doi.org/10.18235/0007921.

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Berrian, Brenda F. Chestnut Women: French Caribbean Women Writers and Singers. Inter-American Development Bank, julio de 2001. http://dx.doi.org/10.18235/0007945.

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Reeves-DeArmond, Genna. Infusing popular culture into the museum experience via historic dress: Visitor perceptions of Titanic’s Rose as a living history interpreter/character. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-779.

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Humpage, Sarah D. Benefits and Costs of Electronic Medical Records: The Experience of Mexico's Social Security Institute. Inter-American Development Bank, junio de 2010. http://dx.doi.org/10.18235/0008829.

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Electronic medical record (EMR) systems are increasingly used in developing countries to improve quality of care while increasing efficiency. There is little systematic evidence, however, regarding EMRs' benefits and costs. This case study documents the implementation and use of an EMR system at the Mexican Social Security Institute (IMSS). Three EMR systems are now in operation for primary care, outpatient and inpatient hospital care. The evidence suggests that the primary care system has improved efficiency of care delivery and human resources management, and may have decreased incidence of fraud. The hospital systems, however, have lower coverage and are less popular among staff. The greater success of the primary care system may be due to greater investment, a participatory development process, an open workplace culture, and software appropriately tailored to the workflow. Moving forward, efforts should be made to exploit data housed in EMRs for medical and policy research.

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Kapoor Malhotra, Suchi, Marcella Vigneri, Nina Dela Cruz, Liangying Hou y Howard White. Economic development interventions in humanitarian settings: a promising approach but more evidence is needed. Centre for Excellence and Development Impact and Learning (CEDIL), abril de 2023. http://dx.doi.org/10.51744/ceb9.

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Humanitarian crises caused by political events and environmental catastrophes forcibly displaced 82.4 million people around the world at the end of 2020. Many conflicts continue for several years, reconstruction can take a long time, and people may anyway be unwilling to return to hazardous environments. Displaced people may remain in their new locations for months or even years, not days or weeks. In response, economic development interventions for displaced populations have become more popular. This includes interventions that invest in the economic development of the host community, and so provide opportunities for those living in nearby camps. Economic development interventions provide a livelihood for displaced people and so reduce reliance on their external support, build or utilise their skills, and so reduce the chances of a culture of dependency and preserve the dignity of the displaced population. Investments in the host population can provide economic opportunities for displaced people and reduce the resentment which may arise if local people see substantial relief aid going into the camp and they get nothing. This brief summarises findings from a systematic review of economic development interventions in humanitarian settings.

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White, Lauren. Managed Retreat: An Introduction and Exploration of Policy Options. American Meteorological Society, octubre de 2022. http://dx.doi.org/10.1175/managed-retreat-2022.

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As sea levels rise, 100-year floods occur more frequently than ever, and permafrost melts at unprecedented rates, these phenomena (and others) inflict change in our environment that may necessitate action. Proactive measures against environmental threats include protection, accommodation, and relocation. Protective and accommodating actions such as building sea walls and elevating structures can often be sufficient, but some communities may be at greater risk for hazards. Managed retreat is a tool for community adaptation to repeated environmental threats that involves the physical relocation of people, structures, and infrastructures away from areas exposed to repeat hazards. Though conversations surrounding managed retreat are becoming more commonplace in academic literature and public policy vernacular, the practice has been around for decades, as explained in the case studies at the end of this document. Managed retreat is not particularly a popular choice: much of our human experience is tied to the place where we live, our neighbors, shared location-based history and culture, and a sense of belonging. There are four main goals for this document: 1) to provide relevant, useful, introductory information to demystify retreat for decision-makers; 2) to encourage and enable conversations around this adaptive strategy; 3) to promote a framework of continual education and emphasize that progress on managed retreat is grounded in iterative processes instead of a one-time activity; and 4) to provide a range of potential actionable next steps tailored to community and local audiences.

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Yatsymirska, Mariya. MODERN MEDIA TEXT: POLITICAL NARRATIVES, MEANINGS AND SENSES, EMOTIONAL MARKERS. Ivan Franko National University of Lviv, febrero de 2022. http://dx.doi.org/10.30970/vjo.2022.51.11411.

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The article examines modern media texts in the field of political journalism; the role of information narratives and emotional markers in media doctrine is clarified; verbal expression of rational meanings in the articles of famous Ukrainian analysts is shown. Popular theories of emotions in the process of cognition are considered, their relationship with the author’s personality, reader psychology and gonzo journalism is shown. Since the media text, in contrast to the text, is a product of social communication, the main narrative is information with the intention of influencing public opinion. Media text implies the presence of the author as a creator of meanings. In addition, media texts have universal features: word, sound, visuality (stills, photos, videos). They are traditionally divided into radio, TV, newspaper and Internet texts. The concepts of multimedia and hypertext are related to online texts. Web combinations, especially in political journalism, have intensified the interactive branching of nonlinear texts that cannot be published in traditional media. The Internet as a medium has created the conditions for the exchange of ideas in the most emotional way. Hence Gonzo’s interest in journalism, which expresses impressions of certain events in words and epithets, regardless of their stylistic affiliation. There are many such examples on social media in connection with the events surrounding the Wagnerians, the Poroshenko case, Russia’s new aggression against Ukraine, and others. Thus, the study of new features of media text in the context of modern political narratives and emotional markers is important in media research. The article focuses review of etymology, origin and features of using lexemes “cмисл (meaning)” and “сенс (sense)” in linguistic practice of Ukrainians results in the development of meanings and functional stylistic coloring in the usage of these units. Lexemes “cмисл (meaning)” and “сенс (sense)” are used as synonyms, but there are specific fields of meanings where they cannot be interchanged: lexeme “сенс (sense)” should be used when it comes to reasonable grounds for something, lexeme “cмисл (meaning)” should be used when it comes to notion, concept, understanding. Modern political texts are most prominent in genres such as interviews with politicians, political commentaries, analytical articles by media experts and journalists, political reviews, political portraits, political talk shows, and conversations about recent events, accompanied by effective emotional narratives. Etymologically, the concept of “narrative” is associated with the Latin adjective “gnarus” – expert. Speakers, philosophers, and literary critics considered narrative an “example of the human mind.” In modern media texts it is not only “story”, “explanation”, “message techniques”, “chronological reproduction of events”, but first of all the semantic load and what subjective meanings the author voices; it is a process of logical presentation of arguments (narration). The highly professional narrator uses narration as a “method of organizing discourse” around facts and impressions, impresses with his political erudition, extraordinary intelligence and creativity. Some of the above theses are reflected in the following illustrations from the Ukrainian media: “Culture outside politics” – a pro-Russian narrative…” (MP Gabibullayeva); “The next will be Russia – in the post-Soviet space is the Arab Spring…” (journalist Vitaly Portnikov); “In Russia, only the collapse of Ukraine will be perceived as success” (Pavel Klimkin); “Our army is fighting, hiding from the leadership” (Yuri Butusov).

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

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

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