Thèses : « Cultural critics »

1

Silva, Israel Machado da. « Dançando, sentindo, pensando, amando... : o consumo de filmes por críticos de cinema e cinéfilos em Porto Alegre ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/127227.

Texte intégral

Résumé :

Os críticos de cinema são vistos como figuras próximas da elite cultural, gostando de filmes que a maior parte das pessoas não gosta e tendo um gosto que por vezes não se assemelha aos de seus consumidores. Os cinéfilos ou apaixonados por cinema são consumidores vorazes de filmes que buscam estar sempre assistindo uma produção, conversando sobre filmes, buscando informações. Nesse caso discute-se a possibilidade que esses mediadores entre produção e consumo e esses consumidores mais entusiasmados pelo cinema tenham práticas de consumo semelhantes e tenham visão semelhante sobre como apreciar esse produto. Com base em estudos de hierarquização cultural, consumo de cultura popular e de massa, crítica e cinefilia esse estudo busca compreender se os hábitos de consumo de críticos de cinema – considerados pelo Marketing como auxiliares na hora de um consumidor escolher um produto – e dos cinéfilos – consumidores em quantidade e variedade de filmes – compartilham das mesmas visões e se o que caracteriza um grupo caracteriza o outro ou não. Para responder isso fizemos 19 entrevistas em profundidade com críticos e 16 com cinéfilos na região de Porto Alegre. Há bastantes semelhanças na forma como tratam o cinema, em especial com relação à maneira como assistem ao filme e o quanto buscam de informações antes de ver um filme. Os críticos acreditam no seu papel como aumentando a conversa e reflexão sobre um filme, mas entendem que muitas vezes são utilizados como uma fonte de informação sobre o filme. Cinéfilos buscam menos entender de detalhes técnicos e possuem uma visão mais negativa com relação aos grandes lançamentos. Ambos os críticos de cinema e cinéfilos consomem de todos os tipos de filmes, reforçando o consumo onívoro por parte dos mesmos, mas os críticos sabem explicar mais porque veem todos os tipos de filmes. Em linhas gerais, os críticos de cinema precisam saber mais de filmes diversos porque precisam expor esse conhecimento ao passo que cinéfilos podem se aprofundar em um tipo de filme. Ambos os grupos acreditam que possuem uma experiência mais completa e que assistem filmes mais desafiadores do que a maioria das pessoas. Os cinéfilos são mais negativos em falar do tipo de filme que tem grande bilheteria e é apreciado por uma grande parte de espectadores. Por vezes esses cinéfilos consumiam os tipos de filmes mais autorais como forma de mostrar maior capital cultural frente a outras pessoas, mas por muitas vezes não eram capazes de usar esses conhecimentos em suas redes de relacionamentos.
Film critics are many times seen as people close to cultural elite, enjoying movies that most people do not like and cultivating a taste that sometimes does not resemble those of their readers. Film buffs or passionate about film are voracious consumers of films always seeking to watch a motion picture, talking about movies, searching for information. In this paper we discuss the possibility that these mediators between production and consumption and those most enthusiastic consumers have similar cinema consumption practices and have similar views on how to enjoy this product. Drawing upon studies of cultural hierarchy, popular culture, criticism and cinephilia this study has the aim of understanding whether the habits of film critics - considered by Marketing as assistants for a consumer to choose a product - and film buffs or cinephiles - consumers in number and variety of films - share the same visions. To answer these questions we made 20 long interviews with critics and 16 long interviews with inhabitants of Porto Alegre area. There are many similarities in the way they treat the cinema, especially with respect to the way they watch the film and how much information they search before seeing a movie. Critics believe in its role as increasing the conversation and reflection on a movie, but they understand they are often used as an information source about the movie. Cinephiles search less understand technical details and have a more negative view in relation to major releases. Both film critics and cinephiles consume all kinds of movies, reinforcing the omnivorous consumption, but critics can explain more because they see all kinds of movies. In general, film critics need to know more about many films because they need to expose this knowledge while movie buffs can delve into a type of film. Both groups believe they have a richer experience and they watch most challenging films than others moviegoers. Film buffs are more negative in talking about the kind of movie that has big box office and is appreciated by a large number of spectators. Sometimes these cinephiles consumed these auteur movies as a way to show more cultural capital, but often they were not able to use this knowledge in their social networks.

Styles APA, Harvard, Vancouver, ISO, etc.

2

Bacquelaine, Vidal de Llobatera Flora. « La cultura participativa en el ámbito local. La ciudad contemporánea y las políticas culturales ». Doctoral thesis, Universitat de Girona, 2017. http://hdl.handle.net/10803/457593.

Texte intégral

Résumé :

This research is framed in the context of the current reflection on the new theoretical paradigms that revolve around the so-called Network Society that presents itself as the great revolution of the cultural regime. This thesis analyzes the ideology that underlies the technosociety and the participatory culture associated with; Reflects on how this paradigm influences the public-private debate, as well as on the concept of representativeness or on the urban issue. At the same time, this investigation pays attention to the central position in which creativity is placed within the hegemonic discourse. It also wants to confront municipal cultural practices and policies; the strategic projects articulated from the hegemonic block of power, such as cultural tourism, smart cities or "creative cities". In general terms, the aim is to respond to the question of the city model on which these projects are based
Aquesta investigació s'emmarca en el context de la reflexió actual sobre els nous paradigmes teòrics que giren al voltant de l'anomenada societat xarxa. Un tipus de societat que es presenta com la gran revolució del règim cultural. En aquesta tesi s'analitza la ideologia subjacent a la tecnosocietat i la cultura participativa que porta associada. Es reflexiona sobre la manera com aquesta influeix sobre la dialèctica públic-privat, sobre el concepte de representativitat o sobre allò urbà. I es presta atenció igualment a la posició central en què se situa la creativitat en el marc del discurs hegemònic. També es vol confrontar les pràctiques i les polítiques culturals municipals; els projectes estratègics articulats des del bloc hegemònic de poder, com són el turisme cultural, les smart cities o les "ciutats creatives". En termes generals, es pretén donar resposta a la qüestió sobre el model de ciutat en què s'inspiren aquests projectes
Esta investigación se enmarca en el contexto de la reflexión actual sobre los nuevos paradigmas teóricos que giran alrededor de la llamada sociedad red. Un tipo de sociedad que se presenta como la gran revolución del régimen cultural. En esta tesis se analiza la ideología que subyace en la tecnosociedad y la cultura participativa que lleva asociada. Se reflexiona sobre el modo como esta influye sobre la dialéctica público-privado, sobre el concepto de representatividad o sobre lo urbano. Y se presta atención igualmente a la posición central en la que se sitúa la creatividad dentro del discurso hegemónico. También se quieren confrontar las prácticas y las políticas culturales municipales; los proyectos estratégicos articulados desde el bloque hegemónico de poder, como son el turismo cultural, las smart cities o las “ciudades creativas”. En términos generales, se pretende dar respuesta a la cuestión sobre el modelo de ciudad en el que se inspiran estos proyectos

Styles APA, Harvard, Vancouver, ISO, etc.

3

Guilherme, Maria Manuela Duarte. « Critical cultural awareness : the critical dimension in foreign culture education ». Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1533/.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

4

Castells, Ros Ramon. « Determinants de l'èxit cinematogràfic. Model d'anàlisi de la producció catalana 2008-2014 ». Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/405389.

Texte intégral

Résumé :

Cada divendres les cartelleres cinematogràfiques s’omplen de nous títols que cerquen atraure el màxim nombre d’espectadors al cinema. Poques pel·lícules aconseguiran mantenir-se a la gran pantalla durant algunes setmanes; la majoria seran reemplaçades ràpidament per deixar lloc a les noves produccions, que esperen ser estrenades. Des dels anys vuitanta del segle XX molts autors s’han interessat per determinar a partir d’un model matemàtic quins factors ajuden a aconseguir l’èxit d’una pel·lícula i, d’aquesta manera, mitiguen l’alt risc que suposa el negoci cinematogràfic. Algunes de les preguntes que s’han plantejat aquests autors de forma més recurrent són les següents: com responen els espectadors davant l’obtenció d’un premi?, com influeix en el públic incloure en l’elenc un actor reconegut? o quin efecte té la crítica professional en la decisió d’anar al cinema a veure una pel·lícula determinada? El repte principal d’aquesta recerca ha estat adaptar a la realitat del cinema català els criteris que fins ara s’han emprat per analitzar altres indústries cinematogràfiques, sobretot la nord-americana. La disparitat entre el model cultural i industrial d’aquestes dues cinematografies augurava uns resultats significativament diferents. S’ha recollit informació de 267 produccions catalanes estrenades entre els anys 2008 i 2014 i, seguint el treball dels autors consultats, s’ha realitzat una anàlisi multivariable per contrastar de forma conjunta tots els possibles factors que poden intervenir en l’èxit cinematogràfic. Només d’aquesta manera ha estat possible reduir considerablement el nombre de determinants de l’èxit per establir els que realment tenen influència en l’explotació en sala d’una pel·lícula. Els resultats que s’han assolit són reveladors i definidors de la realitat en la qual es desenvolupa la producció de cinema a Catalunya i refermen amb evidències científiques el coneixement subjectiu d’aquest sector. Per tant, el principal valor d’aquesta recerca radica en el contrast objectiu mitjançant una tècnica provada estadísticament, que, en refermar el coneixement subjectiu previ, aporta seguretat a l’hora de prendre mesures i d’actuar sobre la realitat examinada. Una primera conclusió general del treball realitzat és la poca connexió d’una part de la producció cinematogràfica catalana amb els espectadors ja que un terç de la producció catalana del període analitzat no ha estat vista per gairebé cap espectador. En segon lloc, i com a resum de les conclusions que s’han obtingut amb aquesta recerca es pot avançar que els aspectes pressupostaris i l’estructura empresarial del sector són els aspectes que més influeixen en l’èxit d’una pel·lícula catalana, seguits del reconeixement generat pels guardons principals dels premis Goya —i dels premis Gaudí a Catalunya—, que comporta una forta repercussió en el nombre d’espectadors que aconseguirà aquella pel·lícula. Per contra, la presència en festivals no té cap influència en l’èxit intern d’una pel·lícula, però és determinant en la internacionalització. Pel que fa als factors artístics, només s’ha trobat una relació directa entre l’idioma utilitzat per al rodatge i els resultats obtinguts en taquilla. La resta de factors que s’han introduït en l’anàlisi s’han descartat, atès que no aporten informació significativa al model. La comparació de l’anàlisi sectorial amb els resultats del treball empíric assenyala una peculiar coincidència entre els principals problemes que afecten el sector cinematogràfic català i els factors que intervenen en l’èxit de la seva producció: nivell de pressupost i estructura empresarial són factors que limiten la producció cinematogràfica catalana, però, alhora, apareixen com els determinants més influents en la consecució d’uns bons resultats d’explotació, tant al mercat interior (l’espanyol) com a l’exterior (l’europeu).
Every Friday, movie listings fill up with new films seeking to attract as many moviegoers to the cinema as possible, but only a few movies will manage to stay on the big screen for weeks. During the 1980s, many researchers used mathematical models to attempt to determine the factors which help to make a film successful, and so mitigate the high risks involved in the movie business. The main challenge of this study has been to adapt to the Catalan cinema industry the criteria which have been used to analyze other film industries, above all the American industry. Following the work of the researchers consulted, data from 267 new Catalan productions from between 2008 and 2014 was obtained, and a multivariable analysis was carried out to evaluate all the possible factors which might contribute to the success of a film. The results obtained are revealing, and help to clarify the reality of film production in Catalonia, providing scientific evidence to back up the subjective knowledge of the sector. Thus the value of the study lies in employing a statistically proven method to reinforce previously subjective knowledge, and provide security when making key decisions in film-making. To summarize the conclusions obtained in this study, it can be stated that budgetary factors and production company characteristics are the aspects which play the most important role in the success of a Catalan film, followed by the recognition generated by the main awards, the Goyas – and the Gaudi awards in Catalonia – which also have a major impact on the number of moviegoers who choose to see the film. By contrast, movies’ presence at festivals has no influence on the national success of a film but is decisive in its international career. As for artistic factors, it has only been possible to establish a direct relationship between the language in which the film is made and the results at the box office. The rest of the factors introduced in the analysis have been discounted, given that they do not contribute any significant information to the model.

Styles APA, Harvard, Vancouver, ISO, etc.

5

Adair, David Francis, et n/a. « 'Queer Theory' : Intellectual and Ethical Milieux of 1990s Sexual Dissidence ». Griffith University. School of Arts, Media and Culture, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20041014.102015.

Texte intégral

Résumé :

The main problem addressed by this thesis is the question of how to assess the politics and the cultural effects and implications of 'Queer Theory' during the period of the 1990s. 'Queer' was invoked in numerous institutions, spaces, and cultural practices over this period, and yet queer-identified theorists and many of their critics have often assumed that this term refers to a relatively unified object. I ask if it is appropriate to treat these 'queer' occasions in this manner, and whether this 'dispersed' object requires a different approach: one that sets out to describe means and routes by which it became possible and desirable to pose 'queer' problems across so many diverse sites and practices. In addition, if there are discernible patterns to these distributed cultural capacities and inclinations, what political significance do they have? These questions inform my account of the career of 'Queer Theory' during the 1990s. A post-humanist approach to these matters is not premised on an essential or a socially constituted general category of 'subjectivity'. Instead, it addresses 'Queer Theory' as a problem, without automatically critiquing it; it is sceptical of the perfectionist pulsion that has treated this critical practice as either a good or a bad object: dual roles that are mandated by the logic of dialectical criticism. These roles are exemplified by the frequent relegation of 'queer' in the relevant literature to the 'innately political' or the 'merely aesthetic'. In this thesis I identify ethical, cultural, and political yields of these conventional choices and the modes of problematisation in which they operate; I positively redescribe them as aesthetico-political practices. My approach therefore not only deviates from the 'good' or 'bad' critical options, but also from a third option: the equally rationalist response of assuming that 'Queer Theory' is fundamentally a problem of under-theorisation.

Styles APA, Harvard, Vancouver, ISO, etc.

6

Adair, David Francis. « 'Queer Theory' : Intellectual and Ethical Milieux of 1990s Sexual Dissidence ». Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367520.

Texte intégral

Résumé :

The main problem addressed by this thesis is the question of how to assess the politics and the cultural effects and implications of 'Queer Theory' during the period of the 1990s. 'Queer' was invoked in numerous institutions, spaces, and cultural practices over this period, and yet queer-identified theorists – and many of their critics – have often assumed that this term refers to a relatively unified object. I ask if it is appropriate to treat these 'queer' occasions in this manner, and whether this 'dispersed' object requires a different approach: one that sets out to describe means and routes by which it became possible and desirable to pose 'queer' problems across so many diverse sites and practices. In addition, if there are discernible patterns to these distributed cultural capacities and inclinations, what political significance do they have? These questions inform my account of the career of 'Queer Theory' during the 1990s. A post-humanist approach to these matters is not premised on an essential or a socially constituted general category of 'subjectivity'. Instead, it addresses 'Queer Theory' as a problem, without automatically critiquing it; it is sceptical of the perfectionist pulsion that has treated this critical practice as either a good or a bad object: dual roles that are mandated by the logic of dialectical criticism. These roles are exemplified by the frequent relegation of 'queer' in the relevant literature to the 'innately political' or the 'merely aesthetic'. In this thesis I identify ethical, cultural, and political yields of these conventional choices and the modes of problematisation in which they operate; I positively redescribe them as aesthetico-political practices. My approach therefore not only deviates from the 'good' or 'bad' critical options, but also from a third option: the equally rationalist response of assuming that 'Queer Theory' is fundamentally a problem of under-theorisation.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
Full Text

Styles APA, Harvard, Vancouver, ISO, etc.

7

Cavaleri, Giuseppe. « Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ». Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.

Texte intégral

Résumé :

Nous pouvons appréhender le Cinéma comme un vecteur culturel capable de cristalliser les us et coutumes d’une société, ou comme un outil susceptible d’en manifester les aspirations. L’industrie cinématographique italienne demeure parmi celles qui ont su imposer dans l'imaginaire des publics des œuvres venues aussitôt enrichir le patrimoine culturel mondial. De nos jours, sa présence internationale est plus modérée, et le rayonnement de ses œuvres ne dépasse que rarement les limites nationales. Les quelques auteurs tels que Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ont su gagner une visibilité désormais incontestable, leur permettant de devenir le symbole d’un cinéma italien contemporain renaissant. Les contenus de leurs filmographies sont le résultat de formes cinématographiques tout aussi riches que variées, et leur influence semble capable de modifier et de mettre à jour l’imaginaire des passionnés de culture italienne. Nos travaux veulent étudier et comprendre l’impact de leurs œuvres au sein d’un pays comme la France. À travers une étude qui se veut historique, sociologique et économique, nous analysons la représentation du réel dans l’histoire du cinéma transalpin, un idéal intellectuel qui semble intéresser particulièrement les publics français. Puis nous nous consacrons aux contenus de nos trois filmographies de référence, pour en extrapoler les données socio-politico-économiques. L’étude de l’impact de ces œuvres sur les critiques cinématographiques français conclut ces travaux, qui se penchent également sur la distribution et l’exploitation de ce cinéma, présent non seulement dans les salles de l'Hexagone, mais diffusé parallèlement au sein de nombreux festivals
One may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival

Styles APA, Harvard, Vancouver, ISO, etc.

8

Camargo, Sílvio César 1969. « Trabalho imaterial e produção cultural : a dialetica do capitalismo tardio ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280475.

Texte intégral

Résumé :

Orientador: Josue Pereira da Silva
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-13T14:59:33Z (GMT). No. of bitstreams: 1 Camargo_SilvioCesar_D.pdf: 832428 bytes, checksum: 4241948fb3bd0562b4b225a31375f5b3 (MD5) Previous issue date: 2009
Resumo: Nossa pesquisa se refere a debates em teoria social contemporânea. Nesta tese procuramos mostrar e ao mesmo tempo problematizar a categoria trabalho imaterial, considerando que tal categoria está se mostrando como historicamente central para o processo de produção da riqueza capitalista e acumulação do capital ao longo, aproximadamente, dos últimos trinta anos. A hipótese do trabalho imaterial como central para o atual momento histórico está, ao mesmo tempo, ligada às transformações da cultura contemporânea, principalmente, na forma de produção cultural. Procuramos conceber este entrelaçamento como o aspecto chave de um novo estágio do capitalismo, concebido pelo conceito de capitalismo tardio. Neste sentido, investigamos alguns problemas que também dizem respeito à tradição da Escola de Frankfurt. Em nossa hipótese de investigação conhecimento e cultura são conceitos centrais para o entendimento deste novo estágio do capitalismo tardio, possibilitando-nos um novo olhar quanto aos problemas da dominação e da emancipação na sociedade contemporânea.
Abstract: Our research concerns debates in contemporary social theory. In this dissertation we intend to show as well as query the immaterial labor category, considering that such category has shown itself as historically central for the production process of capitalist wealth and capital accumulation in the last thirty years, approximately. The hypothesis of immaterial labor as central for the present historical context is, at the same time, linked with the contemporary culture transformations, principally in the form of culture production. We intend to conceive this entwinement as the key aspect of a new stage of the capitalism, regarded under the late capitalism concept. In this sense we have investigated some issues that are also concerned to the Frankfurt School tradition. In our hypothesis of work, the concepts of knowledge and culture play a central part for the understanding of this new stage of late capitalism, providing a new outlook on domination and emancipation problems in contemporary society.
Doutorado
Doutor em Sociologia

Styles APA, Harvard, Vancouver, ISO, etc.

9

Meghji, Ali. « Cultural capital and cultural repertoires among the black middle-class : race, class, and culture in the racialised social system ». Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/285101.

Texte intégral

Résumé :

In this thesis, I ask 'Do racism and anti-racism affect black middle-class cultural lives?' I answer this question through interviews with thirty-two black Brits in professional occupations, and ethnographic work across middle-class spaces in London. I argue there are three black middle-class identity modes - strategic assimilation, ethnoracial autonomous, and class-minded - that each show a different relationship between racism, anti-racism, and cultural lives. Each of these identity modes are characterised by specific cultural repertoires. Individuals towards strategic assimilation draw on cultural repertoires of code-switching and cultural equity. Through the repertoire of code-switching, individuals towards strategic assimilation 'switch' identities when around the white middle-class. This identity-switching is based on the premise that one must become palatable to the white middle-class in order to attain legitimate middle-class cultural membership. Racism thus affects such individuals' cultural identities as they show racialised (white) barriers to middle-class cultural membership. Nevertheless, such individuals draw on the anti-racist repertoire of cultural equity, meaning they strive to be equal to the white middle-class in terms of cultural capital. Such individuals therefore often 'decode' traditional middle-class culture as white, but consume such culture to maintain an equal standing to the white middle-class in terms of cultural capital. Those towards the ethnoracial autonomous identity mode draw on cultural repertoires of 'browning' and Afro-centrism. Through their anti-racist repertoire of browning, they stress that people ought to be proud of being black. They therefore resist 'code-switching' and challenge the view that one must assimilate with white norms to prove their middle-class status. Such individuals also use the anti-racist repertoire of Afro-centrism to argue that they have a moral duty to positively uphold black diasporic histories, identities, and culture. They therefore prioritise consuming cultural forms which give positive, authentic representations of the black diaspora, consequently challenging the devaluation of blackness in British society. Lastly, those towards the class-minded identity mode draw on cultural repertoires of post-racialism and de-racialisation. Such individuals believe British society is 'beyond' racism, and they define as 'middle-class' rather than 'black', often reproducing negative stereotypes of other black people. Such individuals use their consumption of middle-class cultural forms to symbolically separate themselves from other black people. Racism affects their cultural lives, therefore, as they often reproduce negative ideologies of other black people as being culturally myopic, uncultivated, or 'playing the race card'. My thesis develops the 'two streams' of research on Britain's black middle-class. Firstly, studies of black British middle-class identity have been unidimensional, focusing predominantly on strategic assimilation. My research shows that strategic assimilation is only one identity mode. Secondly, the literature on black middle-class cultural consumption is also unidimensional, making it appear as though all black middle-class people seek to consume 'middle-class' cultural forms that have a 'black' focus (for example, literature exploring black identity). My research shows that certain black middle-class people (those towards the class-minded identity mode) have no affinity towards 'black' cultural forms, while others (those towards strategic assimilation) make sure to consume 'traditional' middle-class culture to maintain an equal standing with the white middle-class.

Styles APA, Harvard, Vancouver, ISO, etc.

10

Moraes, Felipe Augusto de. « A Dramaturgia no Cinema Brasileiro (1936-1951) ». Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-17092018-173941/.

Texte intégral

Résumé :

Com a chegada dos \"filmes falados\" nos anos finais da década de 20, o cinema brasileiro, que como outros ao redor do mundo vivia então um momento de grande vigor criativo, é obrigado a se reinventar, a praticamente recomeçar. Para os mais puristas, esse recomeço implicou numa recaída do cinema na velha arte teatral; para os mais otimistas, representou a consagração do dispositivo cinematográfico como o modo mais moderno e efetivo de dramatização. O cinema narrativo, com o acréscimo do som sincronizado, ao contrário das previsões iniciais, atinge rapidamente um novo estágio de popularidade. Esta pesquisa estuda de que modo nas duas décadas que se seguiram a novidade do \'cinema falado\', a dramaturgia do filme e a dramaturgia teatral dialogaram entre si para a construção de modelos dramáticos que pudessem atender as expectativas de um novo tipo de público, mais urbano e cosmopolita, num país que rapidamente buscava superar seu passado rural e as estruturas sociais e mentais a ele associadas.
With the arrival of \"talkies\" in the final years of the 1920s, Brazilian cinema, which like others around the world was living in a moment of great creative vigor, is forced to reinvent itself, practically starting again. To the more purists, this new beginning implied a relapse of the cinema into the old theatrical art; for the most optimistic, represented the consecration of the cinematographic \'dispositif\' as the most modern and effective mode of dramatization. Narrative cinema, with the addition of synchronized sound, unlike initial predictions, quickly reaches a new stage of popularity. This research studies how, in the two decades that followed the novelty of sound film, the dramaturgy of the film and theatrical dramaturgy interacted with each other to construct dramatic models that could meet the expectations of a new type of audience, more urban and cosmopolitan, in a country that quickly sought to overcome its rural past and the social and mental structures associated with it.

Styles APA, Harvard, Vancouver, ISO, etc.

11

Ciszek, Erica L. « Identity, culture, and articulation| A critical-cultural analysis of strategic LGBT advocacy outreach ». Thesis, University of Oregon, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3640180.

Texte intégral

Résumé :

This study examines how LGBT activists and LGBT youth make meaning of a strategic advocacy campaign. By examining activist and advocacy efforts aimed at youth, this research brings to light how LGBT organizations use campaigns to articulate identity and, conversely, how LGBT youth articulate notions of identity. Through the lens of the It Gets Better Project, a nonprofit activist organization, this dissertation uses in-depth interviews with organizational members and chat-based interviews with LGBT youth to study the meanings participants brought to the campaign.

Strategic communication has been instrumental in construction of LGBT as a cohesive collective identity and has played a vital role in the early stages of the gay rights movement. This research demonstrates how contemporary LGBT advocacy, through strategic communication, works to shape understandings of LGBT youth.

Instead of focusing on the Internet as a democratic space that equalizes power differentials between an organization and its publics, this study shows that the construction of identity is the result of a dynamic process between producers and consumers in which power is localized and does not simply belong to an organization or its public.

This research challenges the Internet as a democratic space and demonstrates that identity is a discursive struggle over meaning that is bound up in the intimate dance between producers and consumers of a campaign. In contrast to functionalist understandings of public relations that privileges the organization, this dissertation contends that a cultural-economic approach focuses on the processes of communication. A cultural-economic approach gives voice to the diverse audiences of a communication campaign and addresses the role communication plays as a discursive force that influences the construction of identities.

Styles APA, Harvard, Vancouver, ISO, etc.

12

Ciszek, Erica. « Identity, Culture, and Articulation : A Critical-Cultural Analysis of Strategic LGBT Advocacy Outreach ». Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18364.

Texte intégral

Résumé :

This study examines how LGBT activists and LGBT youth make meaning of a strategic advocacy campaign. By examining activist and advocacy efforts aimed at youth, this research brings to light how LGBT organizations use campaigns to articulate identity and, conversely, how LGBT youth articulate notions of identity. Through the lens of the It Gets Better Project, a nonprofit activist organization, this dissertation uses in-depth interviews with organizational members and chat-based interviews with LGBT youth to study the meanings participants brought to the campaign. Strategic communication has been instrumental in construction of LGBT as a cohesive collective identity and has played a vital role in the early stages of the gay rights movement. This research demonstrates how contemporary LGBT advocacy, through strategic communication, works to shape understandings of LGBT youth. Instead of focusing on the Internet as a democratic space that equalizes power differentials between an organization and its publics, this study shows that the construction of identity is the result of a dynamic process between producers and consumers in which power is localized and does not simply belong to an organization or its public. This research challenges the Internet as a democratic space and demonstrates that identity is a discursive struggle over meaning that is bound up in the intimate dance between producers and consumers of a campaign. In contrast to functionalist understandings of public relations that privileges the organization, this dissertation contends that a cultural-economic approach focuses on the processes of communication. A cultural-economic approach gives voice to the diverse audiences of a communication campaign and addresses the role communication plays as a discursive force that influences the construction of identities.

Styles APA, Harvard, Vancouver, ISO, etc.

13

Teixeira, Neto José. « A emergência das questões da cultura e os atos de currículo : possibilidades de transculturalismo crítico ». reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/10256.

Texte intégral

Résumé :

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-29T15:03:10Z No. of bitstreams: 4 Jose Teixeira parte 4.pdf: 3939069 bytes, checksum: aa9f1d22e85a97efff15363e9710f6b3 (MD5) Jose Teixeira parte 3.pdf: 6279100 bytes, checksum: 5684803e7c335af75350880c13f66384 (MD5) Jose Teixeira parte 2.pdf: 6193276 bytes, checksum: a627add75e6e9536f180cede71923321 (MD5) Jose Teixeira parte 1.pdf: 4781025 bytes, checksum: 10a60a9145f4797c4e53baeb780e536f (MD5)
Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-03T18:26:17Z (GMT) No. of bitstreams: 4 Jose Teixeira parte 4.pdf: 3939069 bytes, checksum: aa9f1d22e85a97efff15363e9710f6b3 (MD5) Jose Teixeira parte 3.pdf: 6279100 bytes, checksum: 5684803e7c335af75350880c13f66384 (MD5) Jose Teixeira parte 2.pdf: 6193276 bytes, checksum: a627add75e6e9536f180cede71923321 (MD5) Jose Teixeira parte 1.pdf: 4781025 bytes, checksum: 10a60a9145f4797c4e53baeb780e536f (MD5)
Made available in DSpace on 2013-05-03T18:26:17Z (GMT). No. of bitstreams: 4 Jose Teixeira parte 4.pdf: 3939069 bytes, checksum: aa9f1d22e85a97efff15363e9710f6b3 (MD5) Jose Teixeira parte 3.pdf: 6279100 bytes, checksum: 5684803e7c335af75350880c13f66384 (MD5) Jose Teixeira parte 2.pdf: 6193276 bytes, checksum: a627add75e6e9536f180cede71923321 (MD5) Jose Teixeira parte 1.pdf: 4781025 bytes, checksum: 10a60a9145f4797c4e53baeb780e536f (MD5) Previous issue date: 2008
Essa investigação etnográfica move-se nas redes da multirreferencialidade para tratar da cultura (no campo dos Estudos Culturais) e do currículo (na concepção dos Atos de Currículo), vislumbrando possibilidades de transculturalismo (Carta da Transdisciplinaridade) crítico em educação. Inscreve-se no campo teórico que considera cultura como campo de negociações e luta entre os diferentes grupos sociais pelas significações e identidades nas teias de significado e suas interpretações multicentradas que se dão em fronteiras, hibridizações e traduções; é entendida, ainda, na perspectiva de grupos, e não de cultura-nação, constituindo reservatório daquilo que há de melhor em cada sociedade. Esse estudo considera o currículo como um campo onde intercruzam-se os atos de seus atores em movimento e produção de significados contestados nas tensões instituído/instituinte; tem centralidade no conceito de currículo que considera a vida como fonte para reflexão crítica e partilhada dos dilemas inalienáveis. Os diálogos travados durante o processo potencializam as singularidades culturais, no nível ontológico, em atualizações da existência com, entre e para além das culturas, desnaturalizando o lócus privilegiado da “educação culta” e desreificando os cânones do conhecimento acadêmico autocentrado, possibilitando aprendências na dinâmica do trans-sendo em um etnocurrículo - em plasmação - que promove educação emancipacionista, tendo a diferença como fundante. Como objetivo geral, essa pesquisa intenciona compreender/explicitar como educadores vinculados aos processos de escolarização pensam as implicações da cultura em sua formação/docência nos contextos em que as diferenças configuram-se por emergências transculturais inscritas no processo de globalização. Como objetivos específicos, deseja discutir a emergência dos currículos culturais e a produção de significados dos diferentes grupos sociais; refletir sobre a transversalização dessas questões nas práticas docentes; entender as relações professores/alunos que estão em aprendências nesses currículos e provocar reflexões e agências mobilizadoras para tratarem criticamente das questões da cultura, promovendo emancipação de todos os envolvidos nessa imbricada trama vital.
Salvador

Styles APA, Harvard, Vancouver, ISO, etc.

14

Mark, Noah 1971. « Culture and competition : A critical test of homophily and distinction explanations for cultural niches ». Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282706.

Texte intégral

Résumé :

Why do different kinds of people like different kinds of culture? I examine two answers to this question: the homophily model and the distinction model. These models are alternative explanations for the finding that different cultural tastes and practices are concentrated within different sociodemographic segments of society. To determine which model is the preferred explanation, I identify conflicting predictions generated by the models. The models imply different ecological processes. The homophily model predicts that cultural forms compete with each other for people: People are a scarce resource on which cultural forms depend; cultural forms are not a scarce resource for people. The distinction model predicts a dual ecology: Cultural forms compete with each other for people, and people compete with each other for cultural forms. Empirical tests with 1993 General Social Survey data support the homophily model and disconfirm the distinction model.

Styles APA, Harvard, Vancouver, ISO, etc.

15

Zagnoni, Carlotta <1994&gt. « LA CULTURA COME ELISIR DI LUNGA VITA. Riqualificazione del Lido di Venezia attraverso un'offerta culturale diversificata ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19035.

Texte intégral

Résumé :

La cultura è immortale e in continuo sviluppo, perciò può dare un contributo veramente imponente ovunque vi si presenti. Il suo potere è talmente forte da riuscire a sovrastare la stigmatizzazione di un luogo. Si prenderà in esame il Lido di Venezia, considerata l’Isola d’Oro per eccellenza durante la prima metà del secolo scorso. Un’analisi storica di quello che è stata l’isola aiuterà a comprendere la sua evoluzione da meta del turismo internazionale più chic, a semplice stazione balneare di un turismo di prossimità o addirittura come semplice luogo residenziale. Il confronto è un altro tema fondamentale per crescere, in ogni ambito. Si considereranno perciò località simili per molti aspetti al Lido di Venezia: Cannes, Biarritz e San Sebastian. Si studieranno le strategie, per la maggior parte culturali, grazie alle quali queste mete funzionano a livello turistico. Oltre alla riqualificazione del Lido di Venezia stesso, dandogli perciò una nuova accezione grazie al contributo culturale, questo progetto intende dimostrare come un nuovo Lido possa anche diventare una valida proposta nella città metropolitana di Venezia, intervenendo con le sue iniziative nella gestione dei flussi turistici più intensi e allargando l’offerta della destinazione Venezia

Styles APA, Harvard, Vancouver, ISO, etc.

16

Leal, Luã Ferreira 1991. « Compassos e descompassos : a música popular e o tempo da tradição ». [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279736.

Texte intégral

Résumé :

Orientador: Renato José Pinto Ortiz
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-27T16:25:37Z (GMT). No. of bitstreams: 1 Leal_LuaFerreira_M.pdf: 1646864 bytes, checksum: 6547ce2b528081a4bbbbaff2377d032f (MD5) Previous issue date: 2015
Resumo: O passado é ordenado mediante a definição de princípios de classificação e a atribuição de níveis de relevância dos fatos históricos. A música popular entre as décadas de 1960 e 1970 era objeto de reflexão na imprensa enquanto as pesquisas no âmbito universitário estavam voltadas para outros enfoques de interpretação da sociedade brasileira. Mesmo com a recente inserção da música popular nos debates de cientistas sociais e historiadores profissionais, a escrita da história efetuada por jornalistas ainda forma o núcleo dos "clássicos" da bibliografia sobre o tema. A fonte principal das referências sobre a música popular nos centros urbanos do Brasil pode ser encontrada em um conjunto de textos publicados desde o século XIX por memorialistas e cronistas. A partir da década de 1960, Ary Vasconcelos, José Ramos Tinhorão e Sérgio Cabral, devido à ampla circulação de seus textos e à dimensão de seus acervos com discos, documentos e objetos relacionados à história da música popular brasileira, conquistaram prestígio como "redescobridores" dos músicos do passado. A produção intelectual dos historiadores não acadêmicos ¿ em sua maioria, profissionais das redações de jornais e revistas ¿ pode ser analisada como diagnóstico das transformações sociais na segunda metade do século XX. Para os historiadores-jornalistas convertidos ao posto de pesquisadores da música, a alegada "autenticidade" do elemento popular confere os traços da identidade brasileira. Os textos de Ary Vasconcelos, José Ramos Tinhorão e Sérgio Cabral serão analisados para a compreensão da construção dos pilares do panteão da música popular brasileira entre a década de 1960 e o início da década de 1980. Na condição de defensores do "popular", os três autores conciliam a busca pela preservação da música com características tidas como nacionais e a repreensão aos desvios à "tradição", os quais ocorrem com a comercialização da cultura do "povo" brasileiro
Abstract: The past is ordered by the definition of classification principles and the assignment of levels of relevance of historical facts. Popular music in the 1960s and 1970s was an object of reflection in the press while research in the university was focused on other approaches to interpretation of Brazilian society. Despite the recent inclusion of popular music in discussions among social scientists and professional historians, the writing of history made by journalists still forms the core of the "classics" of literature on the theme. The main source of reference to popular music in urban centers in Brazil can be found in a set of texts published since the 19th century by witnesses and chroniclers. From the 1960s, Ary Vasconcelos, José Ramos Tinhorão and Sérgio Cabral ¿ given the wide circulation of their texts and the size of their collections of records, documents and objects related to the history of Brazilian popular music ¿ gained prestige as "rediscoverers" of the musicians of the past. The intellectual production of non-academic historians (mostly newspapers and magazines newsrooms professionals) may be taken as a diagnosis of social changes in the second half of the 20th century. For these journalist-historians converted to the position of music researchers, the alleged "authenticity" of the popular element conveys the Brazilian identity. The writings of Ary Vasconcelos, José Ramos Tinhorão and Ségio Cabral are analyzed in order to understand the building of the Brazilian popular music pantheon pillars between the 1960s and the early 1980s. In the condition of guardians of "the popular", the three authors concile the pursuit for preserving the music characterized as national and reprehending of deviations to the "tradition", defined as commercialization of the brazilian "popular" culture
Mestrado
Sociologia
Mestre em Sociologia

Styles APA, Harvard, Vancouver, ISO, etc.

17

Stewart, Janet Caroline. « Excavating Adolf Loos's cultural criticism ». Thesis, University of Glasgow, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297518.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

18

Green, Aaryn L. « Calling Out Culture Vultures : Nonwhite Interpretations of Cultural Appropriation in the Era of Colorblindness ». University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535371632312056.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

19

Franco, David Budeus. « Formação cultural : arte e cultura convertidas em instrumentos da preparação para o trabalho ». Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/10441.

Texte intégral

Résumé :

Made available in DSpace on 2016-04-27T16:32:54Z (GMT). No. of bitstreams: 1 David Budeus Franco.pdf: 1169649 bytes, checksum: 8bce1a405900125f5886e74e846529cf (MD5) Previous issue date: 2014-02-24
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study treats about formation offered by two schools, one from public system of Minas Gerais s State and one from private system. The central objective from this research was to identify and to analyze how are defined tasks and the functions of school, based on appreciation on cultural and artistic activities, beyond this, to identify and to analyze how are produced diagnosis, defined educational objectives and actions to equalize the educational daily troubles regarding on formation. The hypotheses of this research are uttered by: a) on analyzed documents there are an increasing tendency on school sphere to incorporate subjects related to cultural activities like a way to adapt school to historical context; and b) even if the changes are visible and cultural activities in schools has a serious propositions, predominates the formation directed to work. In order to verify these hypotheses, this work made an analysis on several documents made in a very different scope; first of all documents made on international scope, after others made on national scope, after what was time of state sphere, and, finally, on local sphere, wherein the documents was produced by schools. The results from this work were constructed by comparison through information extracted from analysis on distinct documents. The results obtained, largely, confirmed the initial hypotheses from this research. Based on Critical Theory, especially on Herbert Marcuse, on Theodor Adorno and on Max Horkheimer, this study shows the relationship among work s world and the fresh attempts to step up artistic and cultural activities at schools, these like an expression of transformation of the same activities in support to improve quality of contemporary education
Este trabalho trata da formação cultural oferecida por duas escolas, uma da rede estadual de educação de Minas Gerais e outra da rede privada. O objetivo essencial da pesquisa foi o de identificar e analisar como são definidas as tarefas e funções da escola tendo como referência a valorização das atividades culturais e artísticas, além de, identificar e analisar o modo como são produzidos diagnósticos, definidos objetivos educacionais e propostas de ações para o equacionamento dos problemas enfrentados pela escola referentes à formação cultural. As hipóteses da pesquisa são expressas nos seguintes termos: a) há, nos documentos analisados, a crescente tendência de destacar a necessidade de a escola incorporar conteúdos relacionados às atividades culturais como forma de adequar a escola ao contexto em que está situada; e b) ainda que as mudanças sejam evidentes e que as atividades culturais nas escolas tenham um sério propósito, predomina a formação voltada para o trabalho. A fim de verificar as hipóteses, este trabalho lançou mão de análises de diversos documentos produzidos em diferentes esferas, desde a internacional, passando pela nacional e estadual, até atingir a local, isto é, os documentos produzidos pelas próprias escolas. Os resultados da pesquisa foram produzidos no cotejamento das informações extraídas dos diversos documentos analisados. Os dados, em grande medida, confirmaram as hipóteses iniciais deste trabalho. Amparada na Teoria Crítica da Sociedade, principalmente em Herbert Marcuse, Max Horkheimer e Theodor Adorno, este estudo evidencia a proximidade entre o mundo do trabalho e as recentes tentativas de incrementar atividades culturais e artísticas nas escolas, isso como expressão da transformação de tais atividades em fatores fundamentais para a melhoria da qualidade da educação na contemporaneidade

Styles APA, Harvard, Vancouver, ISO, etc.

20

Carvalho, Sonia Maria de. « A critica de Adorno a cultura moderna ». [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279261.

Texte intégral

Résumé :

Orientador : Renato Ortiz
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-07-29T03:26:30Z (GMT). No. of bitstreams: 1 Carvalho_SoniaMariade_M.pdf: 8163804 bytes, checksum: f3189fcad64b49b126408f07d9fa1907 (MD5) Previous issue date: 2001
Resumo: o presente trabalho preocupa-seem revelar quais os fundamentosda critica de Adorno à cultura moderna. Para isso, será necessário esclarecer, primeiro, porque tal critica está intimamente ligada à compreensão que Adorno tem do capitalismo tardio. Segundo, que a cultura, na modernidade, foi praticamente substituída por wna indústria cultural que impede que aquela esfera continue atuando como wna esfera autônoma, portanto, potencialmente transformadora. Finalmente, que esse fato colabora, cada vez mais, para wna incapacidade dos indivíduos de se estabelecerem como sujeitos e se firmarem como personalidades com tendências autoritárias: seja pela sllbmissão ou pelo autoritarismo exagerado
Abstract: The present work shows the fundamentals of Adorno's criticism to modern culture. In order to do this it will be necessary to clarify, fIrst, the reasons why such a criticism is closely related to Adorno's comprehension of late capitalismo Second, that culture, in modernity, was pratically substituted by a culture industry that prevents it ftom keeping on acting like an autonomous and thus, transforming, sphere. Fina1ly,this fact collaborates for the individuais' incapacity to establish themselves as subjects and, because of this, helps settling them as personalities with authoritarian tendencies: be it by submission or excessive authoritarism
Mestrado
Mestre em Sociologia

Styles APA, Harvard, Vancouver, ISO, etc.

21

Bishop, Patrick James. « The moment of criticism : the critical culture of Montersquieu, Voltaire and Diderot / ». Title page, contents and abstract only, 1995. http://web4.library.adelaide.edu.au/theses/09PH/09phb6224.pdf.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

22

Abreu, Jane Gabriele de Sousa. « O caminho das letras : um estudo das trajetórias de Milton Hatoum e Chico Buarque ». Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-13052015-203624/.

Texte intégral

Résumé :

Esta dissertação prevê, num primeiro momento, o estudo da trajetória de dois escritores brasileiros, Milton Hatoum e Chico Buarque. Num segundo momento, investigam-se os pontos de contato entre as posições e as tomadas de posição no campo literário. Parte-se do pressuposto de que a compreensão da formação e dos investimentos desses autores pode ajudar a compreender tanto as suas obras quanto a recepção crítica positiva que ambos obtiveram e continuam obtendo. A hipótese é a de que modos particulares de aquisição de capital cultural, além de uma nova configuração do campo literário brasileiro, contribuíram para que ambos os autores produzissem obras de qualidade e galgassem posições nesse campo.
Our goal in this project in the study of the trajectories of two Brazilian authors, Milton Hatoum and Chico Buarque. We believe that the comprehension both of their formation and investments may help us to comprehend not only theirwork but also the positive reception they had and stillhave from Brazilian critics. Our hypothesis is that specific ways of cultural capital acquisition, and also a new configuration of the Brazilian literary field, contributed both for the authors qualified production and, consequently, the attainment of high positions in the field.

Styles APA, Harvard, Vancouver, ISO, etc.

23

HUANG, Weizi. « 當代中國文化明星的製造 : 變動的文化生產場 ». Digital Commons @ Lingnan University, 2010. https://commons.ln.edu.hk/cs_etd/13.

Texte intégral

Résumé :

本文借助並修訂了布爾迪厄（Pierre Bourdieu）的理論框架，透過對中國大陸二十世紀九十年代以來文化明星的製造進行研究來理解變動中的文化生產場 (field of cultural production)，並探討在其間知識分子作為的新可能。文化明星問題之所以值得特別研究，首先是由於它處於當代中國文化生產的中心，涉及到電視、圖書、平面媒體、互聯網等不同的文化生產次場域（sub-field），以及製作人、出版人、文化明星本人、“粉絲” (fans) 和批評者所代表的不同力量。考察圍繞著製造文化明星的複雜的關係網絡，正可以勾勒出當代中國變動的文化生產場域的概貌。其次，文化明星的產生和生產是對九十年代以來知識分子危機的一種回應，是知識分子問題的變奏。理解了文化明星的製造機制，有助於尋找在當下的文化生產場中知識分子作為的新可能。本文選取余秋雨、易中天、于丹和韓寒四個個案進行深入分析。余秋雨是公認的第一個最成功的文化明星，對其案例進行研究揭示了文化明星產生的歷史轉變。易中天和于丹的案例則代表著著一種可以複製的成熟的文化明星製造模式的出現。韓寒的形象及製造是一種有別于以上主流文化明星的另類模式。本文綜合運用多種研究方法，包括對十幾名相關的文化生產者進行訪問，組織了一個針對粉絲的焦點小組（focus group），並且到電視節目錄製現場、出版社和大型書店進行參與式觀察。此外亦有歷史檔案梳理和文本、話語分析。最終，本文繪製出了不同的文化明星在當代中國文化生產場中的位置，反思了現有文化明星生產模式的後果，並對知識分子/文化生產者參與文化生產提出有針對性的建議。

Styles APA, Harvard, Vancouver, ISO, etc.

24

SHEN, Dan. « 後CEPA 時期香港電影懷舊想像中的「本土」身份書寫 ». Digital Commons @ Lingnan University, 2014. https://commons.ln.edu.hk/cs_etd/23.

Texte intégral

Résumé :

2003 年中國內地與香港簽訂《內地與香港關於建立更緊密經貿關係的安排》(Mainland and Hong Kong Closer Economic Partnership Arrangement, 簡稱CEPA)。其中關於電影的條款放寬了香港電影進入內地的條件，加之龐大的市場需求，香港電影工業的跨境活動變得日益頻繁, 並開啟了新一輪的中港「合拍片」潮流。電影產業及其市場環境的轉變背後是更為深層的中港經濟、政治與文化的融合。香港從「九七」前後至今在新的政治空間及身份脈絡中不斷尋求「本土」位置顯得日益困難。電影作為流行文化文本和社會實踐曲折地表述「本土」、「自我」、「身份」，其中「懷舊」（nostalgia）便是近十年香港電影文化想像中一個顯著的憶述工具和路徑，亦即通過處理「過去」、歷史、集體記憶等來書寫「現在」的某種情感、經驗、欲望。本論文以後CEPA 時期的香港電影為研究對象，檢閱以合拍片為主導的電影工業體制下，和香港近十年來文化政治脈絡中，不同類型、風格、主題，以及不同生產方式、製作規模、市場面向的香港電影懷舊想像與「本土」身份的互構關係。以及後CEPA 時代香港電影的懷舊想像與此前懷舊電影相比下的延續與新變。

Styles APA, Harvard, Vancouver, ISO, etc.

25

Lee, Sue Mei. « Cultural work in language and literacy : reflections of a researcher as a cultural worker / ». ProQuest subscription required:, 2003. http://proquest.umi.com/pqdweb?did=990270691&sid=1&Fmt=2&clientId=8813&RQT=309&VName=PQD.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

26

Bonis, Maria Luísa Rangel De. « A crítica e o artista : samba, repressão e poesia em Chico Buarque ». Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/4901.

Texte intégral

Résumé :

Made available in DSpace on 2016-04-26T18:16:13Z (GMT). No. of bitstreams: 1 dissertacao mestrado Maria Luisa Rangel De Bonis.pdf: 686916 bytes, checksum: d9b5b501ab71c271571dbbeaa6baa973 (MD5) Previous issue date: 2005-04-29
Conselho Nacional de Desenvolvimento Científico e Tecnológico
The aim of this work is to analyze a body of critical reviews and other journalistic writings produced at two different moments of Chico Buarque s career: early 1970 s and early 1990 s. For this purpose, we have chosen three specific works to be studied: Sinal fechado (1974), Francisco (1987), and Paratodos (1993). In the analyses of reviews published on major magazines and newspapers from São Paulo and Rio de Janeiro about the chosen productions, our research tried to understand the way both work and artist were interpreted. Cultural criticism, here, is a first step on the way to understand the social and cultural scene of the focused periods. With this in mind, we looked for a theoretical foundation in authors such as Theodor W. Adorno and Walter Benjamin. For the study of Chico Buarque s songs, other authors such as Antonio Candido, Haroldo de Campos, Roberto Schwarz, and Sergio Buarque de Hollanda are sources which bring out important ways of interpreting the Brazilian reality. Thus, our theoretic foundation is related to authors who understand Brazil beyond the specific domain of criticism, and who point out new perspectives for its interpretation. The main conclusion of this study is the realization that cultural criticism plays a fundamental role in the way Chico Buarque s songs are understood at the moment of their production. Beginning with criticism, through historical and political contexts, every work assumes aspects that qualify it. And its from criticism, that some fundamental elements for its own understanding samba, poetry and political repression are questioned
A pesquisa tem o principal objetivo de estudar a crítica produzida sobre dois momentos distintos da obra de Chico Buarque, em meados da década de 1970 e no início dos anos 1990. Eles são representados por três produções singulares: os CDs Sinal Fechado (1974) e Paratodos (1993) e o documentário Chico ou o país da delicadeza perdida (1990). A partir da análise das críticas publicadas nos principais jornais e revistas de São Paulo e Rio de Janeiro sobre as produções escolhidas, pretende-se entender como obra e artista são interpretados. A crítica cultural, aqui, funciona como primeira etapa para o entendimento da cultura brasileira durante as épocas estudadas principalmente em se tratando de Chico Buarque, que tem o Brasil e a condição do artista como temas recorrentes em sua obra. Para o estudo da crítica cultural é essencial passar por referências fundamentais como Adorno e Walter Benjamin. Ao aliar o estudo da crítica à análise da obra de Chico Buarque, autores como Antonio Candido, Haroldo de Campos, Roberto Schwarz e Sergio Buarque de Hollanda são leituras que trazem as várias identidades e realidades brasileiras a partir do estudo da produção cultural. Desta forma, as bases teóricas de análise estão ligadas a autores que retratam o Brasil através da crítica e tecem novas formas para seu entendimento

Styles APA, Harvard, Vancouver, ISO, etc.

27

Tang, Sheung-wo, et 鄧雙和. « The poet as cultural critic : an investigationof aspects of T.S. Eliot's critique of modern culture in his poetryand prose ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31951740.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

28

Moore, Tim. « Critical thinking and the disciplines / ». Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/4230.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

29

Silva, Pedro Paulo da. « Jornalismo, telenovela e cultura na coluna Helena Silveira Vê TV (1970-1984) ». Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-15122015-151858/.

Texte intégral

Résumé :

Entre 1970 e 1984, a jornalista e escritora Helena Silveira dedicou-se à crítica televisiva nas colunas Helena Silveira Vê TV e Videonário, publicadas no jornal Folha de S.Paulo. A dissertação pretende resgatar essa produção jornalística, observando-a a partir do instrumental teórico dos estudos culturais. O primeiro capítulo trata dos conceitos de experiência e estrutura de sentimento, além de se referir a trabalhos dos estudos culturais acerca da experiência da televisão. O segundo capítulo apresenta um perfil da jornalista Helena Silveira e os diferentes momentos de sua atuação na empresa Folha da Manhã entre as décadas de 1940 e 1980. O terceiro capítulo procura refletir sobre a natureza da crítica televisiva, com destaque para o modo particular como Helena Silveira a desenvolveu, fazendo uso de um tom próximo da crônica. O quarto capítulo avalia como, no âmbito da crítica de TV, é possível reconhecer a promoção do prestígio da telenovela, sua fixação como produto capaz de produzir identificações e prazer. O quinto capítulo procura resgatar uma dimensão política latente em muitos textos em que Helena Silveira dialogou com o clima de expectativas e esperanças da chamada abertura política, considerando a importância da TV no contexto de redemocratização do país
Between 1970 and 1984, journalist and writer Helena Silveira devoted herself to television criticism in the columns Helena Silveira Vê TV and Videonário, published in Folha de S.Paulo newspaper. This dissertation aims to rescue this journalistic production, using the theoretical frame of cultural studies. The first chapter deals with the concepts of experience and structure of feeling and with works of cultural studies about the experience of television. The second chapter presents a profile of journalist Helena Silveira and the different moments of Folha da Manhã between the 1940s and 1980s. The third chapter seeks to think about the nature of television criticism, highlighting the particular way in Helena Silveira has developed it, making use of a chronicle tone. The fourth chapter analyzes how, in the context of television criticism, it is possible to recognize the promotion of prestige of a genre like telenovela and at the same time, its attachment as a product able to create identification and pleasure. The fifth chapter intends to rescue a latent political dimension in many texts in which Helena Silveira write about the climate of expectations and hopes for the end of the dictatorship in Brazil, considering the importance of TV in the context of re-democratization of the country

Styles APA, Harvard, Vancouver, ISO, etc.

30

Mesquita, Afonso Mancuso de [UNESP]. « A motivação do aprendiz para a aprendizagem escolar : a perspectiva histórico-cultural ». Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/97428.

Texte intégral

Résumé :

Made available in DSpace on 2014-06-11T19:28:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-21Bitstream added on 2014-06-13T19:58:26Z : No. of bitstreams: 1 mesquita_am_me_arafcl.pdf: 1363942 bytes, checksum: 4fbbe1d23de9ae7ee7d35d17c974381a (MD5)
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O debate em torno da motivação para a aprendizagem remonta às críticas da Escola Nova à Escola Tradicional. Para a primeira, a educação deveria ser funcional, o que equivale a dizer que deve ser fundada nas necessidades dos alunos. O processo pedagógico verdadeiro é o que toma como ponto de partida, eixo e referência central, as necessidades espontâneas dos aprendizes. O ensino torna-se não-diretivo, pois a escola exime-se dessa função. A instrução dos alunos é orientada por eles mesmos, de acordo com suas inclinações e interesses pessoais. Os escolares não devem mais aprender, mas “aprender a aprender”. A Pedagogia Histórico-Crítica revela o que está escondido detrás dessa aparente democratização do ensino. Os métodos escolanovistas questionavam a própria validade do ato de ensinar. Contribuindo assim, para o rebaixamento da qualidade do ensino. A Pedagogia de orientação marxista retoma a transmissãoassimilação dos conhecimentos clássicos como centro do processo pedagógico. A questão é que isso não implica na renúncia à motivação para a aprendizagem. Ao contrário, ela é considerada um elemento importante do processo pedagógico. Trazemos contribuições da Psicologia Histórico-Cultural nesse sentido, para demonstrar como a motivação se desenvolve ao longo da ontogênese. Partindo da teoria da atividade de A. N. Leontiev, vemos que os motivos para qualquer atividade humana são edificados socialmente. A força motora de seu desenvolvimento encontra-se nas relações sociais do indivíduo, isto é, a chave para a compreensão da motivação (o aparecimento dos motivos) é a natureza social do psiquismo. Isso significa que os motivos para aprender, bem como todo e qualquer motivo, não são dados invariáveis da vida individual, mas dependem em grande medida da qualidade das relações sociais e dos processos educativos vividos ao largo...
The debate around motivation for school learning makes us return to the criticism of New School for Traditional School. The first one thinks that education should be functional, which means that it should be founded on students needs. The true teaching process is the one that takes as starting point, axis and central reference, the spontaneous needs of learners. Teaching becomes non-directive, since the school refuses itself to perform this task. Students’ instruction is guided by them, according to their personal interests. Scholars should no longer learn, but “learn to learn”. Historical-Critical Pedagogy reveals what is ridden behind this apparent democratization of school. The New School methods questioned the very validity of the act of teaching. Thus contributing to the depreciation of educational quality. The Marxist-oriented Pedagogy retakes the transmission and assimilation of classical knowledge as center of pedagogical process. The point is that it doesn’t imply on renouncement of motivation to learn. Rather, it is considered an important element of the pedagogical process. We bring contributions from Historical and Cultural Psychology to demonstrate how motivation develops along ontogeny. Starting from activity theory of A. N. Leontiev, we see that reasons to any human activity are socially edified. Reasons’ development driving force lies in person’s social relationships, that is, the key to comprehend motivation (the rise of reasons) is the social nature of psyche. This means that reasons to learning, as any reason, are not invariable on a person’s life, but depend largely on the quality of social relationships and educational processes experienced offshore development. Wherefore, to be motivated to learn is, first of all, to be in school. Besides this condition, knowledge must be the object that stimulates the activity of the learner... (Complete abstract click electronic access below)

Styles APA, Harvard, Vancouver, ISO, etc.

31

Ding, Yunxue. « A critical comparison of American idol and Super girl a cross-cultural communication analysis of American and Chinese cultures / ». Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/377.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

32

Pizarro, Coloma Marcela Fernanda. « Revista de Critica Cultural : memory in the Chilean post-dictatorship ». Thesis, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500310.

Texte intégral

Résumé :

is dissertation studies memory in the aftermath of the Chilean dictatorship through the Revista de Critica Cultural, edited by the prominent cultural critic, Nelly Richard In response to officially sanctioned narrative forms of memory which appealed to notions such as 'reconciliation' and 'consensus', transforming political compromises into transcendental moral principles in order to establish a redemptive sense of closure, the journal insists on a notion of memory in a state of constant reactivation in the present. Distinctive because of its championing of neo-avantgarde art and literature, the journal's articulation of alternative approaches to memory has been charged with the aesthetics of postmodern fragmentation that sets ii apart from the militant orthodoxy of the traditional Left.

Styles APA, Harvard, Vancouver, ISO, etc.

33

Brown, Wade E. « Critical Hip-hop Graffiti Pedagogy in a Primary School ». Thesis, Loyola Marymount University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3671998.

Texte intégral

Résumé :

Educational reform movements are constantly in the process of trying to improve a fractured educational system. Many scholars contend there is a discrepancy between educational outcomes for White students and students from diverse ethnic backgrounds. Some educators in working class communities of color have begun to infuse elements of students' social and cultural backgrounds, including popular culture, to create instructional methods that can better engage and pique student interest. Hip-hop Pedagogy is one of the methods, rooted in popular culture, which is being used in classroom settings to increase students' awareness about the societal constructs and issues in their communities that may affect them. Student access to Hip-hop based instructional methods, however, have been limited and virtually absent from elementary education settings. However the consumption of Hip-hop culture persists in urban communities worldwide. This qualitative study implemented a Hip-hop emergent-based curriculum in an elementary school setting, closely documenting the perceptions and responses to the curriculum by four young males students of color. The study consisted of five consecutive classroom sessions, in which the curriculum and dialogue focused on different expressions of Hip-hop culture. Student viewpoints were logged daily in focus groups and the data that emerged from the sessions and focus groups informed the emergent curriculum. Graffiti became the Hip-hop element of focus chosen for deeper exploration by the participants in this study. The study revealed a number of findings that point to the potential value of an emergent Hip-hop curriculum with elementary male students of color.

Styles APA, Harvard, Vancouver, ISO, etc.

34

Baquet, N. Eugene. « Blues Story : Narratives of Cultural Identity ». Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/BaquetNE2006.pdf.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

35

Neely, Gloria Jean. « The effects of American influence on British culture ». CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2025.

Texte intégral

Résumé :

This study notes similarities and differences between the United States (U.S.) and the United Kingdom (U.K.). Study findings suggest that while at first glance the United Kingdom and the United States may seem similar in many ways, the differences between these countries are great, making each one unique.

Styles APA, Harvard, Vancouver, ISO, etc.

36

Tang, Sheung-wo. « The poet as cultural critic : an investigation of aspects of T.S. Eliot's critique of modern culture in his poetry and prose / ». Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19537384.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

37

Jarzombek, Mark Michael. « Leon Baptista Alberti : the philosophy of cultural criticism ». Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/14984.

Texte intégral

Résumé :

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1986.
MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Bibliography: leaves 355-362.
This dissertation investigates Leon Baptista Alberti's cultural critique, taking into consideration a broad spectrum of Alberti's writings, including many which have remained relatively unknown and ignored. Alberti developed his cultural theories by means of a literary ontology which is based on the definition of the author, his role in society, and his function as catalyst for regeneration. His theory of art and of history, and even his views on the task of Humanism it self, are all subsumed in his comprehensive attempt to demonstrate that myth-making capabilities are central to society's self-definition. Unless society keeps alive the myths of destruction and regeneration, its historical viability, so Alberti argues, is endangered. Alberti's aesthetic theory, which has previously been sought exclusively in his treatises, De pictura and De re aedificatoria, emerges in this inquiry as inextricably interlocked with his cultural critique. For the first time, the treatises will be viewed from within the context of Alberti's own thought.
by Mark Michael Jarzombek.
Ph.D.

Styles APA, Harvard, Vancouver, ISO, etc.

38

Edwards, Robert M. « The ghost in the machine : the cartoonist as cultural critic ». Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299528.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

39

Kavanagh, Kevin Sean. « Raymond Williams and the limits of cultural materialism ». Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/50785/.

Texte intégral

Résumé :

Cultural materialism has become an influential discipline in recent years, particularly so in 'Renaissance' studies, but also more generally in 'English', as well as departments defined as practising 'cultural' or 'communications' studies. The phrase is usually linked with the name of Raymond Williams, but a cursory examination of Williams's own work quickly establishes that it is a phrase he rarely uses, and only schematically attempts to define. The thesis therefore takes the form of an investigation into the way cultural materialism has come to be understood, by examining in detail the trajectory of Raymond Williams's theoretical development, and how his own engagement with various theoretical positions has helped to set 'limits' on the meaning of cultural materialism. Chapters 1 and 2 deal with some of Williams's earliest work, particularly Reading and Criticism, as a way of investigating how reasonable it is to tag him as a 'Left-Leavisite', arguing that Leavis's undoubted influence is resisted (though not entirely rejected) from a very early stage. The first chapter considers in detail Leavis's work at Cambridge, the influence of Eliot, and the significance of the 'Organic Community'. Chapter 2, which is based around a comparative analysis of Williams's and Leavis's readings of Dickens, argues that Williams rejects the 'organic community' in favour of his 'knowable community'. Chapters 4 and 5 deal with specific 'theoretical' issues: the first, based around a reading of Terry Eagleton's critique of Williams's use of the Marxist metaphor of 'base and superstructure', shows some of the problems which arise from Williams's cultural model, as well as suggesting refinements; the second deals with the influence of Volosinov's theories on Williams. Chapter 6 comes out of Williams's readings of the 'Country-House' poems in The Country and the City, showing how his practice of literary criticism relies on an acceptance of 'ideology' apparently denied in his more 'theoretical' writings. This analysis is extended as a result of investigations into the 'De L'Isle' manuscripts relating to the Penshurst estate. Chapter 7 argues that it is possible to see the work of Fredric Jameson as developing Williams's cultural materialism into Jameson's debates on postmodernism. In the Introduction and Conclusion, I have taken the opportunity to look briefly at the activity of cultural materialism as it has developed since Raymond Williams's death in 1988. The Introduction emphasizes what I see to be important methodological differences between 'cultural materialism' and 'new historicism'; the Conclusion deals with the continuing debate over the value of a cultural materialist approach by considering the 'appropriation' of Shakespeare.

Styles APA, Harvard, Vancouver, ISO, etc.

40

LEI, Qili. « 时尚报刊、广告与当代中国消费意识形态 ». Digital Commons @ Lingnan University, 2003. https://commons.ln.edu.hk/cs_etd/14.

Texte intégral

Résumé :

本论文针对 1990 年代以来中国社会在经济文化方面的巨大改变，归纳并指出一种新的“消费意识形态”在中国业已历史地形成并取代日渐式微的传统意识形态，成为宰制当代中国社会的主导力量。论文批判地回顾了1949 年以后中国大陆语境中意识形态涵义的历史嬗变，以四个具有典型意义的时尚报刊和广告案例、广告事件为例，从不同侧面解析了广告形象以及广告产业如何作为中介与以时尚报刊为代表的文化工业一起，参与当代中国“消费意识形态”建构的社会过程。论文通过对“消费意识形态”所遮蔽的当代中国社会问题的揭示，对“消费意识形态”在当代中国社会发生影响的深度和广度的阐释，回应了九十年代以来在中国思想界有较大影响的“后六·四”文化论争中的一些重要问题，展现了文化研究在中国大陆介入现实社会思考和批判的可能空间。

Styles APA, Harvard, Vancouver, ISO, etc.

41

Santana, Jeova Silva. « A critica cultural no ensaio e na cronica de Genolino Amado ». [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270313.

Texte intégral

Résumé :

Orientador: Orna Messer Levin
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
O exemplar do AEL pertence a Coleção CPDS
Made available in DSpace on 2018-07-28T05:58:35Z (GMT). No. of bitstreams: 1 Santana_JeovaSilva_M.pdf: 39887912 bytes, checksum: c86c6af3e6f8954577ee45c87292542a (MD5) Previous issue date: 2000
Résumé: Cette dissertation fait Ia tentative de montrer que Ie journaliste Genolino Amado pratiqué Ia critique cuItureI au travers de un significative moyen de l' expression: Ia convergence esthétique entre l' essai et Ia chronique. Pour confirmer cette hypothese nous analysons quatre livres publiés pour l' auteur entre 1937et 1948.Les thémes pIus favorabIes pour cette investigation iIs avaint été choisis entre Ias analyses sur Ia Second Grande Guerre,aspects littéraires et Ias pratiques quotidiennes des habitants de Ia ville du Rio de Janeiro. Nous cherchons observer encore comme iI a analysé Ia résonance, dans alors capital du pays, des événements politiques et cultureIs provenus d' autres regions
Resumo: A dissertação procurou mostrar que o jornalista Genolino Amado exercitou a crítica cultural utilizando- se de um significativor e curso de expressão:a convergência estética entre o ensaio e a crônica. Para confirmar esta hipótese, analisamos quatro livros publicados pelo autor entre 1937e 1948. Os temas relevantes para essa investigaçãoforam selecionados entreobservações sobre a Segunda Guerra, aspectos literários e práticas cotidianas dos habitantes do Rio de Janeiro. Procuramos observar ainda como o autor analisou a ressonância, na então capital do País, de manifestações políticas e culturais oriundas de outras regiões
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária

Styles APA, Harvard, Vancouver, ISO, etc.

42

West, Emma. « The highs and lows of modernism : a cultural deconstruction ». Thesis, Cardiff University, 2017. http://orca.cf.ac.uk/101029/.

Texte intégral

Résumé :

Over the past two decades, scholars have shown that the modernist ‘Great Divide’ between high and low culture is culturally-constructed, reductive and oversimplified. Yet, despite these critical disavowals, the field of modernist studies is still informed by the Divide’s binary systems of evaluation and classification. ‘High’ and ‘low’ texts are studied in isolation and modernism is privileged over popular culture. This thesis argues that we must address the Great Divide’s structure if we are to move beyond it. The Divide is underpinned by three structural myths: that of essence (texts are inherently high or low), mutual exclusivity (texts are either high or low) and precedence (high texts come before low ones). Over the course of four chapters, this study seeks to define, challenge and reconfigure the Great Divide, exploring new approaches which allow us to study texts from across the cultural spectrum together. After an initial chapter which maps out the Great Divide in early-twentieth-century Britain, the following three chapters interrogate the structural myths in turn. Chapter 2 disputes the myth of essence, arguing that both ‘little’ and ‘popular’ magazines are shaped by external factors; Chapter 3 considers travel posters, showing that they exhibit apparently mutually-exclusive aesthetic and publicity functions at once; and Chapter 4 examines the extent to which innovations in mass-market fashion predated their modernist counterparts. Informed by theory but rooted in print culture, this thesis combines cultural history and deconstruction to displace the Great Divide as a system of classification and reinstate it as an object of study. Only by viewing high, low and middlebrow texts together can we trace the effects that socio-economic conditions, prevailing aesthetic norms and audience demands had on a text’s production, circulation and reception.

Styles APA, Harvard, Vancouver, ISO, etc.

43

Daniels, Marilyn Christine Johanne. « "291" and cultural criticism : to see through closed eyes ». Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26804.

Texte intégral

Résumé :

Alfred Stieglitz and the members of '291' are most often remembered in the art historical literature for introducing modernism into America through the work of European artists and through the integration of current European formal experiments into the work of American artists. While some authors have referred to the fact that this modernism, as presented by 291, was intended to critique society, any analysis of that critique is conspicuously missing. Also absent is an analysis of what one contemporary critic referred to as the "queer symbolism lurking at the Post-Impressionist hypothesis." In this thesis the following questions are asked: what was 291's critique and why did they insist upon the expression of the 'irrational' states of the psyche — passion, intuition and imagination, in their art. By situating 291 within its particular set of contexts I attempt to explain what their position represented — to the members themselves and to their rivals.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

Styles APA, Harvard, Vancouver, ISO, etc.

44

Copeland, John. « Richard Rorty and the Cultural Politics of Literary Criticism ». The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-12162008-133459/.

Texte intégral

Résumé :

Simon Stow warns that the influence of political readings of literary texts could be harmful to political discourse. In particular, he cautions against the growing popularity of political readings over political arguments. Compared with traditional arguments, readings are, Stow argues, poorly suited for liberal political discourse. To demonstrate this point, Stow challenges the political character of Richard Rortys reading of Pale Fire. In this essay, I dispute Stow's criticism of Rorty. My basic argument is that literary criticism (or "readings") can be politically significant and that Rorty's acknowledgement of this fact ties him to rather than separates him from, both the political and literary arenas. To make my point, I reconsider the reading of Pale Fire Rorty offers relative to the kind of reading of Don Quixote offered by Nabokov. By arguing that even the most "literary" of writers reads for political purposes, I hope to situate Rorty within a cultural space where the literary and political converge.

Styles APA, Harvard, Vancouver, ISO, etc.

45

Papadimitriou, Lydia. « The Greek film musical : a critical and cultural history / ». Jefferson, N.C. [u.a.] : McFarland, 2006. http://www.loc.gov/catdir/toc/ecip0517/2005022634.html.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

46

Passon, Jerry Walter. « The Corvette in Literature and Culture : Material Object and Persistent Image ». OpenSIUC, 2010. https://opensiuc.lib.siu.edu/dissertations/123.

Texte intégral

Résumé :

This study examines the Corvette, an automobile with a distinct place in American literature and culture. For more than fifty years, the Corvette has been in the process of becoming what is described as an "icon," although this progress has never been satisfactorily approached and explained. Why this particular machine has not just survived, but come to be recognized--by and large by most if not all Americans--as the signifier of various virtues (and some vices) is a question of some significance: in analyzing the reasons for the Corvette's long life and success as an overwhelmingly positive and distinctively American car, we look at the literature and culture of the United States. What this reveals is a complex web of ideas and attitudes that centers on one thing--a material object with six different forms over fifty years, yet one that has always retained its identity and power to signify. The approach here is thematic rather than historical. As a popular subject, the Corvette already has historians who look at it as a tangible thing that can be described, measured, and defined. My assignment is different: through the lens of critical theories, several of them, and a wide range of materials--film, novels, songs, and more--I seek to discover some essential aspects of the car that make its image dynamic and permit it to evolve over time. This is not an easy process; it has demanded an open mind to materials not often looked at in an English dissertation. The Corvette and its image are described in four areas and a conclusion: * The Corvette: the Empty, the American, and the Deadly Signifier (the original that becomes America's image of itself and the danger of speed and technology out of control) * The Image of Potency: the Corvette, Males, and Minorities (aggressive sexuality, African-American males, and male domination) * Women, Sex, and Identity as Power: the Corvette, Baddest Mother of Them All (phallic females, the car as sexual power and identity) * Corvette as Art: the Expressive Image (the car's own self-reflexive nature, the automobile as fashion--belonging ["I stand out, yet I belong"] and sense of self--and its presence in "art") * The Corvette: Image and Object

Styles APA, Harvard, Vancouver, ISO, etc.

47

Wood, Alice. « The development of Virginia Woolf's late cultural criticism, 1930-1941 ». Thesis, De Montfort University, 2010. http://hdl.handle.net/2086/4806.

Texte intégral

Résumé :

This thesis explores the development of Virginia Woolf’s late cultural criticism. While contemporary scholars commonly observe that Woolf shifted her intellectual focus from modernist fiction to cultural criticism in the 1930s, there has been little sustained examination of why and how Woolf’s late cultural criticism evolved during 1930-1941. This thesis aims to contribute just such an investigation to field. My approach here fuses a feminist-historicist approach with the methodology of genetic criticism (critique génétique), a French school of textual studies that traces the evolution of literary works through their compositional histories. Reading across published and unpublished texts in Woolf’s oeuvre, my genetic, feminist-historicist analysis of Woolf emphasises that her late cultural criticism developed from her early feminist politics and dissident aesthetic stance as well as in response to the tempestuous historical circumstances of 1930-1941. As a prelude to my investigation of Woolf’s late output, Chapter 1 traces the genesis of Woolf’s cultural criticism in her early biographical writings. Chapter 2 then scrutinises Woolf’s late turn to cultural criticism through six essays she produced for Good Housekeeping in 1931. Chapter 3 surveys the evolution of Woolf’s critique of patriarchy in Three Guineas (1938) through the voluminous pre-publication documents that link this innovative feminist-pacifist pamphlet to The Years (1937). Finally, Chapter 4 outlines how Woolf’s last novel, Between the Acts (1941), fuses fiction with cultural criticism to debate art’s social role in times of national crisis. The close relationship between formal and political radicalism in Woolf’s late cultural criticism, I conclude, undermines the integrity of viewing Woolf’s oeuvre in two distinct phases –the modernist 1920s and the socially-engaged 1930s – and suggests the danger of using such labels in wider narratives of interwar literature. Woolf’s late cultural criticism, this thesis argues, developed from rather than rejected her earlier experimentalism.

Styles APA, Harvard, Vancouver, ISO, etc.

48

Bakher, Rozarina. « #CancelCulture : A critical discourse analysis of cancel culture and its effect on representation and voice ». Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44055.

Texte intégral

Résumé :

Cancel culture has been described by some as a form of online activism. It has also been argued as activism with both negative and positive effects. For the positive side, cancel culture has worked to emphasize the representation and voice of women during the #MeToo movement against sexual harassment at workplaces. On the other hand, cancel culture has a reputation for being "activism-for-bad" when it silences the voice of people that may contribute to the area of communication for development and social change. For example, it is said to have stifled academic freedom and restricted open debates in cultural institutions. The aim of this thesis is to examine how cancel culture determines whose representation and voice is heard, and has it evolved from being a tool of activism to one that is said to threaten democratic participation? The thesis analyses six online articles that appears as the top results on Google Search during a specific timeline between the period of 2015 - 2021. These timelines were determined from Google Trends® by looking at when the term 'cancel culture' were trending highest on the internet. Applying methodological framework based on the theories of Critical Discourse Analysis, this thesis sets out to analyse words and terms used in these online articles that contributed to the discourse on cancel culture and analyses its relations to representation and voice.

Styles APA, Harvard, Vancouver, ISO, etc.

49

Yoshida, Hisayo. « A Cross Cultural Analysis of Japanese Art Critical Writings and American Art Critical Writings ». The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408539349.

Texte intégral

Styles APA, Harvard, Vancouver, ISO, etc.

50

Santos, Clovis Pereira dos. « Clio e Psiqué : contribuições da metapsicologia de orientação lacaniana à historiografia da cultura ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-08022010-141743/.

Texte intégral

Résumé :

O obscurantismo da letra lacaniana, as crises institucionais e o hermetismo da metapsicologia podem ser superados em favor das contribuições teóricas que o lacanismo poderia fornecer à historiografia da cultura. Este trabalho defende que esta assertiva já estava inscrita às proposições multidisciplinares tanto da escola dos Annales quanto dos textos ditos sociais de Freud. Assim, em uma estratégia progressiva que contemplaria tanto leitores novos às temáticas metapsicológicas quanto, espera-se, outros já mais experientes, os dois primeiros capítulos são introdutórios ao jargão lacaniano, o terceiro e quarto, reflexões sobre o estado da arte, conquanto os dois últimos constituem casos da metapsicologia aplicada à crítica ao discurso do capitalista, uma das principais contribuições da psicanálise de orientação lacaniana aos saberes ditos sociais.
The obscurantism of the lacanian text, the several institutional crises and the difficulty of the metapsychological vocabulary may be overcome in favor of the theoretical contributions that the lacanism could provide to the culture historiography. This thesis argues that this assumption was already present in the multidisciplinary propositions of the Annales school and in the so called social texts by Freud. Consequently, a progressive strategy that would be useful to new readers of the metapsychological subjects, as much as, to the more experienced ones, the first two chapters are an introduction to the lacanian jargon, the third and fourth chapters, are a reflection about the state of the art, whilst the last two parts are about metapsychology applied to the capitalist discourse, one of the main contributions of the lacanian oriented psychoanalysis to the so called social knowledges.

Styles APA, Harvard, Vancouver, ISO, etc.

Thèses sur le sujet « Cultural critics »

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres