Rozprawy doktorskie: „Robots in popular culture”

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

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

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

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

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

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

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

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Ross, Peter Colin. "Jack Sheppard in popular culture". Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413726.

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Herrmann, Andrew F., i Art Herbig. "Communication Perspectives on Popular Culture". Digital Commons @ East Tennessee State University, 2016. https://www.amzn.com/1498523927.

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Popular culture helps construct, define, and impact our everyday realities and must be taken seriously because popular culture is, simply, popular. Communication Perspectives on Popular Culture brings together communication experts with diverse backgrounds, from interpersonal communication, business and organizational communication, mass communication, media studies, narrative, rhetoric, gender studies, autoethnography, popular culture studies, and journalism. The contributors tackle such topics as music, broadcast and Netflix television shows, movies, the Internet, video games, and more, as they connect popular culture to personal concerns as well as larger political and societal issues. The variety of approaches in these chapters are simultaneously situated in the present while building a foundation for the future, as contributors explore new and emerging ways to approach popular culture. From case studies to emerging theories, the contributors examine how popular culture, media, and communication influence our everyday lives.
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Bergfeld, Sarah Elizabeth. "Hegemony at play four case studies in popular culture /". Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Dissertations/Spring2009/s_bergfeld_042109.pdf.

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McRae, Leanne. "Questions of popular cult(ure) /". Access via Murdoch University Digital Thesis Project, 2002. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040428.152619.

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Lam, King-sau, i 林勁秀. "Wang Shuo's fiction and popular culture". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35319161.

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Jones, Simon. "White youth and Jamaican popular culture". Thesis, University of Birmingham, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391512.

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Rodeheaver, Misty D. "An analysis of the shifts in cultural flows between the United States and Germany, 1890-1929". Morgantown, W. Va. : [West Virginia University Libraries], 2005. https://etd.wvu.edu/etd/controller.jsp?moduleName=documentdata&jsp%5FetdId=3988.

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Thesis (M.A.)--West Virginia University, 2005.
Title from document title page. Document formatted into pages; contains iv, 90 p. : ill. Includes abstract. Includes bibliographical references (p. 81-87).

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SCOTT, MEGHAN C. "BEAUTY IN THE EYE OF POPULAR CULTURE: POPULAR CULTURE AND THE OBSESSION WITH FEMALE IMAGE: THE BEAUTY RITUAL". Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/192238.

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DiFiore, Danielle. "Hunter S. Thompson a popular culture icon /". Tallahassee, Fla. : Florida State University, 2010. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/2181964.

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Warner, Kathleen Marie. "Historical theory, popular culture and television drama /". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.

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Lindell, Johan. "Japanization? - Japanese Popular Culture among Swedish Youth". Thesis, Karlstads universitet, Fakulteten för ekonomi, kommunikation och IT, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3861.

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Japanese presence on the global cultural market has steadily been increasing throughout the last decades. Fan-communities all over the world are celebrating the Japanese culture and cultural identity no longer seems bound to the local. This thesis is an empirical study which aims to examine the transnational flow of Japanese popular culture into Sweden. The author addresses the issue with three research questions; what unique dimensions could be ascribed to Swedish anime-fandom, what is appealing about Japanese popular culture and how is it influencing fan-audiences? To enable deeper understanding of the phenomenon, a qualitative research consisting of semi-structured telephone-interviews and questionnaires, was conducted with Swedish fans of Japanese popular culture. The results presented in this thesis indicate that the anime-community in Sweden possesses several unique dimensions, both in activities surrounding Japanese popular culture and consumption and habits. Japanese popular culture fills a void that seems to exist in domestic culture. It is different, and that is what is appealing to most fans. Anime and manga have inspired fans to learn about the Japanese culture, in some cases, Japanese popular culture has in a way “japanized” fans – making them wish they were born in Japan.

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McEwen, Melissa. "Gramsci and Spielberg : hegemony in popular culture /". Title page, contents and introduction only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arm1418.pdf.

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Graham, Michael Richard. "Remembering the commune : historiography and popular culture /". Title page, table of contents and introduction only, 2004. http://web4.library.adelaide.edu.au/theses/09AR/09arg7381.pdf.

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Donald, James. "Schooling, popular culture, government ideology and beyond". Thesis, Open University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253550.

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Branca, Andrea. "Identity and Popular Culture In Art Therapy". Digital Commons at Loyola Marymount University and Loyola Law School, 2012. https://digitalcommons.lmu.edu/etd/100.

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This paper explores the psychological concept of identity and how popular culture may be used as a theme in art therapy for exploring and repairing life story. The literature review defines identity from varying perspectives with emphasis on awareness of parallels between popular culture and the client’s personal story. These parallels may offer art therapists a framework of images and memories useful specifically to exploring identity development with clients. The case study places client’s identity into the context of popular culture unique to the experiences of the client at varying life stages.

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Sjöstedt, Jenny, i Sanna-Petra Wålberg. "Populärkultur i förskolan - Popular culture in preschool". Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30735.

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SammanfattningBarn möter idag populärkultur både i leksaksaffärerna och klädesaffärerna men även i TV-reklamen. Populärkulturella leksaker blir något barnen har ett gemensamt fokus till och skapar gemenskap kring. Leksakerna kan därför bidra till att barns tankar och kunskaper i förskolan blir till ett gemensamt intresse. Barns erfarenheter bildas till stor del i förskolan där de tillbringar mycket tid. Förskolan blir därför en social och kulturell mötesplats där barns intressen kan tas tillvara. Vårt arbete syftar därför till att studera hur pedagoger förhåller sig till och arbetar med populärkultur i förskolan. Undersökningen behandlar också hur pedagogerna uppdateras inom barns populärkultur. Studien genomsyras av den sociokulturella teorin vilken framhåller att människan lär i samspel med andra. Vi har i vår undersökning använt oss av en kvalitativ metod genom pedagogintervjuer, observationer och löpande anteckningar. Intervjuerna utfördes på två förskolor, två pedagoger från varje förskola deltog.Utifrån resultatet av vår undersökning har populärkultur en självklar och väl etablerad plats på förskolorna vi utgått ifrån. Pedagogerna har en positiv inställning till barns populärkulturella livsvärld. De hanterar populärkulturen på olika sätt och utifrån olika intressen. Populärkulturen som barnen berättar om och visar pedagogerna, är fokus för det förhållningssätt pedagogerna har till att uppdatera sig i ämnet. De säger att de följer upp barnens uttryck om fenomenet populärkultur även på eget initiativ. Pedagogerna säger sig vilja utgå ifrån barnens intressen och behov på olika sätt, vilket är avgörande för hur de väljer att arbeta. Skillnaderna är att pedagogerna på den ena förskolan använder populärkulturellt lekmaterial i den fria leken, medan pedagogerna på den andra förskolan använder materialet både i den fria leken och som medel i lärandesituationer. Undersökningen visar hur pedagogernas personliga viljor och intressen, samt de förutsättningar som finns avgör hur populärkulturen hanteras i förskoleverksamheterna.

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Bennett, James Andrew. "Popular styles, local interpretations : rethinking the sociology of youth culture and popular music". Thesis, Durham University, 1996. http://etheses.dur.ac.uk/1570/.

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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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au, LMcrae@westnet com, i Leanne Helen McRae. "Questions of Popular Cult(ure)". Murdoch University, 2003. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040428.152619.

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Questions of Popular Cult(ure) works in the uncomfortable and unclear spaces of popular culture. This thesis demonstrates how cult cauterizes ambiguity and functions as a framing agent for unpopular politics in popular culture. In tracking the flows and hesitations in the postwar period through the rise of the New Right and identity politics, this thesis shows how cult contains moving and malleable meanings that maneuver through everyday life. It is a slippery and slight subject that denies coherent categorization in definitional frames. This thesis negotiates this liminality by tracking broad social shifts in race, class and gender through textualised traces. The complicated concept of cult is activated within a series of case studies. These chapters are linked together to demonstrate the volatile variance of the cult category. Section one contextualises the terrain of the intellectual work in this thesis. It paints broad brush-strokes of the postwar period, through an animated intersection of politics and popular culture. The first chapter defines the currency of cult in contemporary times. It is devoted to investigating the relationships between colonisation and popular culture. By pondering postcolonialism, this chapter prises open thirdspace to consider how writing and madness performs proximity in the pre and post-colonial world. The maddening of cargo cults by colonisers in Melanesia operates as a metonym for the regulation of marginal modalities of resistance. In popular culture, this trajectory of insane otherness has corroded, with the subversion of cult being appropriated by fan discourses, as worship has become accountable for the mainstream market. Chapter two unpacks The X-Files as a text tracking the broad changes in politics through popular culture. This innovative text has moved from marginality into the mainstream, mapping meanings through the social landscape. Consciousness and reflexivity in the popular embeds this text in a cult framework, as it demonstrates the movement in meanings and the hegemonic hesitations of the dominant in colonising (and rewriting) the interests of the subordinate as their own. Section two creates a dialogue between gendered politics and contemporary popular culture. The changes to the consciousness in masculinity and femininity are captured by Tank Girl, Tomb Raider, Henry Rollins and Spike (from Buffy: The Vampire Slayer). These texts perform the wavering popularity of feminism and the ascent of mens studies in intellectual inquiry. Tank Girl articulates unpopular feminist politics through the popular mode of film. The movement to more mainstream feminism is threaded through the third wave embraced by Tomb Raider that reinscribes the popular paradigms of femininity, via colonisation. The computer game discourse permits a pedagogy of power to punctuate Lara Crofts virtual surfaces and shimmer through the past into the present. Tracking this historical movement, two chapters on masculinity brew the boom in mens studies questioning of manhood. Henry Rollins is a metonym for an excessive and visible masculinity, in an era where men have remained an unmarked centre of society. His place within peripheral punk performance settles his inversionary identity. Spike from Buffy: The Vampire Slayer demonstrates the contradictions in manhood by moving through the masculine hierarchy to deprioritise men in the public sphere. This is a mobile masculinity in a time where changeability has caused a crisis for men. Both these men embody a challenging and confrontational gender politics. Cult contains these characters within different spaces, at varying times and through contradictory politics. Section three ponders the place and role of politics at its most persistent and relevant. It demonstrates the consequences for social justice in an era of New Right ideologies. The chapter on South Park mobilises Leftist concerns within an overtly Rightist context, and Trainspotting moves through youth politics and acceleration to articulate movement in resistive meanings. These case studies contemplate the journey of popular culture in the postwar period by returning to the present and to the dominant culture. The colonisation of identity politics by the New Right makes the place of cultural studies as a pedagogic formation - powerfully important. Colonisation of geographical peripheries is brought home to England as the colonisation of the Celtic fringe is interpreted through writing and resistance. This thesis tracks (and connects) two broad movements - the shifting of political formations and the commodification of popular culture. The disconnecting dialogue between these two streams opens the terrain for cult. In the hesitations that delay their connection, cult is activated to cauterize this disjuncture.

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Wang, Yi. "From revolutionary culture to popular culture: Chinese literature and television 1987-1991". Thesis, Wang, Yi (1996) From revolutionary culture to popular culture: Chinese literature and television 1987-1991. PhD thesis, Murdoch University, 1996. https://researchrepository.murdoch.edu.au/id/eprint/50714/.

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For over forty years since 1949, the People's Republic of China adapted to a unified and homogeneous "revolutionary cultural" identity that was deeply inscribed with communism and socialist ideals, which was located in a fixed relationship to the culture of the past and the culture of the West. The emergence of an elite culture in the 1980s and then a popular culture in the 1990s were significant historical breakthroughs. It not only highlighted the changes in the co-existence of different cultural domains but also, more significantly, provided sites for new discourses of elite culture and popular culture. This study argues that China's cultural identity has become an arena of multiple identities rather than a singular subjectivity. In terms of contemporary cultural value and authority, and their relation to social power, there are at least three distinct cultural spheres representing different cultural forces in the national community: elite culture, popular culture and official culture. This new division in the contemporary cultural field not only deconstructs the powerful single, unified "revolutionary Chinese culture", but also reflects and generates conflicts of value and belief as between the Chinese authorities, intellectuals and ordinary people; more than that, it urges a renegotiation of contemporary Chinese cultural (and national) identity and China's official cultural policy. Therefore, whether the blend of the three cultures - elite culture, popular culture and official culture - can co-exist harmoniously in future with an encroaching "Western" and "modern" culture is a question with no answer yet. It is possible that if the open policy and reforms of the past decade which have made possible such a variety of China's cultural life continue, China, facing the age of popular culture in the 21st century, will gradually move towards the global order of communication, towards cultural heterogeneity, if not fragmentation.

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Kajikawa, Loren Yukio. "Centering the margins black music and American culture, 1980-2000 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930277371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Blue, Gwendolyn. "Discourse of wilderness, grizzly bears in popular culture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ38526.pdf.

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Campbell, Jennifer Riley Walters Frank. "Long strange trip mapping popular culture in composition /". Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Spring/doctoral/CAMPBELL_JENNIFER_10.pdf.

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Hiwatari, Yasutaka. "Anglicisms, globalisation and performativity in Japanese popular culture". Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550813.

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This thesis examines the ways in which English is used to produce and reproduce new meanings and identities in the Japanese context. The study of language contact with English in Japan is far from new in Japanese sociolinguistics, and a number of studies have been conducted in this area. However, I argue that previous studies are marked by two main oversights: firstly, previous studies were conducted on data collected from limited genres; secondly, in the previous studies, English was examined on the basis of a restricted contact setting. Thus, the earlier studies provided a limited view of the ways in which the use of English functions in the Japanese context, overlooking the variety of the ways in which new meanings and identities are created. This study provides a more comprehensive picture of the ways in which the use of English functions performatively within the Japanese setting. It does this by conducting three case studies on data collected from three largely overlooked genres of Japanese popular culture, namely Japanese rap, manga, and a Japanese online Bulletin Board System website (BBS). Drawing on the theoretical framework based on the concepts of globalisation and performativity (Pennycook, 2007), this study focuses on the dynamic process by which English is embedded and re-embedded in local contexts within Japanese popular culture. Accordingly, it highlights the ways in which the use of English performatively creates and recreates new meanings and identities. This thesis argues that the process in which English is embedded is multidimensional within the Japanese context, and that this process corresponds to the ways in which English is performative in constructing multidimensional identities. Furthermore, viewing the use of language as a 'transmodal performance' (Pennycook, 2007), this study examines how the use of English works performatively in parallel with other modes of performative act, such as singing and drawing pictures.

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Ferguson, Galit. "Watching families : parenting, reality television and popular culture". Thesis, University of East London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532891.

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This interdisciplinary thesis provides a contemporary-historical, psychoanalytically inflected study around family-help reality television programmes. The combination of psychoanalytic and discursive perspectives, and the focus on popular cultural texts positions this as a psychocultural study. Focussing on Supernanny, Honey We're Killing the Kids and House of Tiny Tearaways, engagements with theses hows and issues around parenting on the web, and policy representational texts, I argue that such programmes and surrounding texts articulate a set of `affective discourses' that are also present in theoretical writing and representations about family and/or reality television. These discourses are often reactionary, and always paradoxical. The programmes in question can be regarded as an anxious distillation of ideological and emotional contradictions, a remediation of parenting and family which fans the very anxieties it purports to soothe. A study of `web audiencing' alongside a close analysis of both theoretical and televisual texts allows an unravelling of the contradictory elements of this `family-help' phenomenon, and its connections with class, shame, and fantasies of the split good/bad parent and child. The thesis begins by examining the cultural context for such concerns by providing a contemporary-historical psychocultural analysis of the UK family as a social and cultural construction in the late 200' and early 21" centuries. Through a focus on the concept of family as a psychosocial construction and the varied attempts to grapple with it in the media, this thesis also shows that ideology and affect are inextricable, especially when they seem furthest apart. This thesis offers a nuanced picture of familial discourses and related affects in contemporary Britain. It also contributes an original psychocultural analysis of popular media, incorporating a refiguring of the media audience in its work on `web audiencing', a psychoanalytically inflected yet materially contextualised textual analysis of reality television shows which do not often garner close textual attention, and a strong argument for a multiperspectival psychocultural perspective in media and popular cultural analysis.

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Enstone, Zoe O. "Becoming goth : geographies of an (un)popular culture". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:13715ee9-d01d-4671-a8d1-0dd08bd616e5.

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Within this thesis I explore what can be achieved when culture is critically assessed through a series of theories that mobilise a spatial imaginary. I place the concepts of atmosphere, connection, site and encounter, and theories of emergence via terms such as movement, practice and embodiment, into tension with a single case study: Goth. Goth is a music based grouping, emerging from Punk, New Romantic, Indie and Glam Rock style and music cultures in the late 1970s, with a significant near-global presence in the popular culture industries and links to several salient media controversies; including the Columbine High School massacre, the murder of Sophie Lancaster, and fears over self-harm and suicide. I specifically draw on the vocabularies from within non-representational geographies of performance, relational materiality, affect and social anxiety to re-work understandings of this collectivity. I question what is involved in the material practices of Goth, explore how the practice and experience of Goth is articulated through specific sites, examine how Goth participates in the production and circulation of cultures of anxiety or (un)popularity; and reconsider the concept of ‘subculture’. To do so, I employ a range of methodologies, from guided walks to photo-diaries, within multi-site field research throughout the UK, Tokyo and New York City. I conclude that Goth and culture more generally can be theorised in a number of ways: it emerges as a performed series of embodied acts; it is co-produced in complex relations with non-humans; it can be thought of as a series of modulating affective atmospheres; it coalesces as a collectivity and circulates through events; and it is co-produced through sites and media events. None of these dominates over or diminishes the other; rather they are co-constitutive and interdependent.

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Hen, Yitzhak. "Popular culture in Merovingian Gaul, A.D. 481-751". Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/272394.

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Howells, Richard. "The interpretation of popular culture as modern myth". Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/272473.

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Gustafsson, Malin, i Linn Rix. "Contemporary Popular Culture for Educational Purposes – Teaching English". Thesis, Malmö högskola, Lärarutbildningen (LUT), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34842.

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The purpose of this dissertation is to examine four teachers’ of English perceptions of the use of CPCE in their teaching. When reading the control documents of the Swedish school, indications pointing towards the use of CPCE texts in teaching were found. Therefore we took an interest in finding out how teachers choose to implement CPCE in their teaching. We have combined the methods of semi structured qualitative interviews and the use of a focus group to gather the data needed. Our main findings consist of how the concept of popular culture is understood by our informants. They find the concept vast as it entails such a broad variety of texts such as TV shows, film, the Internet, magazines and literature. Teachers select appropriate CPCE materials with regards to their pupils’ preferences. However, our findings of how these materials are implemented in their teaching of English vary and are to be considered limited.

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Berglund, Jeffrey Duane. "Cannibal fictions in U.S. popular culture and literature /". The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935573771863.

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Vilches, Freddy. "Poesía, canción y cultura popular en Latinoamérica : la nueva canción chilena /". view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192180731&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 344-363). Also available for download via the World Wide Web; free to University of Oregon users.

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Gomes, Isabel Cristina de Oliveira. "American popular culture and the lifestyle of Portuguese teenagers". Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/2830.

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Mestrado em Línguas, Literaturas e Culturas
A globalização, proliferação dos média e a predominância da língua Inglesa no mundo permitem mergulhar numa viagem virtual e instantânea a diversas culturas, e com particular incidência na cultura Americana, o que necessariamente exporá os jovens a imagens e representações desta cultura. O presente estudo pretende olhar para este fenómeno através de um estudo aos jovens Portugueses. Tem como objectivos aferir as representações da cultura americana entre os jovens Portugueses e o modo como esta cultura é entendida pelos jovens, assim como o seu impacto no estilo de vida dos jovens. E as conclusões foram de que os jovens estão subjugados pelas novas tecnologias e escolhem maioritariamente entretenimento e informação em fontes com base na cultura Americana, que é conotada com o progresso e a modernidade. O estilo de vida dos jovens Portugueses sofre o impacto deste fenómeno quase hegemónico enraizando na sua identidade laivos de americanização. ABSTRACT: Globalization, the proliferation of the media and the predominance of the English language permit a virtual and instantaneous journey into real cultures, and particularly into the American culture, and this will necessarily expose teenagers to images and representations of that culture. This dissertation presents a study of Portuguese teenagers which is centred on these issues. The study aims to assess the representations of American popular culture among Portuguese teenagers as well as its impact on their lifestyle. And it concludes that, on the one hand teenagers are subjugated by media technology and on the other hand that they choose to be exposed to entertaining and information mainly of only one origin: American culture, which they understand to be connected to progress and modernity. The lifestyle of Portuguese teenagers suffers the impact of this almost hegemonic phenomenon with Americanization becoming part of their identity.

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Marshman, Sophia Francesca. "From testimony to the culture industry : representations of the Holocaust in popular culture". Thesis, University of Portsmouth, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416226.

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This thesis addresses the issue of how the Holocaust has been represented in popular culture in recent decades. The starting point of my research relates to the question of whether, though the Holocaust appears to be firmly imprinted upon the public imagination, this engagement can be regarded as superficial. This thesis also examines how survivor testimony has been increasingly marginalised as the Holocaust has entered the sphere of popular culture and entertainment, and how this affects memory. In terms of methodology, I have adopted a case study approach, with each chapter of the thesis addressing a different form of Holocaust representation. Chapter One examines the importance of survivor testimony and its unique ability to convey the full horror of the Holocaust. This chapter also sets up the central debate which drives my research: the question of how we can hope to understand the Holocaust if we ignore the wealth of testimony in favour of the comforting inventions of popular culture. Chapter Two addresses the problems inherent in the genre of Holocaust fiction, and the ethical implications of literature which introduces elements of distortion, falsification and sexualisation to the `story' of the Holocaust. Chapter Three looks at the Americanisation of the Holocaust, with particular reference to the film Schindler's List. Chapter Four by contrast looks at the different approach of European Holocaust films and documentaries which are less entertainment-focused and therefore believed to represent the Holocaust more accurately. Chapter Five examines the growth in the number of museums devoted to the Holocaust, and the question of whether a heavy reliance on artefacts and images from the Holocaust/liberation era further dehumanises victims and encourages voyeurism. Chapter Six appraises the phenomenon of Holocaust tourism and the kind of memory communicated by authentic sites which are now essentially `empty', compromised by decay, reconstruction, and the commercialism which tourism inevitably encourages. Within the conclusion I offer an evaluation of the different approaches to the Holocaust with regard to their merits and shortcomings. In terms of a contribution to knowledge, my thesis draws together many different forms of Holocaust representation to evaluate which accurately represent the Holocaust, and which shield us from its harsher realities, indulge in sentimentalism and encourage consumption. i

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Su, Genxing. "The seduction of culture: Representation and self-fashioning in Anglo-American popular culture". Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290379.

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One important means by which a society maintains and reproduces its dominant ideology is through cultural seductions. By creating in its viewers/readers a good feeling about themselves and the world they live in, popular culture entices individuals into approving of, supporting and embracing the dominant social, political and economic orders of our world. What Louis Althusser calls ideological "interpellation," therefore, is frequently a form of seduction involving the use of sweeteners that render certain values, beliefs and social positions enticing and attractive. Among such seducers are money, women (sexual pleasure), fear, an illusion of power and the semblance of dissent/rebelliousness, many of which are, or are generated by the representation of, the cultural and political "others" of the West. At the same time, the reproduction and maintenance of the dominant orders in the West, to which these "others" make no insignificant contributions, ultimately reinforce their subordinate and underprivileged statuses. Driving such illusion-based ideological seductions are capitalism and its colossal culture industry--a symbol of the postmodern convergence of the cultural, ideological and the economic--whose insatiable desire for profit casts the "others" of the West into the vicious circle of mis-representation and domination.

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Lee, Christopher Paul. "Popular music making in Manchester (1950-1995)". Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336818.

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Schlueter, Jennifer. "Our lively arts American culture as theatrical culture,1922-1931 /". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1194035587.

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Bullen, Margaret Louise. "Power and the popular : popular culture and communications in two shanty towns of Arequipa, Peru". Thesis, University of Liverpool, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303137.

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Matz, Duane A. Simms L. Moody. "Images of Indians in American popular culture since 1865". Normal, Ill. Illinois State University, 1988. http://wwwlib.umi.com/cr/ilstu/fullcit?p8818716.

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Thesis (D.A.)--Illinois State University, 1988.
Title from title page screen, viewed September 9, 2005. Dissertation Committee: L. Moody Simms (chair), Edward L. Schapsmeier, W. Mark Wyman, Lawrence W. McBride, John R. McCarthy. Includes bibliographical references (leaves 373-390) and abstract. Also available in print.

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Esquirol, Meritxell. "Femininity, neoliberalism and popular culture: the depolitization of feminism". Doctoral thesis, Universitat de Girona, 2015. http://hdl.handle.net/10803/285781.

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This thesis intends to analyze the logics of representation of contemporary femininity in the popular imagery that has instrumentalized feminism. Such is the case of the transmedia narrative The Twilight Saga, the cultural franchise of 50 Shades of Grey, and TV fiction Girls. All of these cultural products have earned an important position in contemporary cultural consumption, invite a form of cultural participation closely linked to the consumer industry, and propose female ideals characterized by a strong sentiment of freedom of choice. However, these ideals are inserted within an androcentric, heteronormative discourse that redirects femininity toward a traditional narrative order. In my analysis we will point out how, under the illusion of a free and autonomous social participation, a meritocratic system of social regulation where feminist criticism stands out as redundant is legitimized. I analyze how the neoliberal economic and socio-cultural project, which develops the idea of an (allegedly) democratic society, promotes the illusion that women enjoy a high social participation and visibility from which they can construct their cultural identity, celebrating feelings of freedom, choice, and female empowerment.

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Taggesell, Richard Patrick. "Popular culture in the language arts classroom a survey /". Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Taggesell_RPMIT2010.pdf.

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Rodway, Cara. "Roadside romance : the American motel in postwar popular culture". Thesis, King's College London (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602561.

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Potamitis, Ann. "Verbal modes of popular culture in ancient Greek literature". Thesis, King's College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633114.

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Brayton, Sean. "A critical postmodern response to multiculturalism in popular culture". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/749.

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My dissertation is motivated by two general problems within contemporary North American racial politics. First, the increasing ideological impetus of a “post-racist” society contradicts a spate of events that are symptomatic and constitutive of racial and ethnic essentialisms. Second, the logic of multiculturalism and antiracism has often been expressed in a language of race and identity rooted in a rigid system of immutable differences (Hall, 1997; Ang, 2001). The challenge is to deconstruct race and ethnicity in a language that is critical of new racisms as well as the ways in which racial and ethnic difference is seized and diffused by market multiculturalism. While some theorists have used elements of postmodern theory to develop a “resistance multiculturalism” sensitive to shifting social meanings and floating racial signifiers (see McLaren, 1994), they have rarely explored the political possibilities of “ludic postmodernism” (parody, pastiche, irony) as a critical response to multicultural ideologies. If part of postmodernism as an intellectual movement includes self-reflexivity, self-parody, and the rejection of a foundational “truth,” for example, the various racial and ethnic categories reified under multiculturalism are perhaps open to revision and contestation (Hutcheon, 1989). To develop this particular postmodern critique of multiculturalism, I draw on three case studies concerned with identity and representation in North American popular media. The first case considers vocal impersonation as a disruption to the visual primacy of race by examining the stand-up comedy films of Dave Chappelle, Russell Peters, and Margaret Cho. The second case turns to the postmodern bodies of cyborgs and humanoid robots in the science fiction film I, Robot (2004) as a racial metaphor at the crossroads of whiteness, inhumanity, and redemption. The final case discusses the politics of irony in relation to ethnolinguistic identity and debates surrounding sports mascots. Each case study recycles racial and ethnic stereotypes for a variety of political purposes, drawing out the connections and tensions between postmodernism and multiculturalism. A postmodern critique of multiculturalism may offer antiracist politics an understanding of race and ethnicity rooted in a strategic indeterminacy, which allows for multidimensional political coalitions directed against wider socioeconomic inequalities.

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Iftody, Tammy. "Fielding fandom : reading childhood through popular and participatory culture". Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13701.

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The phrase "fielding fandom" intends to take advantage of the many entailments of the word field. Designating at once a space or sphere of interest characterized by joint activity and the processes of picking up, putting into action, and responding skillfully, this research includes a consideration of the data gathering techniques, re-presentational strategies, and interpretive skills the contemporary researcher of popular culture can bring to both playing the field and interpreting a particular field of play. In general, this research is an interpretive account of my own close reading strategies and experiences in relation to those popular cultural texts and discourses around childhood that have compelled me to “read wrongly” (Weber & Mitchell, 1995). More specifically, it considers various close encounters that shaped the interactions between other readers in a participatory context (the online fan community Television Without Pity) and, as shaped by a particular text (the Reality TV program Kid Nation). I argue that during these contemporary literary engagements, the subjects of and for reading were discursively formed as individuals employed various strategies to negotiate the inherent paradoxes of the Reality TV text. Emphasizing the ‘real’ in reading popular cultural texts suggests that it is not an a priori form, but rather, must be bracketed from the everyday ways in which we come to know the world. I suggest that reading these texts as a fan-tellectual evokes game-like epistemologies and situated discursive strategies that may also be used to inform the ways in which popular and school-based ways of knowing and forms of knowledge are addressed in the context of teacher education. The image of the researcher as fan-tellectual suggests that educators, too, should strive to recognize and take advantage of the many ways of knowing “(other)wise” (Vinz, 2000) and tolerance for ambiguity and paradox being a fan entails.

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