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1
Daykin, Brian Rande. "Counterculture." Fogler Library, University of Maine, 2001. http://www.library.umaine.edu/theses/pdf/DaykinBR2001.pdf.
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2
Remse, Christian. "Vodou and the U.S. Counterculture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1368710585.
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3
Muggleton, David. "Crossover counterculture : postmodernism and spectacular style." Thesis, Lancaster University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364366.
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4
Stephens, Larry D. "The West Georgia counterculture, 1967-1974." Thesis, University of West Georgia, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10241167.
Testo completoAbstract (sommario):
<p> This thesis presents a chronological narrative of the small, but marginally influential West Georgia College counterculture movement—which included no more than a hundred or so students and at least a few dozen faculty members—during a period of great social unrest. Framed by the ongoing moral debate about America’s controversial involvement in the Vietnam War, as well as radical social changes occurring in the larger culture, this study contributes to the historiography of the U.S. counterculture in at least two distinct ways. First, it is one of the few in-depth studies to ever be conducted on the counterculture at a small liberal arts college in the Deep South. Most of the books and articles written thus far focus upon the counterculture movement at some of the nation’s largest universities. Even in the South, only a few select university histories have ever dealt with the movement in any detail. Second, this thesis sheds greater light on the reasons for that marginalization of the Southern student counterculture—and more specifically at West Georgia College—by focusing on the pushback from the much larger, more conservative culture. Manifested in the form of some college administrators, a number of older faculty members, the majority of the student body, civic and business leaders in the nearby town of Carrollton, and even the larger Carrollton community, that resistance could be extreme at times. This study will also show how that resistance was rooted in deeply held Southern beliefs about patriotism and the sanctity of national military service, the Protestant work ethic, respect for authority and tradition, and religious conservatism. </p>
5
Regis, Halessa Fabiane. "Feminist counterculture and race in Hettie Jones' writing." reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/177350.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2017.<br>Made available in DSpace on 2017-07-11T04:23:56Z (GMT). No. of bitstreams: 1
346779.pdf: 1199416 bytes, checksum: 6be42023f39c03aeb65c6da1f3cc30dd (MD5)
Previous issue date: 2017<br>Este estudo investiga a contracultura feminista e questões de raça na escrita de Hettie Jones, mais especificamente, em suas três coleções de poemas, Drive, All Told e Doing 70, e em seu livro de memórias intitulado How I Became Hettie Jones. É possível reconhecer as vozes ocultas nos trabalhos das mulheres da Geração Beat, tais como Jones, que se descobriu como escritora juntamente com o movimento, começou a escrever e continuou fiel à sua escrita de conscientização no que se refere à discriminação racial e de gênero ao longo de décadas. Branca e inserida na cultura Negra de uma Nova Iorque conservadora no pós-guerra, Jones relata suas dificuldades e esperanças, como mulher, mãe e escritora em seu livro de memórias e poemas. Atualmente discussões sobre a obra das mulheres da Geração Beat vêm se expandindo a fim de completar a história desse movimento e conscientizar a todos sobre a discriminação e a desigualdade social, principalmente no tocante a raça e gênero.<br><br>Abstract : This thesis investigates feminist counterculture and race issues in Hettie Jones? writing, more specifically in her three collections of poems, Drive, All Told and Doing 70, and her memoir How I Became Hettie Jones. It is possible to recognize hidden voices in the works of the Beat Generation women such as Jones, who began finding herself as a writer along with the movement and remained true to her writing which sought to spread awareness in relation to racial and gender discrimination throughout the decades that followed the post-war era. Being white and embedded in the African-American culture of a conservative New York, Jones chronicles her hardships and hopes as a woman, a mother, and a writer in the pages of her memoir and poems. Nowadays, discussions about the work of the Beat Generation women are being expanded in order to fill the gap in the history of the movement and to make everyone aware of discrimination and social inequality, especially in relation to race and gender.
6
Walker, Luke. "William Blake in the 1960s : counterculture and radical reception." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/53244/.
Testo completoAbstract (sommario):
The study begins with an account of Blake, as voiced by Allen Ginsberg, taking part in a key Sixties anti-war protest, and goes on to examine some theoretical aspects of Blake's relationship with the Sixties. In Chapter One, I explore the relationship between ‘popular Blake', ‘academic Blake', and ‘countercultural Blake'. The chapter seeks to provide a revisionist account of the relationship between Blake's Sixties popularity and his earlier reception, suggesting that all three elements of Blake's Sixties reception – popular, academic and countercultural – have long been intertwined, and continue to interact in the Sixties themselves. In Chapters Two and Three, I focus in detail on Allen Ginsberg as a central figure not only in Blake's countercultural popularization, but also in the creation of Sixties counterculture itself. The first of these chapters, ‘Visionary Blake, Physical Blake, Psychedelic Blake', looks in detail at Ginsberg's 1948 ‘Blake vision' and the way Ginsberg later uses it to construct a Blakean narrative for the Sixties. I examine the significant differences between the versions of this event presented in Ginsberg's early poems and in his later prose and interview accounts, and Ginsberg's consequent attempts to develop a general theory of poetry in which the specific effects of Blake's poetry on the consciousness are compared to those of psychedelic drugs. Finally, I suggest that there are analogies between this ‘psychedelic' approach to Blake and the interest that Aldous Huxley had in using psychedelics to access Blake's own visionary state of consciousness. Chapter Three, ‘Ginsberg's Blakean Albion', analyses a selection of Ginsberg's poems, all linked to Blake's myth of Albion. I use these poems to examine the tensions present within the three-way relationship between Blake, Ginsberg and British counterculture. Particular attention is given to Ginsberg's poem ‘Wales Visitation' (1967), a work which I suggest is founded on the joint Romantic inheritance of Blake and Wordsworth, and which demonstrates the ways in which various strands of British Romanticism interact both within Ginsberg's poetry and within the broader Sixties counterculture. The final chapter of the study examines various aspects of the relationship between Blake and Bob Dylan, demonstrating the extent of Blake's influence on Dylan, but also tackling the surprisingly complicated and problematic question of the route(s) by which Blake arrives in Dylan's work.
7
Freer, Joanna Elizabeth. "A "little parenthesis of light" : Pynchon and the counterculture." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/43092/.
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This thesis examines the countercultural politics expressed within the work of the American novelist Thomas Pynchon, contributing to critical work already published on the subject of Pynchon's politics, in which there has been a recent upsurge of interest. Expressions of sympathy with anarchist and anti-Capitalist principles discerned in Pynchon's work are explored in their connection with the author's experience of particular practices and philosophies of the 1960s counterculture. Furthermore, the ongoing significance of sixties politics in Pynchon's more recent production is demonstrated as ideological connections between earlier and later novels are traced. In Slow Learner Pynchon professed admiration for the motive energy of Beat literature, so influential on the formation of the counterculture. With particular focus on Jack Kerouac's On the Road, chapter one demonstrates the impact of the Beat movement, and its limits, in Pynchon's early novels. New Left thought and tactics as manifested across the decade provide the focus of the second chapter, which engages primarily with Gravity's Rainbow's depiction of Communist revolutionaries in Weimar-era Germany. The following chapter considers the role of psychedelic experience and the philosophies of Timothy Leary in Pynchon's The Crying of Lot 49 and Against the Day, arguing that the fantastical has a concrete political role in Pynchon's novels. Black Power, and specifically the political theory of the Black Panther Party, is the subject of chapter four. Gravity's Rainbow's framing of Huey P. Newton's concept of “revolutionary suicide” is central to an analysis which offers insights into the novel's perspectives on the use of violence and on leadership in revolutionary groups. The final chapter investigates the dynamics of Pynchon's ambivalent engagement with the Women's Movement. Betty Friedan's The Feminine Mystique is put forward as an important intertext for The Crying of Lot 49, while Vineland is examined in the context of radical feminism.
8
Rhuart, Britton Stiles. "Hippie Films, Hippiesploitation, and the Emerging Counterculture, 1955-1970." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu159068865182906.
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9
Gogan, Claire Marissa. "To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/73681.
Testo completoAbstract (sommario):
Klezmer, a type of Eastern European Jewish secular music brought to the United States in the late 19th and early 20th century, originally functioned as accompaniment to Jewish wedding ritual celebrations. In the late 1970s, a group of primarily Jewish musicians sought inspiration for a renewal of this early 20th century American klezmer by mining 78 rpm records for influence, and also by seeking out living klezmer musicians as mentors.
Why did a group of Jewish musicians in the 1970s through 1990s want to connect with artists and recordings from the early 20th century in order to "revive" this music? What did the music "do" for them and how did it contribute to their senses of both individual and collective identity? How did these musicians perceive the relationship between klezmer, Jewish culture, and Jewish religion? Finally, how was the genesis for the klezmer revival related to the social and cultural climate of its time? I argue that Jewish folk musicians revived klezmer music in the 1970s as a manifestation of both an existential search for authenticity, carrying over from the 1960s counterculture, and a manifestation of a 1970s trend toward ethnic cultural revival. I implicitly argue that both waves of klezmer popularity in America are reflections of the long project of Jews negotiating identities as both American and Jewish—the attempt to fit in from the margins while maintaining or being ascribed certain ethnic differences—in the United States throughout the 20th century.<br>Master of Arts
10
Sack, Susan K. "Teilhard in America: The 1960s, the Counterculture, and Vatican II." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1418374095.
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11
Rothstein, Jeffrey. "The Apotheosis of Discontent: Representations of the Counterculture in 1960's Film and Television." Connect to online version at OhioLINK ETD Connect to online version at Digital.Maag, 1999. http://hdl.handle.net/1989/4795.
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Marchetto, Sean. "Tune in, turn on, go punk, American punk counterculture, 1968-1985." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65041.pdf.
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Lovell, Bonnie Alice. "Stoney Burns and Dallas Notes: Covering the Dallas Counterculture, 1967-1970." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278642/.
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Stoney Burns (Brent LaSalle Stein) edited and published Dallas Notes, a Dallas, Texas, underground newspaper, from November 1967 through September 1970. This thesis considers whether Burns was the unifying figure in the Dallas counterculture.
14
Walsh, Patrick John. "Boosting Bohemia : counterculture, development, and identity in the American West, 1900-1990 /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008465.
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Ryan, Michael C. "From the Wilderness Act to the Monkey Wrench Gang seeking wild nature in American environmental writing, 1964-1975 /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193230655.
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Kenny, Nicolas. "'Je cherche fortune' : identity, counterculture and profit in fin-de-siècle Montmartre." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79780.
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This thesis examines the countercultural community in the Parisian neighbourhood of Montmartre during the 1880s and 1890s. This period stands out for its unique cultural atmosphere, heavily influenced by the turbulent advent of modernity. Traditionally accepted norms that dictated individuals' sense of identity were being questioned as new understandings of class, gender, sexuality and nationality gained acceptance. Aspiring artists and writers who sought to express these new identities were excluded from the world of official culture. Many congregated in the traditionally bohemian Montmartre where a sense of belonging to a youthful and energetic community afforded the opportunity to struggle and come to terms with their opposition to dominant ideals. Montmartre became, and continues to be, heavily commercialised but its enduring legacy testifies to its significance as herald of numerous social and cultural changes that would mark the twentieth century.
17
Moellinger, Terry. ""There's A Man With A Gun Over There": Cops And The Counterculture." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3041/.
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By 1960, television advertisers recognized the economic potential of American youth, and producers were expected to develop programs to attract them, while still maintaining appeal for the older audience members. This task was to prove difficult as the decade wore on. While continuing to link the nation's cold war concerns to the portrayal of good and evil, some shows, like 77 Sunset Strip, and The Mod Squad, explored alternative lifestyles, but still accepted American values. As the 1960s developed, crime programs continued to promote American hegemony but became increasingly more open to alternative reading strategies. This study examines the strategies developed to draw a youth audience to 1960s crime programs, while also supporting the dominant ideology of American society.
18
Dodgson, Richard. "Fun for the Revolution of It: A History of Ken Kesey and the Merry Pranksters." Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1159973773.
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Trainor, Samuel. "Amrit Singh and the Birmingham Quean : fictions, fakes and forgeries in a vernacular counterculture." Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/3240/.
Testo completoAbstract (sommario):
For a literary critic preparing a scholarly edition of a text like this within an epistème that disparages the theory underpinning it for being tainted with the gestural idealism of 1968 and the neon-glare of 1980s high postmodernism, the crucial question is how to reconcile the commitment to authenticity ingrained in historicist textual studies (perhaps the critic’s only viable disciplinary inheritance) with the author’s implicit antagonism to any such quietist approach. The encounter inevitably becomes a battle of wills. In the course of the current project, this theoretical struggle escalates exponentially as doubts concerning the authenticity (and indeed the existence) of both writer and manuscript are multiplied. If a thesis can be retrospectively extrapolated from this project, it is the argument that fiction is demonstrably a tractable forum for research in the Arts and Social Sciences: all the more tractable for its anti-authenticity. The critic’s loss is the novelist’s gain. Specifically, in this case, the faithful historian of late twentieth century literatures, languages and cultures can solve the key dilemma of the subject by working under the auspices of Creative Writing. Only in this way can justice be done to the most cogent intellectual trend of the posmodern period (perhaps its defining feature): one that revelled in its own pluralities, ambiguities and contradictions, and resisted all the unifying, teleological models of ‘history’ that had been implicated in the century’s terrible ‘final solutions’. In other words, only fiction can tell the history of a culture that rejects that history. If this means condoning forgery… so be it.
20
SARMENTO, LUCIANA VILLELA DE MORAES. "TICKET TO RIDE: THE TENSIONS BETWEEN THE COUNTERCULTURE MOVEMENT AND CONSUMPTION IN BEATLES LYRICS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9092@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>A contracultura foi um movimento impulsionado pela
juventude da década
de 1960 que se chocou com a sociedade capitalista e ia
contra os seus princípios.
Entretanto, para que este movimento de contracultura
pudesse se desenvolver,
ele necessitava da cultura de massa - que pertence à
sociedade capitalista - para
se desenvolver e espalhar sua mensagem pelo mundo. São
essas tensões entre
consumo e contracultura que são detalhadas nesta
dissertação, a partir das letras
das músicas dos Beatles (grupo musical que foi um dos
maiores ícones da
contracultura) que retratam, de alguma forma, o universo
do consumo.<br>The counterculture was a movement impulsed by the young
people in the
1960 s decade that ran into the capitalist society and it
s principals. However, for
this movement to work, it needed the mass culture - that
belongs to the capitalist
society - to spread it s message around the world. These
tensions between the
counterculture movement and consumption are detailed on
this dissertation,
inspired on the Beatles lyrics (a rock group that was one
of the most popular
icons of the countercultere movement) that shows, in some
way, the
consumption s universe.
21
Morehead, John W. "Burning Man Festival as life-enhancing, post-Christendom 'middle way'." Theological Research Exchange Network (TREN), access this title online, 2007. http://dx.doi.org/10.2986/tren.112-0001.
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22
Barker, Thomas Patrick. "Music, civil rights, and counterculture : critical aesthetics and resistance in the United States, 1957-1968." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11693/.
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This dissertation explores the role of music within the politics of liberation in the United States in the period of the late 1950s and the 1960s. Its focus is on the two dominant, but very different (and, it is argued, interconnected) mass political and cultural movements that converged in the course of the 1960s: civil rights and counterculture. Divergent tendencies in the popular musics of the period, which were drawn into the orbits of these two movements, are considered in the context of tensions between political commitment and aesthetic autonomy, between the call for collective political action and the pull of individualism, and between existing political reality and the utopian perspectives offered by art. The theoretical approach derives largely from critical theory (in particular Adorno, Bloch, and Marcuse), and the thesis argues that by tending toward autonomy and individualism popular musics in this period articulated a vision of society that was radically different from existing political realities. The study situates itself in the existing literature on protest music, but seeks to take this further by examining the complexity of responses in music of this period to protest and liberation movements beyond protest songs and politically committed music to discuss issues of social critique and critical reflection. After an initial consideration of what might be meant by the categories ‘protest music’ and socially or politically engaged music, considering among others the work of Eyerman and Jamison (1998), Mattern (1998), Roy (2010), Street (2011), and in particular Denisoff (1968), notions of political engagement and autonomy are discussed in relation to Adorno (1970) and Marcuse (1977). Subsequent chapters then function as case studies of particular tendencies as well as considering significant figures in the music of the period in the context of liberation, civil rights, Black Power, the counterculture, and the New Left. The Highlander Folk School is considered for the ways that it used music to foreground a collective political identity that was subverted by the needs of individual activists; Bob Dylan is examined in light of his retreat from collective political projects and his move toward aesthetic individualism that was nevertheless met with an increase in his perceived relevance to the liberation movements; John Coltrane for his experiments with autonomous music, despite the bitter political realities faced by many African Americans; and Frank Zappa, whose music, it is argued, attempted to stimulate a form of critical self-reflection amongst his audience.
23
Slonecker, Blake Filene Peter G. "The politics of space student communes, political counterculture, and the Columbia University protest of 1968 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,91.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.<br>Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History." Discipline: History; Department/School: History.
24
Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.
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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.
25
Hahn, Miriam. "Playing Hippies and Indians: Acts of Cultural Colonization in the Theatre of the American Counterculture." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400171772.
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Sheeran, Paul. "Altered states in international relations : the role of counterculture in the disintegration of the Soviet Union." Thesis, Nottingham Trent University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302517.
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SANTOS, GABRIEL BARBOSA DOS. "EXPIRED AND INSPIRED: THE INFLUENCE OF ENGLISH AND AMERICAN PSYCHEDELIC ROCK SCENES ON THE NATIONAL COUNTERCULTURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=23214@1.
Testo completoAbstract (sommario):
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>A década de 1960 é lembrada a partir das mobilizações juvenis ao redor do mundo. Mobilizações essas bastante heterogêneas, indo de extremos como lutas armadas contra ditaduras militares a pregações de paz, amor e fim do moralismo retrógrado que permeava sobre as sociedades capitalistas ocidentais. Operando com a noção de contracultura, esse último grupo buscou criticar questões políticas, sociais e, sobretudo, culturais se afastando das imposições do establishment e formando novas premissas culturais. O rock estava ali, influenciando e conscientizando a juventude e, sobretudo, provocando mudanças em sua maneira de viver e se comportar. Este trabalho consiste nas análises e apontamentos das influências do rock psicodélico norte-americano e inglês na contracultura nacional. Para tal, fez-se uso de alguns periódicos que retratavam e veiculavam a ebulição psicodélica da época e, desta forma, entender as assimilações dessas proposições e por quais filtros elas se deram pela sociedade.<br>The 1960s is remembered from youth mobilizations around the world. But these mobilizations were very heterogeneous, ranging from extremes like armed struggles against military dictatorships to preaching peace, love and the end of morality that pervaded retrograde on the western capitalist societies. Working on the idea of counterculture, this last group sought criticizing political, social, and especially cultural impositions moving away from the establishment and forming new cultural assumptions. The rock music was there, raising awareness and influencing youth and, especially, causing changes in their way of living and behaving. The intentions of this work consist of noting and analyzing the influences of American and English psychedelic rock on national counterculture. In this manner, some journals that portrayed and conveyed the 60s psychedelic culture increase was used to, thus, understand the assimilation of those propositions by society.
28
Jenkins, Alexandra Mary. "Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407770633.
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29
Turner, Frederick C. "From counterculture to cyberculture : how Stewart Brand and the Whole earth catalog brought us Wired magazine /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3069225.
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30
Gracon, David D. 1976. "Exiled records and over-the-counterculture: A cultural political economic analysis of the independent record store." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11155.
Testo completoAbstract (sommario):
xvi, 436 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This study examined the cultural political economic significance of the physical "brick and mortar" independent record store in the digital era. The research was built upon two critical frameworks -- the political economy of communication and critical cultural studies.
The political economy of communication situated the independent record store within the dominant music industry, and was concerned with the corporate structuring and standardization of music culture. The study analyzed the extreme market concentration involving the "big four" major record labels (in terms of vertical and horizontal integration, diversification and product synergy), their interconnectedness to the major corporate music retailers, and the implications for the manufacturing of popular musical artists. The independent record store (to varying degrees) counters these tendencies by offering greater cultural diversity in terms of "independent," local, used and obscure music. However, the independent record store is influenced by the policies and practices of the major label system, distribution channels, big box chain retailers, and on-line commerce. The study examined the dominant industry policies and practices, including buying (centralized versus localized), music as a loss leader, co-op advertising, retail "payola," retail censorship, and the overall range of musical diversity, vis-à-vis the practices and semi-autonomous nature of the independent record store.
This project was equally invested in the cultural aspects of the independent record store in terms of communities and scenes. Various subcultures gather and connect with each other at independent record stores, where anti-corporate and counter-hegemonic narratives circulate, and individuals learn about the depths of musical history and culture. This project explored the physical atmosphere and vernacular culture associated with the stores, as well as the cultural significance of vinyl record collecting. However, these cultural attributes are framed in terms of the harvesting of commodification, where the perception of "independence" is rendered problematic in terms of the economic realities associated with the logic of capital.
The primary ethnographic field sites for this study included the House of Records in Eugene, Oregon; Music Millennium in Portland, Oregon; and Amoeba Music in San Francisco, California. Numerous specialty independent record stores within these geographic areas were also included in the study.<br>Committee in charge: Janet Wasko, Chairperson, Journalism and Communication;
Carl Bybee, Member, Journalism and Communication;
Leslie Steeves, Member, Journalism and Communication;
Julianne Newton, Member, Journalism and Communication;
Douglas Blandy, Outside Member, Arts and Administration
31
Yanes, Nicholas Adam. "Commodifying counterculture: William Gaines, EC Comics, Mad magazine, and the rise of the corporate anti-establishment." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/6893.
Testo completoAbstract (sommario):
Founded as Educational Comics in 1944 and rebranding itself as Entertaining Comics a few years later, EC Comics would publish several comic book titles, such as Tales from the Crypt, and the magazine, Mad. While the success of these publications can be measured by a legacy of directors, writers, comedians, and others in the entertainment industry who describe EC's properties as an early inspiration for them, the company itself cannot be seen as equally successful in the business world. Though its publications have left permanent fingerprints on American popular culture, the company represents an interesting example of a company that never became 'big.' In short, EC provides an interesting contrast to standard narratives about entertainment companies and properties.
With scholarship in this field typically analyzing how a company started off small and grew into a larger corporation, EC is an example of a company that started small and remained small as a subsidiary of a larger corporation. In addition to this dissertation functioning as a critical corporate biography of EC's evolution, it also examines how U.S. entertainment has changed as mass audiences have become increasingly fractured as new forms of entertainment technologies have emerged. Overall, this dissertation aims to show how standard humanities approaches to analyzing popular culture can be augmented by also investigating the business practices and work cultures that shaped an entertainment property.
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Piza, Rafael Nacif de Toledo. "Marcas limítrofes, imagens do invisível: representações da marginalidade em Almodóvar." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1109.
Testo completoAbstract (sommario):
Esta dissertação apresenta uma análise das representações da marginalidade na obra cinematográfica de Pedro Almodóvar, com base na Sociologia do Desvio de Goffman, Becker e Elias, atualizada pela teoria de covering de Yoshino. A intenção do trabalho é problematizar a produção audiovisual do início da carreira do diretor manchego, de forma a comprovar que os filmes Pepi, Luci e Bom e outras garotas de montão (1980), Labirinto de Paixões (1982), Maus hábitos (1983) e O que eu fiz para merecer isto? (1984) documentam seu engajamento na dinâmica contracultural desenvolvida na Espanha da época. Almodóvar representa a marginalidade em seus filmes do período, configurando o que alguns críticos denominam como estética do mau gosto, de tal forma que as obras produzidas registram a luta pela liberdade democrática após anos de regime ditatorial. Pensar na cinematografia de Almodóvar a partir do ponto de vista da sociologia do desvio é refletir sobre as políticas de visibilidade de identidades culturais minoritárias. O trabalho do diretor apresenta menos inovações formais, pois parte de estruturas narrativas clássicas, mesmo quando mistura os gêneros; mas inova quando revela a marginalidade, cotidianiza-a, potencializando o processo de sua assimilação.<br>This research presents an analysis of the portrayal of deviance in Pedro Almodóvars early movies, based upon the Sociology of Deviance by Goffman, Becker and Elias, reviewed through Yoshinos covering theory. The purpose of the work is to review the movies produced by Almodóvar in the early 80s, in order to prove that features like Pepi, Luci, Bom and other girls on the heap (1980), Labyrinth of Passion (1982), Bad habits (1983) and What have I done to deserve this? (1984) register his commitment in the countercultural dynamics developed in Spain at the time. Almodóvar portrays deviants in his movies of the period, configuring what some critics name aesthetics of bad taste, in such a way that the films produced register the fight for democratic freedom after years of dictatorship. To think about Almodóvars cinematography from the point of view of the sociology of deviance is to reflect about the visibility of cultural minorities identities. The work of the director presents less formal innovations, as he uses classical narrative structures, even when mixing genres; but innovates when reveals deviance, from a day-by-day perspective, empowering the process of its assimilation.
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McGrogan, Manus Christian. "Tout! in context 1968-1973 : French radical press at the crossroads of far left, new movements and counterculture." Thesis, University of Portsmouth, 2010. https://researchportal.port.ac.uk/portal/en/theses/tout-in-context-19681973(c3c8fb34-f611-40ea-a428-6aac8a6560a0).html.
Testo completoAbstract (sommario):
With this thesis on the aftermath of 1968 in France, I have recreated the moment and environment of the libertarian paper Tout! Usually associated in historiography with the birth of the gay liberation movement in France, my initial research revealed its influence as more penetrative and revealing of the diverse left and new, countercultural movements of the early 1970s. I sought the testimony of former militants, writers and artists to uncover historical detail and motivations, and consulted relevant textual archives, aiming to situate and examine the paper within a number of interrelated contexts. Results showed the paper's historical touchstones of scurrilous Revolutionary papers and 19th/20th caricature typified by L’Assiette au Beurre. The parallel paths of Dada, surrealism and situationism, and the Marxisant legacy of the Russian Revolution, foreshadowed the blend of cultural and political in Tout! May „68 was the crucible of militant, festive currents and speech, a time of rupture and reorientation for the various activists later at Tout!, the paper Action and posters of the Beaux-Arts inspiring new forms of agit-prop. In the aftermath of 1968, mao-libertarian current Vive La Révolution converged with an ex-Trotskyist, faculty-based group seeking cultural revolution. Figureheads Roland Castro and Guy Hocquenghem oversaw the merger of these groups and outlooks, coinciding with the launch of Tout! as a „mass‟ paper. With a new look and „new political attitude‟, influenced by Italian radicals and the US underground, Tout! challenged all forms of authority in Pompidou‟s France, climaxing with the eruption of gay liberation in no.12. It was Tout!‟s role in promoting „autonomous‟ gender, sexual and youth movements that led to the disaggregation of Vive la Révolution, and despite successful sales the paper came to a sudden end in the summer of 1971. Like the rest of the far left, Vive La Révolution and Tout! suffered State repression, but evolved from a „proletarian‟ Marxist critique of capitalism to attack the life routine of work, school and the family, judging the political Right and the Parti Communiste Français as equally reactionary. The paper testified to the importance of international, indeed transnational activities of the far left in the early 1970s. It provided a formidable impulse for the gay liberation movement FHAR, and foreshadowed the first feminist paper Le Torchon Brûle. As such it was a crucial press conduit for American radical left forms and practices, spearheading a shift from gauchisme to the growing counterculture. Tout! exemplified a brief, intense and fast-changing moment in French subcultural history and set new trends in left political journalism for the 1970s.
34
Maldonado, Maritza, and Maritza Maldonado. "La Otredad Indígena en el Panorama Sociocultural Mexicano del Siglo XX." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625857.
Testo completoAbstract (sommario):
Tomando en cuenta la naturaleza pluricultural y pluriétnica de la México, la presente tesis doctoral comienza por observar y analizar las maneras en que los medios de comunicación masiva tradicionalmente han contribuido a la distorsión y devaluación de las identidades de los indígenas mexicanos, así como a la fabricación de sus representaciones más caricaturescas en el México moderno. Arguyo que los medios de comunicación masiva han coadyuvado en la formación de tres construcciones socioculturales falsamente enraizadas en los pueblos indígenas de México. Ellos son el indio, el indio-campesino y el naco.
Particularmente la cinematografía y la literatura han tenido un rol crítico en la tarea de insertar tales identidades artificiosas, genéricas e indiferenciadas en la cultura dominante mestiza mexicana, para ser absorbidas y reproducidas como constructos de identidad históricos profundamente asentados en el imaginario sociocultural colectivo de sus ciudadanos. Además de formas masivas más tradicionales como la cinematografía y la literatura, esta tesis doctoral examina la cultura popular y urbana, la música de rock en español, bogas y estilos de arrabal, dialectos urbanos y rurales y otros textos culturales como videos musicales, comics y sketches de comedia. Lo anterior permite una perspectiva alterna y más completa del proceso de creación, distorsión y tergiversación de dichas identidades indígenas ficticias arraigadas en la cultura dominante.
En el primer capítulo establezco las formas en que el indio reemplazó la imagen del amerindio, y eventualmente la imagen del indígena mexicano contemporáneo. El segundo capítulo se centra en la imagen del campesino, así como en sus proximidades con el indio y la confusión identitaria que deriva de ellas. El resultado de tal amalgama es la construcción sociocultural del indio-campesino. El tercer capítulo analiza el constructo identitario del naco y sus vínculos con el indio, los cuales dirigen a la creación del naco-indio. Esta tesis doctoral argumenta que, debido a sus múltiples asociaciones con el indio, el indio-campesino ha sido incapaz de enunciar un discurso propio y de lograr autorrepresentarse. Sin embargo, el naco, a través de la música de rock en español y de los performances derivados de ella, pudo expresar su propio discurso y logró la autorrepresentación como una contracultura altamente efectiva y articulada durante las décadas de los ochenta y noventa.
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Weller, Wivian. "HipHop in São Paulo und Berlin ästhetische Praxis und Ausgrenzungserfahrungen junger Schwarzer und Migranten /." Opladen : Leske + Budrich, 2003. http://catalog.hathitrust.org/api/volumes/oclc/51862844.html.
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Тетушкин, Д. Н., та D. N. Tetushkin. "Образ стиляги в контексте советской культуры 1950-1960-х годов : магистерская диссертация". Master's thesis, б. и, 2020. http://hdl.handle.net/10995/94201.
Testo completoAbstract (sommario):
Работа посвящена актуальной и мало разработанной теме, касающейся советской культуры 1950-1960-х годов, в свете которой исследуется явление «стиляжничества». Избранная проблематика раскрывается на основе многих философских,_социологических, культурологических трудов, которые позволяют выявить состояние советской культуры избранного периода и показать в ней роль «субкультуры» стиляжничества. В диссертации исследуются социокультурные корни этого явления и выявляются особенности "образа стиляги" в реалиях советской культуры, а также его воплощение в документальных и художественных текстах. В работе содержится проект интерактивного «Музея стиляги», представляющего повседневную советскую культуру, в условиях которой сформировался этот образ.<br>The work is devoted to a topical and little-developed topic related to the Soviet culture of the 1950s-1960s, in the light of which the phenomenon of "styling" is investigated. The selected problematic is revealed on the basis of many philosophical, sociological, cultural studies, which make it possible to reveal the state of Soviet culture of the chosen period and show the role of the "subculture" of styling in it. The dissertation examines the socio-cultural roots of this phenomenon and reveals the features of the "image of the dandy" in the realities of Soviet culture, as well as its embodiment in documentary and literary texts. The work presents a project of the interactive "Museum of Styles", representing everyday Soviet culture, in the conditions of which this image was formed.
37
Hotvedt, Maren E. "Buy Global, Think Local: Direct Trade Coffee and Community Renaissance in Olympia, Washington." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/357.
Testo completoAbstract (sommario):
The development of the specialty coffee industry in the United States occurred in the latter half of the twentieth century not as an independent phenomenon but rather as a result of a series of interrelated movements that began to coalesce in the late 1960s. Direct Trade, the latest development in gourmet coffee sourcing and marketing, is an amalgam of elements of an American food revolution that gained national prominence in the 1970s, the environmental movement, and movements for social justice through conscious consumption. Direct Trade coffee is differentiated in particular by roasters' rejection of the notion of coffee as a commodity in favor of recognition that coffee is a seasonal fresh produce subject to discernible differences in quality. This thesis examines Direct Trade’s popularity in Olympia, Washington, a suburban cultural center located midway between Seattle and Portland along the I-5 corridor. It seeks to explain why and how residents of the Pacific Northwest, long distinguished for their pioneering spirit, adopted Direct Trade coffee from an early stage.
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Psenicka, Carly. ""An Unwavering Band of Light": Kurt Vonnegut and the Psychedelic Revolution." Youngstown State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1433433145.
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Oliveira, Bruno Pereira de. "A cultura punk e o underground: um estudo no cenário de duas cidades do interior paulista." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/2737.
Testo completoAbstract (sommario):
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Previous issue date: 2014-08-26<br>This essay is the result of the analysis of history fragments and Punk culture, as well as some artistic productions by the members of this movement, as zines and musics utilized by the Punks to defend their ideals and to establish its position before a hegemonic culture imposed on then. The productions analysed are the main sources of data for the fulfillment of this research, because the sources selected allow for an analysis considering the proximity between the Punk culture and the Underground scene from some similarities found during the research, as the influence of the Counterculture and the fight before the imposed standards. With the intention to elaborate a bibliographic review, considering the possible relations between the Punk movement and the Underground, being these elements present in most urban centers, this research is directed to two cities from São Paulo inland, Atibaia and Bragança Paulista, each one with its own culture and behavior. In this essay other movements besides the Punk are cited merely as comparative elements, because the Punk movement, its Underground component allies and all it's set of practices and actions, provide the minimally necessary data for the analysis of the proximity between the Punk culture and the Underground.<br>Esta dissertação é o resultado da análise de fragmentos da história e da cultura Punk, assim como algumas produções artísticas dos membros desse movimento, como zines e músicas utilizados pelos punks para defender seus ideais e marcar sua posição perante uma cultura hegemônica imposta sobre eles. As produções analisadas constituem as principais fontes de dados para a realização desta pesquisa, pois as fontes selecionadas permitiram realizar uma análise considerando as proximidades entre a cultura Punk e o meio Underground a partir de algumas similaridades encontradas durante a pesquisa, como a influência da Contracultura e do enfrentamento perante determinados padrões impostos. Com o intuito de elaborar uma revisão bibliográfica, considerando as possíveis relações entre o movimento Punk e o Underground, sendo esses elementos presentes em boa parte dos centros urbanos, direcionamos a pesquisa para duas cidades do interior de São Paulo, Atibaia e Bragança Paulista, cada uma com sua cultura e costumes. Nesta dissertação outros movimentos além do Punk, são utilizados meramente como elementos comparativos, pois o movimento Punk, aliado dos componentes do Underground, e todo seu conjunto de práticas e ações, fornecem os dados minimamente necessários para a análise da aproximação entre a cultura Punk e o Underground.
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Lovejoy, Rebekah. "Post-cool kids| How the children born into the counterculture of the American 1960s and 70s became a scattered, disorganized, postmodern tribe." Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3560882.
Testo completoAbstract (sommario):
<p> This is an ethnographic and depth psychological study of Post-Cool Kids, people born into the 1960s American counterculture between 1964 and 1978. This population has been predominantly overlooked by the academy apart from the Family Lifestyles Study completed at UCLA twenty years ago. In this, the first study of its kind, I explore the ethnological specificity of this set of people, Post-Cool Kids. </p><p> I have integrated the methodologies of Michel Foucault and the theories of archetypal psychology developed by James Hillman with work done by Victor Turner as well as other work from the disciplines of anthropology, sociology, literary criticism, feminist theory, cultural studies and histories of the sixties era. I use this interdisciplinary data to inform a qualitative study of eighteen subjects raised by countercultural parents. I asked my subjects about their lives as children, teenagers, young adults, and currently approaching midlife. Through an analysis of these interviews I identified six cultural complexes specific to the counterculture that I then deconstructed and discussed as systems of knowing within the American culture of the last forty years: freedom, anti-authority, intense experience, cool, being real, and utopia. These complexes together provide a unique way of experiencing the world that informs the ethnological and psychological perspective of Post-Cool Kids, and provides them with a multi-schematic, process-based way of engaging with the world around them. I also discuss such topics as alternative education, communal experiences, drug addiction, creative thinking, embodied trauma, parental entwinement, and personal activism. My objective was to identify the transmission of culture from counterculture parents to their Post-Cool Kids. In the process I developed several unique methodological approaches. Merging postmodern theory, archetypal psychology and methods from religious studies and anthropology, I evaluate the nature of belief within a secular cultural context. Ultimately, I place American historical concepts of utopia side by side with the experience and multi-schematic perspective of Post-Cool Kids to suggest that they represent an emergent pattern in culture, and show how they can inform new theories of utopia.</p>
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Santos, Daniela Vieira dos [UNESP]. "Não vá se perder por aí: a trajetória dos mutantes." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/98969.
Testo completoAbstract (sommario):
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santos_dv_me_arafcl.pdf: 1452544 bytes, checksum: 97fdb10f293cba39b260f1660f1da05a (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Essa pesquisa, com base numa abordagem sócio-histórica da canção, examina a produção musical dos Mutantes, conjunto de pop rock formado em 1966 por Rita Lee, Arnaldo Baptista e Sérgio Dias. Em especial, o nosso objetivo é o de entender o significado histórico do experimentalismo na trajetória do grupo entre fins da década de 1960 e meados da década de 1970, a fim de perceber o motivo da mudança sonora ocorrida no conjunto a partir de 1971. Além disso, procuramos perceber como essas “experimentações” estavam vinculadas aos aspectos mais evidentes da sociedade no período, como, por exemplo, a (re) estruturação da Indústria Cultural Brasileira. Tomamos como referência maior o movimento da contracultura que engendrou, não só no exterior como também no Brasil, significativas transformações na sociedade nos âmbitos moral, comportamental, político, cultural e ideológico. Ainda que possa parecer contraditório, entendemos que foi justamente a reorganização da Indústria Cultural Brasileira que contribuiu para que os Mutantes pudessem realizar as suas várias experimentações sonoras. Contudo, dada a configuração social no campo da música popular brasileira no período posterior à decretação do AI-5, destacando-se nesse campo o fechamento do mercado fonográfico à inventividade sonora e o fim dos festivais da canção, os Mutantes enveredaram para a vertente do rock progressivo, perdendo, portanto, a sua notável peculiaridade musical. A padronização dos instrumentos musicais a partir dos anos 70 também contribuiu substantivamente para que as suas músicas se tornassem pastiche dos grupos de rock anglo-americanos, em detrimento do aspecto paródico que caracterizou os seus primeiros trabalhos.<br>This research, which was based on a socio-historical approach of the popular song, examines the musical production of the Mutantes, a pop rock group created in 1966 by Rita Lee, Arnaldo Baptista and Sergio Dias. In particular, our goal is to comprehend the historical meaning of “experimentalism” in the trajectory of the group during the period between the end of the sixties and the mid-seventies, in order to identify the reasons for the resonant change which took place in the group from 1971 on. Furthermore, we try to understand how these “experimentations” were linked to the evident aspects of the society of the period, such as the reorganization of the Brazilian Culture Industry. We considered as reference the large countercultural movement, which not only abroad but also in Brazil led to important moral, behavioral, political, cultural and ideological transformations in society. Although it may seem contradictory, we believe that it was precisely the reorganization of the Brazilian Cultural Industry that contributed to the Mutantes’ achievements in their various musical experimentations. However, given the social scenario in Brazilian popular music of the period after the AI-5 Bill, which led, among other things to the closing of the phonographic market in its inventiveness, and to the end of the “Song Festivals”, the Mutantes head for progressive rock, thus losing their remarkable musical peculiarities. The standardization of the musical instruments as from the 70’s resulted on the Mutantes’ poor imitation of American-English rock, loosing their parody aspect which characterized their early records.
42
Siegfried, Detlef. "Time is on my side : Konsum und Politik in der westdeutschen Jugendkultur der 60er Jahre /." Göttingen : Wallstein-Verl, 2008. http://www.gbv.de/dms/bs/toc/512958416.pdf.
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Fernandes, Gabriel de Andrade. "Entre ambientes, (contra)culturas e naturezas. O emergente discurso ambiental na arquitetura dos anos 1960 e 1970 a partir de Buckminster Fuller, Ian McHarg e Murray Bookchin." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16135/tde-19122017-115011/.
Testo completoAbstract (sommario):
O trabalho busca estabelecer um panorama das várias manifestações do então emergente discurso ambientalista em meio à cultura arquitetônica dos anos 1960 e 1970, bem como identificar suas principais características, recorrências e contradições. Para tanto, limitou-se a análise de veículos e meios de difusão de ideias arquitetônicas ao contexto anglófono e em especial àquele relacionado à efervescente contracultura verificada nos Estados Unidos da América no período recortado. O período escolhido se justifica pela condição de protagonismo que eventualmente assumiu o discurso ambiental neste momento em diversos círculos profissionais, acadêmicos e culturais relacionados à arquitetura. Tal panorama é complementado pelo desenvolvimento de um itinerário interpretativo dessas várias manifestações discursivas a partir de recortes e fragmentos das obras de Buckminster Fuller, Ian McHarg e Murray Bookchin, entre outros autores, através das quais pudemos evidenciar determinadas recorrências e contradições. Finalmente, a partir de tal itinerário, pode-se promover uma discussão a respeito da maneira como ideias como \"natureza\", \"ambiente\", \"tecnologia\" e \"cultura\" foram mobilizadas nos diferentes discursos com diferentes fins. Tal itinerário é precedido de uma revisitação crítica a alguns episódios e personagens célebres da contracultura ambientalista norteamericana. Neste sentido, o trabalho contribui ao estudo das relações entre a cultura arquitetônica, o ambientalismo e a contracultura, bem como estabelece interfaces entre a história da arquitetura, os estudos de paisagem e a história ambiental.<br>This work aims to present a panoramic picture of the various manifestations of then emerging environmental discourse among architectural culture from the 1960s and 1970s, as well as identify a its main characteristics, frequent elements and contradictions. In order to achieve such goal, the analysis of the architectural ideas spreading media was limited to the anglophone context, and particularly to the American one. The chosen timespan is justified by the fact that environmentalism assumed a protagonist role in social discourses around those times, among architectural related professional, scholarly and cultural circles. Such panoramic view is completed by the development of an interpretative itinerary on those various discursive manifestations made of and through excerpts and fragments of Buckminster Fuller\'s, Ian McHarg\'s and Murray Bookchin\'s works, among other authors, from which we could make evident some recurrences and contradictions. Finally, departing from such itinerary, a discussion on the ways that ideas like \"nature\", \"environment\", \"technology\" and \"culture\" were used on different discourses with different aims could be achieved. Such itinerary is preceded by a critical reunion with some of the most eminent episodes and characters from environmental counterculture in the United States. In this sense, this work contributes to the study of the relationships of architectural culture, environmentalism and counterculture, as well as it establishes interfaces between architectural history, landscape studies and environmental history.
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Brotto, Julio Cezar de Paula. "Avalanche Escola de Missões Urbanas Underground: trajetória histórica e proposta missiológica e diaconal." Faculdades EST, 2010. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=246.
Testo completoAbstract (sommario):
O propósito deste trabalho é investigar a Avalanche Escola de Missões Urbanas
Underground e sua relevância educacional para os que militam juntos às tribos urbanas
cristãs de rosto underground e sua contribuição para setores da igreja institucional cristã
que deseja alcançar este segmento da sociedade. Foram analisadas a identidade da Escola
e suas propostas diaconal e missiológica com o auxílio do quadro teórico da contracultura,
passando pelo surgimento do movimento underground e vinculando o relato histórico da
Escola ao movimento underground cristão. As referências teóricas da Teologia Prática, a
saber, a Comunhão de Mesa de Jesus e a Missão como Com-paixão, ofertaram as bases
para a discussão do conceito de solidariedade. Ao relacionar o projeto pedagógico da
Escola, com a referência teórica da Pedagogia da Solidariedade, inspirado em Paulo
Freire, o conceito de solidariedade é apresentado interagindo com as referências teóricas
da Comunhão de Mesa de Jesus e o da Missão como Com-paixão.<br>The purpose of this study is to investigate the Avalanche Escola de Missões
Urbanas Underground and their educational relevance for those who are engaged with the
underground Christian urban tribes and sectors of the institutional Church that wants to
reach this segment of society. The identity of the School and its diaconal and missiological
proposals were analyzed with the help of the theoretical framework of the counterculture,
through the rise of the underground movement and linking the historical account of the
School to the underground Christian movement. The theoretical references of Practical
Theology, namely, Jesus Table Fellowship and Mission as Com-passion, offered the
basis for the discussion of the concept of solidarity. By linking the pedagogical project of
the School with the theoretical framework of the Pedagogy of Solidarity, inspired in Paulo
Freire, the concept of solidarity is shown interacting with the theoretical references of the
Jesus Table Fellowship and Mission as Com-passion.
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Silva, Luis Fernando de Matheus e. "Ilusão concreta, utopia possível: contraculturas espaciais e permacultura (uma mirada desde o cone sul)." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-07112013-113710/.
Testo completoAbstract (sommario):
A presente pesquisa visa compreender e analisar criticamente o discurso de sustentabilidade e as práticas constitutivas da permacultura, debatendo tanto o potencial que elas podem oferecer à construção de um utopismo dialético norteado por uma nova práxis ambiental, como as contradições geradas a partir de sua inserção em uma sociedade capitalista, orientada pelo lucro e pela tendência geral em transformar todas as coisas em mercadorias. Pensada originalmente na década de 1970 pelos australianos Bill Mollison e David Holmgren, a permacultura diz respeito à criação de assentamentos humanos sustentáveis e resilientes, feita com base em princípios e técnicas específicos. A partir da década de 1990 paralelamente à ascensão e à globalização do neoliberalismo tem sido verificado um novo boom na eclosão e disseminação de experiências comunitaristas alternativas e sustentáveis, muitas das quais baseadas na permacultura, o que é sintomático do atual estágio da geografia histórica do capitalismo, apontando de um lado para a crise estrutural e multifacetada experimentada nos dias de hoje, e, de outro, para a urgência em se buscar formas distintas de sociabilizar-se e de relacionar-se com a natureza. Sustenta-se que estas experiências configuram a etapa mais recente de um fenômeno cujas origens podem ser rastreadas na segunda metade do século XIX e que aqui se denomina contraculturas espaciais, ou seja, microexperimentos de organização e produção socioespacial, geralmente de caráter comunitarista, que nascem como tentativas de subversão à ordem dominante, onde o nível privado e a esfera do cotidiano ganham primazia e tornam-se o lócus privilegiado no qual são experimentadas e desenvolvidas técnicas, práticas e solidariedades distintas daquelas que conformam a lógica homogeneizante, individualista e alienante encabeçada pela produção capitalista do espaço. Essas espacializações alternativas são expressões essencialmente modernas e urbanas que costumam surgir com mais força e visibilidade em momentos de crise de reprodução do sistema. Tendo por base a combinação entre pesquisa bibliográfica, documental e entrevistas com seus fomentadores, bem como a realização de trabalhos de campo junto a experiências de permacultura localizadas na Argentina, no Brasil e no Chile, buscar-se-á aqui, a partir do exame crítico do sistema produtivo permacultural, discutir as possibilidades e os limites apresentados pelas contemporâneas contraculturas espaciais à construção de uma sociedade mais igualitária e ecológica.<br>The present investigation aims to critically understand and analyze the speech of sustainability and the constitutive practices of the permaculture, debating the potential that they offer to the construction of a dialectical utopianism orientated by a new environmental praxis; as well as the contradictions produced from its insertion in a capitalist society geared to profit and to the general tendency in turning all the things into goods. Originally thought in the decade of 1970 by the Australians Bill Mollison and David Holmgren, the permaculture concerns the creation of sustainable and resilient human settlements, based on specific principles and techniques. From the decade of 1990 in parallel with the consolidation of neoliberalism a new boom in the outbreak and dissemination of alternative and sustainable communal experiences has been observed, many of them based on permaculture, which turns out to be symptomatic of the current state of the historical geography of the capitalism. This concept points, on the one hand, to the structural and multifaceted crisis experienced nowadays; and, on the other hand, to the urgency of searching for different forms of socialize and interact with nature. It has been argued that these experiences constitute the most recent stage of a phenomenon whose origins can be traced to the second half of the nineteenth century. Here they are referred to as spatial countercultures, or, in other words, micro-experiments of socio-spatial organization and production generally of communal character. Such micro-experiments are usually born as attempts to subvert the dominant order, where the private and everyday life spheres acquire primacy and become a privileged locus where they are experienced and developed techniques, practices and solidarities; different from those that conform the homogenizing, individualistic and alienating logic represented by the capitalism production of space. Notably, these alternatives are essentially modern and urban expressions that usually arise with more strength and visibility at moments where the system faces crisis in its reproduction. Based on a combination between literature and documentary research, interviews with their developers, and fieldworks to permaculture experiences located in Argentina, Brazil and Chile; this investigation aims to critically address the permaculture system of production, discussing the possibilities and limitations that this type of spatial contemporary countercultures offer for the construction of a more egalitarian and ecological society.
46
Delmanto, Júlio. "História social do LSD no Brasil: os primeiros usos medicinais e o começo da repressão." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-11122018-161707/.
Testo completoAbstract (sommario):
Depois de apresentar as origens históricas da contracultura, no Brasil e nos Estados Unidos, e contextualizar um pouco das relações entre os integrantes destes movimentos e o uso de drogas, sobretudo maconha e ácido lisérgico, esse trabalho traça, através principalmente da análise de trajetórias individuais que se cruzam de uma forma ou de outra, uma história social da chegada do LSD ao Brasil. O trabalho investiga, com profundidade, o primeiro processo judicial por tráfico e porte da substância, iniciado em janeiro de 1970, em São Paulo, estudando a trajetória dos principais réus, a repercussão midiática, os relatos feitos a posteriori e as formas de ação da polícia e da justiça, em um momento em que não só a ditadura militar vivia sua fase mais violenta, após o AI-5, como também vigorava a lei de drogas mais dura que o país já teve. Analisando os autos de dito processo, e também uma ampla variedade de outras fontes, orais e documentais, apresenta-se como se desenrolou o começo da repressão ao LSD no Brasil, e recupera-se também como foi a chegada da substância ao país, que se deu pela via medicinal na virada dos anos 1950 para os 1960.<br>After presenting the historical origins of the counterculture in Brazil and in the United States, and also after contextualizing some of the relations between the members of these movements and the use of drugs, especially marijuana and lysergic acid, this work traces, mainly through the analysis of individual trajectories which intersect in one way or another, a social history of the arrival of LSD in Brazil. This thesis investigates in depth the first judicial process for trafficking and possession of the substance, begun in January 1970, in São Paulo, studying the trajectory of the main defendants, the media repercussion, the reports made a posteriori and the forms of action of the police and the justice system, at a time when not only the military dictatorship was experiencing its most violent phase, after the \"AI-5\", but the hardest drug law in the country\'s history was also in force.By analyzing the files of this process, as well as a wide variety of other sources, both oral and documentary, the beginning of the repression of LSD in Brazil is described, as well as the medical origins of the substance\'s arrival in the country.
47
Almeida, Junior Armando Ferreira de. "A contracultura e a política que o Ylê Aiyê inaugura: relações de poder na contemporanei." Programa de Pós-Graduação em Cultura e Sociedade da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/10805.
Testo completoAbstract (sommario):
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Previous issue date: 2010<br>Esta tese busca estudar a relação entre o anti-racismo que surge com a criação do bloco afro Ilê Aiyê e o contexto político cultural do Ocidente na época. Costuma-se localizar a origem de muitos movimentos sociais contemporâneos no final dos anos 60. Naqueles anos, no Ocidente mais urbanizado e mais midiaticamente conectado, a cultura invade a política, levando para esse território questões de gênero, sexo, de liberdades individuais, ambientais e de raça, entre outras. Questões que não se resovem sem uma atitude que vá alem da luta de classes e das questões econômicas. Na primeira metade dos anos 70, assiste-se na Bahia, com o surgimento do Ilê Aiyê, ao nascimento de uma ação anti-racista marcada por identidades construídas com base em princípios e valores postos em evidência a partir da contracultura e inspirados, sobretudo, pela noção norte-americana do black is beautiful e do Black Power, embalados pelo soul music e dentro do espírito libertário daqueles anos. Os jovens que levaram o Ilê para a rua - em plena época da ditadura militar brasileira - ressignificaram a negritude contemporânea em Salvador e seu Recôncavo, e atigiram uma base central do recismo: desmontaram, como nunca, o conceito eurocêntrico de beleza. Este foi o grande diferencial do Ilê Aiyê no compo da política. A nova estética, proposta por ele, atinge frontalmente os fundamentos do racismo institucionalizado, atributo culturalmente construído e também internalizado pelo negromestiço. Sua eficácia está no foco: o Ilê atua sobre o campo da negociação simbólica, onde os valores são sedimentados e onde se determina o lugar que ocupamos no mundo. Para entender-se melhor esta questão, alem dos estudos multidisciplinares que o assunto exige, buscou-se reconstruir um pouco da trama sociocultural e do contexto em que se enredavam os atores do processo antes deles colocarem, literalmente, o bloco na rua.<br>Salvador
48
Tolley-Stokes, Rebecca. "Annotated Bibliography." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5760.
Testo completo
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Mercer, Kevin. "The farm a hippie commune as a countercultural diaspora." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/587.
Testo completoAbstract (sommario):
Counterculture history is often divided, with a focus on either the turbulent 1960s or the "back to the land" exodus of the 1970s. A study of Stephen Gaskin and his followers' founding of The Farm, a rural commune near Summertown, Tennessee, provides a unique insight into the commonalities and connections of these two periods. It will be the aim of this thesis to weave the separate narratives of this demographic into one complete idea. The idea that the hippies constituted a counterculture suggests that once that culture went into exile, onto numerous communes, they existed as a diaspora. The Farm's existence as a spiritual commune, with their roots in Haight-Ashbury's short-lived utopian dream, and their continuation and evolution of that dream in Tennessee, make this particular group a model for the diaspora. The Farm, with its larger profile, publishing, and outreach programs, became the preeminent post-Haight-Ashbury commune. The commune was able to preserve the counterculture in exile, while it became a leader in dictating the direction of its progress. The Farm's efforts in midwifery, sustainable living, promotion of vegetarian diets, and outreach in America's inner cities and the Third World all point to a proactive counterculture and the commune's leadership role for the remnants of the counterculture. While the profile of the counterculture has diminished, a shift in American attitudes toward natural childbirth, ecology, and a more earth-friendly diet containing a greater variety of organic and vegetarian options reveal a significant success for their agenda.<br>B.A.<br>Bachelors<br>Arts and Humanities<br>History
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Hutt, Dan. "Outsiders, outcasts, and outlaws: postmodernism and rock music as countercultural forces in Salman Rushdie's The ground beneath her feet." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/8851.
Testo completoAbstract (sommario):
Master of Arts<br>Department of English<br>Dean G. Hall<br>Salman Rushdie's 1999 novel The Ground Beneath Her Feet is ostensibly a rock
'n' roll novel, largely set in the 1960s, that traces the commercial rise of Indian rock star
protagonists Vina Apsara and Ormus Cama. As their fame and wealth rise to global
status and their stage show comes to entail a logistical complexity of military proportions,
it becomes increasingly difficult to discern the couple's earlier countercultural ideals
within their new established culture status.
I argue that despite the change from countercultural to establishment-based values
in the novel's protagonists, Rushdie does make a case in The Ground Beneath Her Feet
for the possibility of countercultural efficacy against the commodifying culture of global
capitalism (which I refer to as the "Frame"). His recipe for combating the exclusive
hierarchies produced by the Frame is a combination of the non-totalizing politics of
postmodernism and the subversive potential of uncommodified rock music.
I pay close attention to establishing the historical templates--John Lennon of the
Beatles and Brian Wilson of the Beach Boys--of the novel's protagonists in an effort to
understand the sort of countercultural alternative Rushdie is proposing. I likewise focus
on the novel's depiction of the Beach Boys' Smile album, which as a still commercially
unreleased record, reinforces Rushdie's imperative in The Ground Beneath Her Feet for
an uncommodifying counterculture and works in tandem with his portrayals of the artistic
plights of several minor characters in the novel as well.