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1
Capo, Alessandro. « Progettazione di un biosensore ottico per la determinazione atmosferica del benzene ». Doctoral thesis, Universita degli studi di Salerno, 2016. http://hdl.handle.net/10556/2190.
Texte intégralRésumé :
2014 - 2015In recent years, environmental pollution, particularly air pollution, is a subject of great scientific and public interests. The reason is due to the strong impact on human health. Air pollution is due to the placing in the atmosphere of polluting substances coming mostly from fossil fuel use in the various combustion processes, used to power the engine vehicles, industrial machinery and for the production of electrical energy. The primary air pollutants, waste products of combustion are carbon monoxide, sulphur oxides and nitrogen, particulates and aromatic hydrocarbons. Different scientific studies correlate the presence and increased atmospheric concentrations of aromatic hydrocarbons, in urban canters due to the emission of exhaust gases of vehicular traffic, with arise of a variety of tumors... [edited by author]
XIV n.s.
2
Jones, Michael Lewis. « Organising pop : why so few pop acts make pop music ». Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367134.
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3
Ferdfelt, Henrik. « Pop / ». Stockholm : School of Business, Stockholm University, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1349.
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4
Hänsel, Rosemarie. « Abschied von Ingeborg Pomp ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2007. http://nbn-resolving.de/urn:nbn:de:swb:14-1184240704601-52673.
Texte intégralRésumé :
Am 4. Juni 2007 erhielten wir die traurige Nachricht, dass Ingeborg Barbara Pomp, Leiterin i. R. der Stenografischen Sammlung von 1996 bis 2006 nach kurzer schwerer Krankheit verstorben ist. Die Mitarbeiterinnen und Mitarbeiter der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek trauern um eine liebenswerte Kollegin, die sich immer mit einem Höchstmaß an persönlichem Einsatz für die Weiterentwicklung der Stenografischen Sammlung engagiert hat.
5
Morrison, John J. « Pop surrealism ». Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265089.
Texte intégralRésumé :
The objective of this creative project was to see if Pop Surrealism appeals to a larger cross-section of culture and could be integrated into the fine arts. This study involved creating a series of drawings utilizing a wide range of optical and thematic devices to expand my visual vocabulary. The evidence suggests that the visual knowledge of our culture has expanded through mass media. In the 1800's, Stendhal Syndrome affected a cross-section of America. The illness was incurred by overexposure of visual stimuli resulting with the victim vomiting and passing out. The people's adaptation has lessened the syndrome to almost nonexistence. Pop Surrealism is the amalgamation of Pop Art, Surrealism, and cartoons. The drawings were an exploration of visual and technical applications. The study also included a search for the history and acceptance of techniques and media.Department of Art
6
McRae, Madalyn Dawn. « Pop Creatures ». BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8752.
Texte intégralRésumé :
This thesis is a short story collection revolving around the central theme of pop culture. The first story, "After the Win," follows the character Cecil, whose wife Rhonda has recently won The Great British Bake Off. Trouble ensues in Cecil and Rhonda's family as Rhonda starts to focus on her post-Bake Off fame instead of her relationships with her husband and daughter. "Making Friends with a Monster" is about Rick, a half-human, half-lake monster living on the shores of Bear Lake. Because of his existence in an in-between place between man and monster, Rick struggles to find companionship in life. That is, until Anna (AKA the Loch Ness Monster) arrives in his lake and presents him with an enticing offer: to return with her to Loch Ness. The story culminates in Rick's decision. The next story, "The Fourth Wall," is the story of Max and Abby, who are close to getting engaged. Max confronts Abby about her family, who she has never told him much about. Finally, she agrees to take him for a visit to meet her parents. As soon as Max arrives, it becomes apparent that Abby's parents believe they are Ricky and Lucy from the beloved sitcom I Love Lucy, and Max is soon sucked in to the illusion. The last story in the collection is "Feelin' Groovy in Point Pleasant, West Virginia,"which is the tale of a Simon and Garfunkel tribute band that encounters the legendary Mothman monster in Point Pleasant, West Virginia, who happens to be an avid Simon and Garfunkel fan.
7
Del, Longo Ester <1984>. « Pop Surrealismo ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4221.
Texte intégralRésumé :
Questo scritto nasce dall'idea di dare lettura ad un fenomeno artistico che in sé ingloba i principi dell'estetica pop e dell'immaginario onirico e fantastico proprio del movimento del Surrealismo.
Del fenomeno artistico, che prende il nome di Pop Surrealism, ne verranno inquadrati i valori e le ragioni, i risultati ottenuti e gli esponenti chiave e diverrà il punto di partenza per proporre un'analisi sulla creazione di linguaggi che fanno capo ad una nuova e contemporanea estetica pop: un'ibridazione tra immaginario condiviso e cultura di massa, oggi diffusa in arte in alcune particolari esperienze quali l' Urban Art, il Surreal Pop, il Newbrow.
Tra gli argomenti trattati vi saranno i precedenti storici in arte che hanno permesso oggi l'esistenza del movimento, con particolare riguardo alla nascita dell'arte “Lowbrow”, ed offrirà una panoramica sugli influssi e le declinazioni che questo approccio ha prodotto in successive esperienze artistiche internazionali a noi contemporanee tra cui il genere del “superflat giapponese”, lanciato dalla Factory di Takashi Murakami e le espressioni, forse meno note del filone italiano del Newbrow, tutte sensibilità definibili come appartenenti alla macro categoria del neo pop.
L'indagine ruota quindi intorno al Surreal pop inteso come movimento pittorico nato in seno alla società contemporanea occidentale, caratterizzato dalla tendenza a mescolare, e porre sullo stesso piano, fonti iconografiche e testi culturali differenti privati del loro consueto valore e ordine gerarchico. La pittura proposta dai pop surrealisti si presenta, infatti, come mescolata, ibrida e globale: tre aggettivi che descrivono perfettamente il tempo storico in cui viviamo.
8
Engdahl, Anton. « Minimalism och pop : Pop-produktioner inspirerade av Steve Reich ». Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74324.
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Det här är ett konstnärligt arbete som handlar om att producera popmusik influerad av Steve Reichs minimalistiska verk. Det inleddes med en analys av de musikaliska parametrarna harmonik, rytmik och klangfärg i tre av Reichs verk. Med resultatet från analysen som mall skapades sedan nya produktioner till tre poplåtar. Poplåtarna skrevs av författaren innan starten för detta arbete. Resultaten blev av varierande kvalitet. I vissa fall upplevde författaren att det mest lät som att man lyssnade på två låtar samtidigt. När författaren tog egna initiativ och lät ljudbilderna smälta samman mer upplevde han dock att resultatet blev bättre. I de fallen påstår han att musiken blev någonting mer än bara honom själv + Reich, den blev någonting nytt och helt unikt!
9
Stepanek, Ellyn M. « Pop-culture artifacts ». Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on July 11, 2008). Includes bibliographical references (p. 43-44). Available online via the OhioLINK ETD Center. Also available in print.
10
Honna, Keikichi. « Pop Zen manifesto ». The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327601728.
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11
Toncarová, Petra. « Pop-up projekty ». Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-199702.
Texte intégralRésumé :
This diploma thesis deals with pop up phenomenon. The pop up stands for projects that are intentionally created for short period of time which try to liven up the urban space and to animate a cultural and social activities. The pop up projects are nowadays also perceived as an effective mean of marketing communication. The aim of the thesis is to map projects occurring in the Czech Republic area to analyze management specifics of such projects and to define based on the used methods their benefits.
12
Schwarz, Stephan, et Gisela Schwarz. « 750 Jahre Familiengeschichte Schwarz und Popp ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-100345.
Texte intégralRésumé :
Vorliegendes Buch erzählt die Familiengeschichte der sächsischen Familien Schwarz und Popp. Der Autor hat sowohl seine Vorfahren, nämlich die Familienlinien Schwarz, Einenkel , Schulze und Dehmel, als auch die Vorfahren seiner Frau, nämlich die Familienlinien Popp, Kießling, Störl und Rüdiger bis Mitte des 13. Jahrhunderts - überwiegend anhand von Kirchenbucheinträgen - erforscht und beschrieben.
Die Familien stammen alle aus dem Erzgebirge und dem Vogtland. Einzelne Personen kamen aus Böhmen, Franken, Österreich und Baden-Württemberg hinzu.
Im ersten Teil sind die Herkunft der Familien, die Berufe, herausragende Persönlichkeiten, Besonderheiten aus dem Leben der Personen, sowie tragische und kuriose Geschichten aus den Kirchenbucheinträgen zusammengetragen. Außerdem sind, zugeordnet zu den Familien, tabellarische Aufstellungen von Herkunftsorten und Familiennamen enthalten.
Im Anhang Teil 2 sind die Ahnentafeln der Linien Schwarz und Popp dargestellt. Teil 3 enthält nochmals eine umfassende Aufstellung aller Herkunftsorte und Familiennamen.
Der Autor wurde 1947 in Limbach-Oberfrohna geboren, absolvierte Schul- und Berufsausbildung ab 1954 in Oberschwaben, ist seit 1970 verheiratet und lebt seit 1972 in Bayern.
Die Anlagen 1-12 auf den Seiten 53-218 sind in dem Online-Dokument aus rechtlichen Gründen nicht enthalten.
13
Oliveira, Silvia de Cassia Rodrigues Damacena de [UNESP]. « A Literatura pop de Roberto Drummond : arte pop, referencialidade e ficção ». Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/106340.
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Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0
Previous issue date: 2008-07-04Bitstream added on 2014-06-13T20:46:38Z : No. of bitstreams: 1
oliveira_scrd_dr_sjrp.pdf: 2615783 bytes, checksum: 8046c7f4f86da950ffe53d7b0b6836d6 (MD5)Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro “jogo-de-armar” novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works’ composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn’t limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.
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Oliveira, Silvia de Cassia Rodrigues Damacena de. « A Literatura pop de Roberto Drummond : arte pop, referencialidade e ficção / ». São José do Rio Preto : [s.n.], 2008. http://hdl.handle.net/11449/106340.
Texte intégralRésumé :
Orientador: Arnaldo Franco JúniorBanca: Maria Lúcia Outeiro Fernandes
Banca: Luciene Azevedo
Banca: Sérgio Vicente Motta
Banca: Álvaro Luiz Hattnher
Resumo: Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro "jogo-de-armar" novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo.
Abstract: Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works' composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn't limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.
Doutor
15
Dzuverovic, Lina. « Pop art tendencies in self-managed socialism : pop reactions and counter-cultural pop in Yugoslavia in 1960s and 1970s ». Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2850/.
Texte intégralRésumé :
This thesis explores forms of Pop Art on the territory of the former Yugoslavia in the 1960s and 1970s, seeking to identify its local variants. Yugoslavia, a single party state, built on the legacy of the anti-fascist Partisan struggle, principles of solidarity, egalitarianism, self-management and a strong sense of internationalism due to its founding role in the Non-Aligned Movement, was, at the same time, a country immersed in what has been termed 'utopian consumerism'. The thesis examines how Yugoslav artists during this period dealt with the burgeoning consumer society and media boom, kitsch and the Westernization of Yugoslav culture, phenomena which were ideologically at odds with the country’s own socialist principles. Starting from an analysis of the role of the artist in post-war Yugoslav system of self-management, the thesis proposes that Pop in Yugoslavia can be read as a critical site of articulation and negotiation of that role. Yugoslavia’s founding principles, formed as a legacy of the People’s Liberation Struggle (1941 – 1945), were based upon self-management and the introduction of social property, with art being a democratizing force with a central emancipatory role in the building of the new socialist state. But socialist modernism gradually relegated culture to a more illustrative role, as a form of ‘soft power’ for the Socialist Federal Republic of Yugoslavia. The thesis proposes a reading of artists’ diverse engagements with popular culture and materials as varied expressions of resistance to the severing of links with Yugoslavia’s founding principles. My original contribution to knowledge lies in the identification of two strands of Pop in the country–‘Yugoslav Pop Reactions’ and ‘Yugoslav Countercultural Pop’ which each turned to popular culture and cheap everyday materials as an alternative channel through which to respond to socialist modernism. My claim is that the two positions represent two diametrically opposed responses to the disenchantment with socialist modernism and artists’ roles in society – both using the language of Pop Art but representing two different conceptual positions. The thesis is structured around three core questions. Firstly it asks whether it is possible to retrospectively apply the category of Pop Art to artworks which never originally claimed this term. Secondly it examines ways in which Pop tendencies altered the position of Yugoslav female artists, who, marginalised in a heavily male-dominated environment, looked to Pop as an enabling force, allowing new working methods and‘giving licence’ to new types of practices. The third question is concerned with the relationship between power, politics and Pop Art in Yugoslavia, asking to what extent Yugoslav Pop was a form ofpolitical practice, and to what extent is it was a local adaptation of international currents and themes. This thesis is associated with Tate’s multiannual research into ‘global pop’, which culminated in the exhibition ‘The World Goes Pop’ (September 2015 – January 2016, Tate Modern) through a Collaborative Doctoral Award (AHRC). This involved an advisory role in the exhibition research on the territory of the former Yugoslavia, identifying artists and artworks for potential inclusion in the exhibition. The methodology of the thesis was in part shaped by this context, beginning with close studies of artworks, their critical reception, and the study of their context–the sites of production and exhibition in the country at the time. Whilst both local and international literature on Yugoslav art history, global Pop Art as well as Yugoslav material culture and political context has been important, the core research involved oral histories, and visits to artists’ studios, museum collections, depots and archives in search of original artworks. The thesis draws on approximately twenty interviews with artists, curators, art historians and other art workers who were active in 1960s and 1970s, combined with the above-mentioned scholarship.
16
Chambers, Cynthia R., et K. Buttolf. « The POP Arts Experience ». Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3887.
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17
Parikh, Rachel. « Persian pomp, Indian circumstance : the Khalili Falnama ». Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648619.
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Jarzyna, Tomasz. « Modelowanie i analiza dynamiczna pionowych pomp diagonalnych ». Rozprawa doktorska, [Nakł.aut.], 2011. http://dlibra.utp.edu.pl/Content/272.
Texte intégralRésumé :
Celem pracy jest zbadanie wpływu parametrów mechanicznych na stan drganiowy pompy. Praca zawiera przegląd stanu wiedzy z zakresu dynamiki pomp, maszyn wirnikowych, analizy sił hydraulicznych oddziałujących na tarcze wirnikowe oraz modelowania wałów, badania doświdczalne na obiekcie rzeczywistym, wyznaczanie wartości sił hydraulicznych towarzyszących pracy tarcz wirnikowych, opracowanie i weryfikację modelu matematycznego ujmującego fizyczne parametry podparć, przeprowadzenie analizy numerycznej wału wraz z osadzomymi na nim tarczami wirnikowymi
19
Bergqvist, Anna, et Louise Leinoff. « Once you pop your customer will shop : - A study about pop-up stores ». Thesis, Linnéuniversitetet, Ekonomihögskolan, ELNU, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-13173.
Texte intégralRésumé :
Background: E-commerce retailing is the most rapidly growing shopping mode and has quickly gained a huge market share. The increased growth rate means that the competition among online based companies is growing. Therefore the challenge faced is how to be unique on an extremely competitive market and being able to reach customers in a jungle of information and communication. By identifying barriers and weaknesses in the existing online sales mode, new complementary tools might be found which can help online based companies to stay competitive, meet customers’ demands and deliver exclusive experiences. Purpose: The purpose of this thesis is to describe the new phenomenon pop-up store and investigate if it could be a complementary tool for online based companies to help tackling limitations inherent in e-businesses. Methodology: In this study we conducted seven interviews with people that have been working with pop-up store concepts in some way. Two of the interviewees were consultants, one was a specialist on pop-up stores and the rest were Marketing Managers of well known Swedish companies. Conclusions: This study showed that the three most prominent limitations inherent with e-business (lack of human interaction, communication, capture of visitors’ attention) could be overcome with a pop-up store. Proposals for future research: It would be interesting to further investigate, in connection to this study, how customers have perceived the concepts and if they think that a pop-up store could increase their knowledge about an online based company and enhance their willingness to purchase through the web
20
Isaacs, Sarah Elizabeth. « The Pop-Up Project : Participatory Action Research Exploring the Pop-Up Museum Concept ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1483536528677311.
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Herdevall, Alva. « Dropping Down Pop Up : Redefining Pop-Up Urbanism as a Kickstarter for Urban Development ». Thesis, KTH, Stadsbyggnad, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-186161.
Texte intégralRésumé :
This master project adresses the challenge of transforming the former Bergs Oil Terminal in Nacka into an adaptive, collaborative, and socially just environment supporting the development of a self-sufficient post petroleum society. As tools, it experiments with temporary "pop ups" with various life cycles. The project critically examines urban development under the viewpoint of bottom-up activities where future development must be adapted to current socio-economical conditions and ecological concerns.
22
Popp, Alexander [Verfasser]. « Untersuchung von Peptiddynamik mittels zeitaufgelöster Infrarotspektroskopie / Alexander Popp ». Konstanz : Bibliothek der Universität Konstanz, 2015. http://d-nb.info/109943677X/34.
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Popp, Martin [Verfasser]. « Die strafrechtliche Verantwortung von Internet-Providern. / Martin Popp ». Berlin : Duncker & ; Humblot, 2002. http://d-nb.info/123831855X/34.
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Assis, Aline Rabelo. « Apagamento de vogais pretônicas no POBH - norma culta ». Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/LETR-8TBMZK.
Texte intégralRésumé :
This work investigates the variable rule of pretonic vowel deletion in lexical items (without clitics), observed in the corpus of POBH (Brazilian Portuguese of Belo Horizonte). It aims at identifying the social and structural factors related to the incidence of the phenomenon in the speech of the community of Belo Horizonte/MG. The research was developed according to the Labovian Sociolinguistics perspective, and also to the Phonological Processes Theory.
The following variants of the rule are analyzed: deletion of unstressed pretonic vowel in word-initial position, apheresis, and deletion of unstressed pretonic vowel within word, syncope. The phenomenon was investigated using a data sample of 6386 pretonic syllables, collected from the formal speech of twelve native informants of the city of Belo Horizonte; this corpus was then subjected to acoustic and statistical analysis in order to check for the existence of a variable rule of pretonic vowel deletion in POBH. The probable social factors that may influence the process are: age and gender; with regard to structural factors, the linguistic variables include: nature of the dependent variable,
preceding context, onset voicing, following context, stressed syllable distance, word structure, and item function. There are also internal variables specifically related to the cases of vowel deletion, which are: informant, repeated items, type of deletion, deletion bias, and coda specification. At first, it has been considered the hypothesis of prosodic elements, rather than phonological ones, influencing pretonic vowel cancellation. Then, knowing the social, linguistic and internal independent variables correlated to the process, it was possible to
understand the application of the variable rule, the frequency of cases, and then confirm whether or not the dialect of Belo Horizonte can be characterized by the deletion of unstressed pretonic vowels, as observed in postonic context.Este trabalho investiga a aplicação da regra variável de apagamento vocálico pretônico em itens lexicais sem clíticos, observada no CORPUS POBH, norma culta. O objetivo principal consiste em identificar os fatores, sociais e estruturais, correlacionados à incidência do fenômeno na comunidade de fala de Belo Horizonte/MG. A pesquisa foi desenvolvida sob a égide da Sociolinguística Laboviana e também da Teoria dos Processos Fonológicos. As variantes do processo analisadas consistem em: apagamento da vogal átona pretônica em posição inicial de palavra, aférese; e apagamento da vogal átona pretônica no interior da palavra, síncope. Para investigar a regra variável utilizou-se uma amostra constituída por 6386 dados, coletados a partir da elocução formal de doze informantes naturais da cidade de Belo Horizonte; este corpus foi submetido a análises acústica e estatística, a fim de comprovar a existência da regra de apagamento pretônico no POBH norma culta. Dentre os fatores sociais influenciadores do processo consideraram-se as variáveis: gênero e idade; quanto aos fatores linguísticos, utilizaram-se as seguintes variáveis: natureza da variável dependente, contexto precedente, vozeamento de onset, contexto seguinte, distância da sílaba tônica, estrutura da palavra e função do item. Houve também variáveis internas consideradas na análise,associadas especificamente aos casos de apagamento, as quais são: informante, itens repetidos, tipo de apagamento, apagamento enviesado e especificação da coda. Partiu-se da hipótese de que os elementos prosódicos, mais que os fonológicos, influenciariam no cancelamento das vogais átonas pretônicas. Conhecendo os fatores correlacionados ao fenômeno variáveis sociais, linguísticas e internas foi possível entender a atuação da regra variável, a frequência das ocorrências, de maneira a constatar se, de fato, o dialeto belorizontino pode ser caracterizado pela incidência de cancelamento vocálico em pauta pretônica, tal como averiguado em pauta postônica.
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Fritzsche, Bettina. « Pop-Fans : Studie einer Mädchenkultur / ». Opladen : Leske + Budrich, 2003. http://www.gbv.de/dms/bs/toc/360556841.pdf.
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Borjian, Amirfirooz. « Pop-colas and dental corrosion ». Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104481.
Texte intégralRésumé :
Introduction: Manufactured Colas are consumed universally as soft drinks. Evidence about the acid contents of Cola-beverages and its effects on teeth is rare. Aim: To assess: (i) cola acidity and buffering capacity in vitro, (ii) tooth erosion after swishing with colas in vivo (iii) scanning electron microscopic effects on teeth of colas, and tooth-brush abrasion, and (iv) report a clinical case of erosion from cola consumption. Materials and Methods: (i) We measured six commercially available pop ‘Cola-beverages', pH and buffering capacities using a pH-Mettler Automatic Titrator, with weak solution of Sodium Hydroxide. (ii) Two cohorts, one with teeth, the second without teeth rinsed with aliquots of Cola for 60 seconds. Swished cola samples tested for calcium and phosphorus contents using standardized chemical analytical methods. (iii) Enamel, dentine and the enamel-cemental junction from unerupted extracted wisdom teeth were examined with a scanning electron microscope after exposure to colas, and tested for tooth-brush abrasion and (iv) a clinical case of pop-cola erosion presentation, are all described. Results: Comparisons among pop-colas tested in vitro reveal high acidity with very low pH. Buffering capacities in milliliters of 0.5M NaOH needed to increase one pH unit, to pH 5.5 and pH 7 are reported. Rinsing in vivo with pop-cola causes leaching of calcium from teeth; SEM shows dental erosion, and pop-cola consumption induces advanced dental erosion and facilitates abrasion. Conclusions: (i) Pop-Cola acid activity is below the critical pH 5.5 for tooth dissolution, with high buffering capacities countering neutralization effects of saliva; (ii) calcium is leached out of teeth after rinsing with pop-colas; (iii) SEM evidence explains why chronic exposure to acid pop-colas causes dental damages; and (iv) a clinical case of pop-cola erosion confirms this. Key Words: Acid, Attrition, Abrasion, Beverages, Buffering, Calcium, Cola, Coca-Cola, Diet-Coke, Diet-Pepsi, Diet-Selection, Erosion, Frangibles, Pepsi, Selection-Cola, Teeth.Introduction : Il se consomme des boissons gazeuses de type cola partout dans le monde. Les éléments de preuve concernant la teneur en acide des boissons de type cola et ses effets sur les dents sont rares. Objectif : (i) Mesurer l'acidité et le pouvoir tampon du cola in vitro, (ii) mesurer l'érosion dentaire à la suite d'un rinçage in vivo avec des colas, (iii) mesurer les effets du cola sur les dents au moyen d'un microscope électronique à balayage, ainsi que l'abrasion découlant du brossage, et (iv) présenter un cas clinique d'érosion issue de la consommation de cola. Matériel et méthodes : (i) Nous avons mesuré le pH et les pouvoirs tampons de six boissons gazeuses commerciales de type cola au moyen d'un pH-mètre et d'un titrimètre automatique de Mettler, avec une solution faible d'hydroxyde de sodium. (ii) Deux groupes, l'un dont les membres avaient des dents et l'autre non, se sont soumis à un rinçage de 60 secondes avec une aliquote de cola. La teneur en calcium et en phosphore des échantillons se rapportant au rinçage avec du cola a été mesurée au moyen de méthodes normalisées de chimie analytique. (iii) L'émail, la dentine et la jonction émail-cément des troisièmes molaires extraites n'ayant pas fait leur éruption ont été examinés au microscope électronique à balayage après l'exposition au cola, et ont été soumis à un test d'abrasion par brosse à dents, et (iv) un cas clinique d'érosion attribuable au cola est présenté. Résultats : Les comparaisons entre les colas testés in vitro révèlent une acidité élevée avec un pH très bas. Les pouvoirs tampons en millilitres de NaOH 0.5 M devaient augmenter d'une unité de pH, et les mesures de pH 5.5 et pH 7 sont rapportées. Le rinçage in vivo avec du cola entraîne la décalcification des dents. En effet, les examens réalisés au microscope électronique à balayage montrent une érosion dentaire. Par conséquent, la consommation de colas provoque une érosion dentaire avancée et contribue à l'abrasion. Conclusions : (i) L'activité acidifiante du cola se situe sous le seuil critique de pH 5.5 pour la dissolution dentaire, et présente un pouvoir tampon élevé qui annule les effets neutralisants de la salive; (ii) le calcium est éliminé des dents après le rinçage avec les colas; (iii) les analyses réalisées au microscope électronique à balayage expliquent pourquoi l'exposition chronique à l'acidité des colas entraîne une fragilité dentaire ; et (iv) un cas clinique d'érosion due au cola vient confirmer les résultats obtenus. Mots clés : Acide, Attrition, Abrasion, Boissons, Tamponnage, Calcium, Cola, Coca-Cola, Coke diète, Pepsi diète, Sélection diète, Érosion, Fragile, Pepsi, Sélection cola, Dents.
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Leggett, Dave. « Youth, pop and meta-narrative ». Thesis, Manchester Metropolitan University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436059.
Texte intégralRésumé :
The continued presence of pop music as a soundtrack for people's lives suggests that youth, in particular, will continue to use music each and every day, as individuals and in groups. In this thesis I argue that the ever-lengthening history of pop music has led to the development of a meta-narrative around the way youth relates to pop music. which is now influencing the way pop music is experienced. This meta-narrative has been constructed by academics, popular sociologists and the media and is built around a number of key assumptions: an excessive importance to charts and other ranking systems a focus on the late 60s and 70s as a critical period for youth and pop an exclusion of other narratives around gender and ethnicity a focus on subculture as a way of explaining youth and pop culture. This has occurred through the actions of mediators, such as pop music distributors and the mass media. The thesis chronicles the way these processes have occurred. by developing a quasi-historical account of the relationship between youth and pop. I believe that the history of pop, and the way that it is written, will have an increasing effect on the way youth uses pop music. Meanwhile, the need for youth to develop resources to deal with this history will become greater, otherwise consumption of pop music will become nothing more than a lifestyle choice and a way of passing time. There is enough evidence to suggest that youth will continue to use pop music in a significant and meaningful way to help them make sense of their cultural existence. This thesis explores the importance of history and meta-narrative on the way youth relates to pop music.
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Araujo, David Carvalho de. « O cinema da ciência pop ». Universidade Anhembi Morumbi, 2011. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1441.
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A pesquisa, objeto desta dissertação, reportou à contribuição do cinema na popularização dos avanços científicos, adotando como método de pesquisa a bibliográfica e fílmica, considerando a história do cinema, as teorias de autores ao longo da história fílmica e da sociologia da comunicação, para compreender a idéia central que é o cinema da ciência pop. Considera o cinema da ciência ao entretenimento, os pioneiros do primeiro cinema, como os irmãos Lumiére, as transformações do aparato científico e as possibilidades de transmutação em obra de arte..
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Klein, Gabriele. « Electronic Vibration : Pop Kultur Theorie / ». Wiesbaden : VS Verl. für Sozialwissenschaften, 2004. http://catalogue.bnf.fr/ark:/12148/cb410656790.
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Vice, President Research Office of the. « Pop Art by the Pen ». Office of the Vice President Research, The University of British Columbia, 2007. http://hdl.handle.net/2429/2682.
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Andrade, Gabriela Lopes Vasconcellos de. « O “HERÓI” DA CULTURA POP ». Instituto de Letras, 2015. http://repositorio.ufba.br/ri/handle/ri/27140.
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Em linhas gerais, esse trabalho consiste em analisar o romance Mastigando Humanos de Santiago Nazarian (2013), buscando pensar a questão do herói juvenil como mito da mass media. A discussão empreendida nesse trabalho de pesquisa foi norteada pelo viés da literatura pop e assim, no intuito de pensar a indústria cultural e a cultura de consumo, buscou-se sistematizar como a referencialidade do discurso pop relaciona-se à cultura juvenil e à ideia de herói na contemporaneidade. Delineou-se como objetivo analisar no romance em estudo o imaginário acerca do herói contemporâneo, produto da cultura de consumo adolescente, através do olhar crítico próprio do discurso pop. A partir da conceituação do pop, foram levantadas questões sobre a cultura de consumo, identificando as estratégias da construção de um conceito de adolescência na sociedade líquida, na qual a figura do jovem foi forjada como consumidor ideal e como modelo de um estilo de vida. Ao relacionar a literatura pop e a cultura de consumo juvenil, buscou-se analisar o mito do herói como status de celebridade, relendo características do herói clássico da antiguidade e do anti-herói da modernidade. Concluindo que: o desejo de tornar-se o herói mítico está vinculado a uma imagem de sucesso artificial, inalcançável e produzida pela cultura midiática, baseada numa construção do imaginário juvenil.
In general lines, this work is to analyze Santiago Nazarian (2013) novel, Mastigando Humanos, seeking to think the issue of youth hero as the mass media myth. The discussion undertaken in this research was guided by the bias of pop literature and, in order to think the cultural industry and consumer culture, we attempted to systematize how the pop discourse referentiality is related to youth culture and the idea of hero nowadays. It was delineated as goal to analyze the novel study in the imaginary about the contemporary hero, product of teen consumer culture, through the critical eye of pop discourse. From the pop concepts, it were raised questions about the consumption culture, identifying the strategies of building a concept of adolescence in liquid society that the young figure was forged as the ideal consumer and as the model of a lifestyle. By linking pop literature and juvenile consumer culture, we attempted to analyze the hero myth as celebrity status, rereading features of the classic hero of antiquity and the anti-hero of modernity. It concludes that: the desire to become the mythical hero is linked to an image of artificial success, unreachable and produced by media culture, based on a construction of the juvenile imagination.
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Pinho, Felipe Saraiva Nunes de. « "O Pop nÃo poupa ninguÃm" : relaÃÃes discursivas entre o Pop Rock e a "pÃs-modernidade" ». Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=2758.
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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoEsta dissertaÃÃo parte da concepÃÃo de que o discurso literomusical (COSTA, 2001) à um discurso que serve de referÃncia para os sujeitos, como legitimador de verdades e disseminador de maneiras de como eles se relacionam com a realidade, com os outros sujeitos e com a prÃpria identidade. Neste trabalho, a mÃsica contemporÃnea, especificamente o pop rock nacional, enquanto um discurso constituinte (COSTA, 2001; MAINGUENEAU, 2006), representa os fenÃmenos de superficialidade, fluidez, fragmentaÃÃo e crise de identidade, tÃo debatidos nos estudos sociolÃgicos apresentados por autores como Hall (2005), Harvey (2005), Kumar (1997) e Bauman (1998, 2005). Partiu-se, assim, do pressuposto de que as canÃÃes fornecem sentidos, identificaÃÃes e modelos de identidade que corroboram esses fenÃmenos. A principal hipÃtese defendida nesta dissertaÃÃo à a de que o sujeito encarnado nas canÃÃes do pop rock nacional contemporÃneo apresenta caracterÃsticas de um sujeito pÃs-moderno. O estudo contou com a anÃlise das canÃÃes das bandas Engenheiros do Hawaii, TitÃs, Detonautas e CPM22, e a dos cantores/compositores Cazuza e Pitty, contemplando, dessa maneira, dois perÃodos do pop rock nacional contemporÃneo: as dÃcadas de 80-90 e a dÃcada de 2000.
Esta disertaciÃn parte de la concepciÃn de que el discurso lÃteromusical (COSTA, 2001) es un discurso que sirve de referencia para los sujetos, como legitimador de verdades y diseminador de maneras de cÃmo ellos se relacionan con la realidad, con los otros sujetos y con la propia identidad. En esta investigaciÃn, la mÃsica contemporÃnea, especÃficamente el pop rock nacional, en cuanto un discurso constituyente (COSTA, 2001; MAINGUENEAU, 2006), representa los fenÃmenos de superficialidad, fluidez, fragmentaciÃn y crisis de identidad, muy discutidos en los estudios sociolÃgicos presentados por autores como Hall (2005), Harvey (2005), Kumar (1997) y Bauman (1998, 2005). Se partiÃ, asÃ, del presupuesto de que las canciones producen sentidos, identificaciones y modelos de identidad que estÃn de acuerdo con esos fenÃmenos. La principal hipÃtesis defendida en esta disertaciÃn es la de que el sujeto posicionado en las canciones del pop rock nacional contemporÃneo presenta caracterÃsticas de un sujeto posmoderno. El estudio consistià en el anÃlisis de las canciones de las bandas Engenheiros do Hawai, TitÃs, Detonautas y CPM22, y la de los cantautores Cazuza y Pitty, contemplando, de esa manera, dos periodos del pop rock nacional contemporÃneo: las dÃcadas de 80-90 y la dÃcada de 2000.
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Peterson, Gilbert Oliver. « Pop art redefined : British pop arts of the 1960s : towards a social and institutional history ». Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/385575/.
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This thesis uses new histories of exhibitions, cultural institutions, individuals and artworks to problematize and reconfigure current conceptions of British Pop art, arguing for the deployment of the term ‘British Pop arts’, as opposed to ‘British Pop Art’, to reflect the varied usage of the artistic practice across Britain during the 1960s. The central conclusion of this historical account is the recognition of a wider Pop arts network, albeit formed of disparate and often conflictual subjectivities, which coalesced around a particular cultural discourse and attendant institutions. The celebrated Royal College of Art ‘Pop artists’ are located within a network of ‘Pop art producers’; a new historical descriptor which encompasses a wider array of largely overlooked artists whose practices are positioned within a particular visual art discourse. The ‘Northern neo-realist’ Pop arts practised in Liverpool, the ‘Jazz art’ of Mal Dean and the ‘Fine Artz’ of The Fine Artz Associates all represent examples of an alternative, often oppositional, Pop arts, many of which actively resisted the assumed dominance of RCA Pop art and the spectacular cultures of ‘Swinging London’. The hegemonic discourse theory of Ernesto Laclau and Chantal Mouffe, the historical sociology of culture propounded by Raymond Williams and certain aspects of Bruno Latour’s Actor Network Theory are employed in this account. Such an approach generates a discursive, materialist and networked re-reading of the political economy of the British cultural field during 1960s, locating ‘Pop art producers’ and ‘Pop arts’ within contemporaneous hegemonic discourses, socio-economic structures and institutional narratives. An extensive analysis of archives, oral histories, interviews, artworks, policy documents and critical publications suggests that British Pop art producers were often reliant upon a shared structure of new, state-orchestrated yet commercially-funded exhibitions; sites predicated upon particular social, political and economic discourses pertinent to the 1960s. For many Pop art producers, this period also saw the development of a vibrant counternetwork of artist-led, informal exhibitions in non-art spaces such as nightclubs, cinemas, and car salesrooms which actively challenged such ‘official’ institutions. However, the ‘unofficial’ and unrecognised art world status of these exhibitions together with the informality of their contemporaneous historical recording has resulted in a lack of contemporary historicization, an omission this institutional history of British Pop arts seeks to amend.
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Pinho, Felipe Saraiva Nunes de. « O pop não poupa ninguém : relações discursivas entre o pop rock e a pós-modernidade ». http://www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/6114.
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PINHO, Felipe Saraiva Nunes de. O pop não poupa ninguém: relações discursivas entre o pop rock e a pós-modernidade. 2007.134 f. Dissertação (Mestrado em Linguística) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-Graduação em Linguística, Fortaleza-CE, 2007.Submitted by nazareno mesquita (nazagon36@yahoo.com.br) on 2012-07-05T15:42:02Z No. of bitstreams: 1 2007_diss_FSNdePinho.pdf: 632623 bytes, checksum: 97b58daa640bc9430025d3e9dec82b3c (MD5)
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Esta dissertação parte da concepção de que o discurso literomusical (COSTA, 2001) é um discurso que serve de referência para os sujeitos, como legitimador de verdades e disseminador de maneiras de como eles se relacionam com a realidade, com os outros sujeitos e com a própria identidade. Neste trabalho, a música contemporânea, especificamente o pop rock nacional, enquanto um discurso constituinte (COSTA, 2001; MAINGUENEAU, 2006), representa os fenômenos de superficialidade, fluidez, fragmentação e crise de identidade, tão debatidos nos estudos sociológicos apresentados por autores como Hall (2005), Harvey (2005), Kumar (1997) e Bauman (1998, 2005). Partiu-se, assim, do pressuposto de que as canções fornecem sentidos, identificações e modelos de identidade que corroboram esses fenômenos. A principal hipótese defendida nesta dissertação é a de que o sujeito encarnado nas canções do pop rock nacional contemporâneo apresenta características de um sujeito pós-moderno. O estudo contou com a análise das canções das bandas Engenheiros do Hawaii, Titãs, Detonautas e CPM22, e a dos cantores/compositores Cazuza e Pitty, contemplando, dessa maneira, dois períodos do pop rock nacional contemporâneo: as décadas de 80-90 e a década de 2000.
Esta disertación parte de la concepción de que el discurso líteromusical (COSTA, 2001) es un discurso que sirve de referencia para los sujetos, como legitimador de verdades y diseminador de maneras de cómo ellos se relacionan con la realidad, con los otros sujetos y con la propia identidad. En esta investigación, la música contemporánea, específicamente el pop rock nacional, en cuanto un discurso constituyente (COSTA, 2001; MAINGUENEAU, 2006), representa los fenómenos de superficialidad, fluidez, fragmentación y crisis de identidad, muy discutidos en los estudios sociológicos presentados por autores como Hall (2005), Harvey (2005), Kumar (1997) y Bauman (1998, 2005). Se partió, así, del presupuesto de que las canciones producen sentidos, identificaciones y modelos de identidad que están de acuerdo con esos fenómenos. La principal hipótesis defendida en esta disertación es la de que el sujeto posicionado en las canciones del pop rock nacional contemporáneo presenta características de un sujeto posmoderno. El estudio consistió en el análisis de las canciones de las bandas Engenheiros do Hawai, Titãs, Detonautas y CPM22, y la de los cantautores Cazuza y Pitty, contemplando, de esa manera, dos periodos del pop rock nacional contemporáneo: las décadas de 80-90 y la década de 2000.
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Fortea, Castillo M. Àngels. « El Pop a la manera del disseny gràfic català. El descobriment Pop del passat : dissenyadors - col·leccionistes ». Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/368228.
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L’arribada dels anys 60 va representar, per a una bona part de les democràcies occidentals, l’inici d’una època de desenvolupament econòmic caracteritzat per la plena ocupació de la població i per l’aparició de la societat de consum, cosa que suposà una revolució en els hàbits i costums de la gent, en especial del jovent. Aquest fenomen es coneix com a moviment Pop.
Pel que fa a l’àmbit del disseny gràfic internacional, els anys 60 va consolidar-se un nou estil, que pot ser reconegut com a Pop, els trets característics del qual destaquen per l’expressivitat dels seus traços. Cal incidir en el fet que les necessitats comunicatives de la creixent societat de consum eren diverses de la societat anterior a la 2a Guerra Mundial i, per tant, demandava una nova representació gràfica. Per altra banda, els artistes del Pop Art anglosaxó –cal considerar el Pop Art com el moviment artístic que millor va reflectir l’esperit de la dècada i el que va tenir un major impacte– van apropiar-se d’elements i tècniques pròpies de la disciplina gràfica, per la qual cosa els dissenyadors gràfics es van veure obligats a reaccionar a través d’un nou estil amb què es donés resposta a les noves necessitats comunicatives i es diferenciés dels artistes plàstics.
A Catalunya, les propostes gràfiques del Pop també van arribar de l’exterior i van ser adoptades per l’àmbit del disseny gràfc català. Si la ciutat de Barcelona tradicionalment ha exercit un paper important com a centre de rebuda, assimilació, reinterpretació i re-expedició d’estils i de les últimes tendències gràfiques internacionals, en el cas del Pop el seu paper encara fou més decisiu. En un primer moment, l’estil Pop d’origen anglosaxó va ser aplicat en la producció gràfica de la indústria cultural en català, com també en altres productes culturals, tots ells compartint un mateix objectiu comú, el d’oposar-se al règim franquista i les seves directrius culturals. Posteriorment, la gràfica Pop catalana es deslliurà de la influència forània i desenvolupà la que pot considerar-se com la versió autòctona de la gràfica Pop o, el que és el mateix, el Pop a la manera del disseny gràfic català.
En l’origen d’aquesta recerca hi ha la pretensió de respondre a la necessitat de treure a la llum aquesta gràfica, situar-la en el context històric i en el temps, amb les seves corresponents fases, amb els seus trets característics, i amb els seus principals representants; i, sobretot, reivindicar l’existència d’una versió Pop autòctona –deslliurada d’influències externes–, amb els seus trets característics, la seva aplicació amb finalitats tant ideològiques com culturals, i la seva gran aportació com a revitalitzadora de la tradició gràfica catalana.
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Swiatowicz, Chad. « Pop froze the easel decoding the cultural significance of top ten pop songs from two eras / ». [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0017896.
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Koss, Michael Paul. « From Prog to Pop : Progressive Rock Elements in the Pop-Rock Music of Genesis, 1978-91 ». Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145489.
Texte intégralRésumé :
The intent of this dissertation is to examine the way Genesis retained progressive rock elements during its 1978-91 pop-rock period. Genesis began composing music in a pop-rock style in 1978, adapting to the changes in rock by incorporating progressive rock elements into a pop-rock style. This study analyzes thirty-four selected songs from six Genesis albums considered in the pop-rock genre, identifying some of the progressive rock elements in these songs. The project begins with a historical survey of Genesis, shedding light on the development of the band`s progressive style, its transition through personnel changes and in the music before and after the departure of Peter Gabriel, and the shift toward pop-rock beginning in 1978. A review of published literature and analyses addresses the progressive nature of Genesis. The progressive rock elements pertinent to this study are defined using scholarly literature and analyses of Genesis and other established progressive rock bands. Analytical charts that indicate form, harmony, and rhythm are used to examine the common progressive characteristics in each song addressed in this study.
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Wright, Allan. « Frank Zappa's orchestral works art music or "bogus pomp" ? / ». Connect to e-thesis, 2007. http://theses.gla.ac.uk/492/.
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Lesniewski, Justin M. « Medination pop culture and the classroom / ». Connect to this title online, 2008. http://etd.lib.clemson.edu/documents/1211389373/.
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Joseph, Darel. « The Adversity Pop Culture Has Posed ». ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1877.
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I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole.
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Alves, Marcelo Guimarães. « Milton Kurtz : aproximações ao espírito pop ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17140.
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Esta pesquisa propõe um levantamento e estudo da obra de Milton Kurtz (1951 - 1996), arquiteto e artista que desenvolveu sua técnica basicamente calcada no desenho, participando de grupos de artistas que promoveram um debate e uma efervescência cultural no Rio Grande do Sul no final dos anos 70 e inicio dos 80. O recorte principal está vinculado à presença de uma visualidade que denota sintonia com sua contemporaneidade e com a mídia de massa. Com referenciais nas histórias em quadrinhos, revistas, jornais, anúncios publicitários, cinema e televisão, que compõem sua coleção pessoal, Kurtz constrói uma obra com intensas aproximações ao espírito característico da Pop Art. A pesquisa propõe um levantamento destas aproximações, bem como o estudo de sua poética que apresenta forte viés erótico, explorando questões do corpo e revelando ambiguidades e dualidades ligadas tanto à bidimensionalidade quanto às questões de gênero. O presente estudo visa ainda, contribuir para o devido registro na história da arte no estado, não apenas da obra de Milton Kurtz, mas também do KVHR, grupo de artistas do qual participou ativamente desde novembro de 1977 a maio de 1980, junto com Julio Viega, Paulo Haeser e Mário Röhnelt.This research proposes a survey and study the works of Milton Kurtz (1951 - 1996), architect and artist who developed his technique essentially based on drawing, participating in groups of artists that promoted a discussion and a cultural effervescence in state of Rio Grande do Sul in the final of the 70's and beginning of the 80's. The main bias is linked to the presence of a visuality that shows a link with his contemporary and the mass media. With references in comics, magazines, newspapers, advertisements, movies and television, making up his personal collection, Kurtz produced an intense work with verifiable approaches to the spirit characteristic of Pop Art. The research proposes a survey of these approaches, and the study of his poetic feature that shows a strong bias erotic, exploring issues of body and revealing ambiguities and dualities related to the bi-dimensionality and to the gender issues. This study also aims to contribute to the proper record in the history of art in the state, not just the work of Milton Kurtz, but also the KVHR, group of artists which participated actively since November 1977 to May 1980, with Julio Viega, Paulo Haeser and Mário Röhnelt.
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Rougé, Bertrand. « La rhetorique ironique du pop art ». Paris 3, 1992. http://www.theses.fr/1992PA030080.
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Tranchant sur l'atmosphere de serieux romantique de l'ecole de new york. Le pop art americain se demarque de la production artistique de son epoque par son ironie. Mais cette ironie depasse la simple ironie sociologique qu'on lui attribue souvent. En quete de definitions extra-litteraires de l'ironie, la premiere partie propose une theorie de l'ironie qui insiste sur la spatialite et la visualite de l'ironie. Sur sa valeur d'evocation de l'origine et de la repetition, ainsi que son rapport avec la naissance de la perspective et de la notion de point de vue, de sujet, son rapport avec les revolutions de points de vue des grandes decouvertes et de la renaissance. Le pop art est alors analyse comme une re-decouverte de l'amerique par elle-meme, une re-presentation de l'origine par l'ironie : origine de la nation, mais aussi de l'art et du sens. L'ironie pop prend alors une dimension reflexive : reflexion de la peinture sur elle-meme, autoportrait reflexif de la peinture et des peintres. Elles devient la manifestation d'une profonde et permanente trans-modernite, echo d'une longue duree de l'art au confluent trouble du modernisme et du postmodernismeIn contrast with the romantic seriousness of the new york school, american pop art is characterized by its irony. Yet, pop transcends the mere sociological irony that is so often attributed to pop art. Searching for non-literary definitions of irony underlines its spatial and visual dimensions, its evocation of origin and repetition, as well as its reltionship with the birth of perspective and of the notion of viewpoint, of the subject, its relationship with all these great revolution of the point of view that constitute the renaissance. Then pop art is analysed as a rediscovery of american by itself, as a re-presentation of origin by irony : origin of the nation, but also of and meaning. Pop irony then takes a reflexive dimension : a reflexion of painting on itself, a reflexive self-portrait of painting and the painters. Irony then becomes the manifestation of a deep and durable trans-modernity, an echo of art's long-term preoccupation in the midst of the debate over modernism and prostmodernism
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Johnson, Annie, Julia Carlsson et Rebecca Larsson. « The Pop(up)ular Brand Experience ». Thesis, Jönköping University, Internationella Handelshögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-49075.
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It seems that online retail is erasing the presence of physical stores, referred to as the retail apocalypse. Consumers’ desire to experience brands is increasing whilst sensory experiences in the online retail environment are limited. It is increasingly important for brands to be attainable through physical interaction for consumers to stay loyal, a fundament for the experience economy. Therefore, the pop up phenomenon could be considered an approach to blur the line between physical and online stores. The aim of this research is to create an understanding of how the pop up phenomenon is experienced by phygital companies in Sweden, exploring their use of multisensory marketing through pop ups and the effect it has on the brand. A qualitative and exploratory approach with semi-structured and asynchronous interviews including nine managers from the pop up industry was conducted. The data collected was analysed through a thematic approach and compared to existing literature. From the findings, two pop up purposes were identified: (1) pop ups with a long-term marketing purpose to enhance the brand, and (2) pop ups with a short-term selling purpose. Further, the empirical findings of this study suggest that the usage of multisensory experiences was recurrently found to be done unintentionally by the firms, indicating a lack of knowledge of its impact on customer behaviour in the long-term. From combining literature and findings a model was created explaining how firms can use the pop up phenomenon to successfully enhance the company’s brand. This research provides insights of managers’ personal experiences of the phenomenon and explores how pop ups can be a useful tool for a company's brand.
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Tiggemann, Marcel. « How Different Are Pop & ; Punk ? » Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103824.
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A look into song identity and the building blocks of music through a process of analysing five different punk songs and then repackaging them into a modern pop production. After completing these new versions, I compared them to their original recordings and discovered that there are more similarities between the two genres than one might initially think, and that each song’s identity was preserved on slightly different levels and in different forms. I discuss my analyses and process in terms of both music theory and non-musical descriptions, leading to generally positive results. Each song was recognizable, but I discovered that some identities were stronger than others because of factors such as original arrangement, era of release or differences in experience from person to person.
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Dallacheisa, Tony G. « Pop Goes The Story : A Collection ». Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1212417587.
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Szemere, Anna. « Pop culture, politics, and social transition / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820881.
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Pompe, Anja. « Peter Handke Pop als poetisches Prinzip ». Köln Weimar Wien Böhlau, 2009. http://d-nb.info/994073909/04.
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Chambers, Cynthia R. « POP Arts : Inclusive Performance Arts Programming ». Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3868.
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Chambers, Cynthia R. « POP Arts Enhances Skills, Creates Community ». Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3849.
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Peterson, Douglas W. L. « Liberation Pop Theology : An Exploration Of The Different Ways Pop Musicians Have Led Individuals To Greater Salvation ». Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/949.
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God never died as scholars of secularization theory from the 1960s and 1970s proposed that he eventually would, but He rather reappeared within the context of Pop music. This work analyzes the lives and music of Yusuf Islam a.k.a. Cat Stevens, Kanye West, Bob Dylan, and George Harrison in order to see how their inner quest for peace brought upon by religious conversion affected their supreme message. Once the artists realized the phenomenal peace found in experiencing personal relationships with the Divine, their music changed so as to inspire others to seek the same greater freedoms from which they benefited upon turning within. These four elite members of secular society did not privatize their faiths, and by sharing their new found beliefs with the world, they turned the minds of millions Godwards.