Teses / dissertações: "Popular culture – pictorial works"

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Herbig, Art, A. Watson, Andrew F. Herrmann e A. Tyma. "The Creation of Profs Do Pop!: A Critical Examination of Popular Culture Communities". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/790.

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Sakoi, Junko. "The responses of fifth graders to Japanese pictorial texts". Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3700794.

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This study explores the responses of twelve fifth graders to Japanese pictorial texts— manga (Japanese comics), anime (Japanese animations), kamishibai (Japanese traditional visual storytelling), and picture books — and their connections to Japanese culture and people.

This study took place Cañon Elementary School in Black Canyon City in Arizona. The guiding research questions for this study were: How do children respond to Japanese pictorial texts? and What understandings of Japanese culture are demonstrated in children's inquiries and responses to Japanese pictorial texts? The study drew on reader response theory, New Literacy Studies, and multimodality. Data collection included participant-observation, videotaped/audiotaped classroom discussions and interviews, participants' written and artistic artifacts, ethnographic fieldnotes, and reflection journals. Results revealed that children demonstrated four types of responses including (1) analytical, (2) personal, (3) intertexual, and (4) cultural. These findings illustrate that the children actively employed their popular culture knowledge to make intertextual connections as part of meaning making from the stories. They also showed four types of cultural responses including (1) ethnocentrism, (2) understanding and acceptance, (3) respect and appreciation and valuing, and (4) change. This study makes a unique contribution to reader response as it examines American children's cultural understandings and literary responses to Japanese pictorial texts (manga, anime, kamishibai, and picture books).

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Tolley, Rebecca. "Review of Alcohol in Popular Culture: An Encyclopedia, ed. by Rachel Black". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/5639.

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4

Liu, Zhe. "The History of a Chinese Pictorial Genre in Modern Shanghai : Lianhuanhua – The Palm-sized World (1920-1949)". Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1045.

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Cette thèse fait la recherche sur lianhuanhua, un genre de la bande dessinée chinoise, comme une expression de la culture populaire à Shanghai, qui était la plus importante métropole dans l’histoire moderne de la Chine. Chapitre I essaie d'expliquer pourquoi lianhuanhua est née à Shanghai et comment peut- il devenir une part de la culture populaire. Le contexte était la configuration politique et culturelle crée comme le résultat de la présence des concessions étrangères. Les éléments cultures et techniques nourrissaient la création de lianhuanhua. Le développement de lianhuanhua était un processus de combiner les images et les mots dans le brochure de la bande dessinée qui devenait très populaire dans le groupe de gens ordinaires. Dans Chapitre II, Le Destin de Hong et Bi est un exemple de explorer la relation entre lianhuanhua et les autres modes de divertissement. Il établissait une connexion entre les divertissements différents. Par le processus de transition de ce texte, nous pourrions observer le développement de visual narrative, l'interaction entre les modes différents des divertissements urbains et la culture urbaine qui faisait un rôle essentiel, décisif, agissant en coulisse. Le Chapitre III se concentre principalement sur les producteurs de trois angles : l’identité culturelle originale et le statut social, leurs conditions dans le cercle, et leur relation avec cette métropole. Lianhuanhua était le lien entre ces nouveaux résidents et Shanghai. La complexe condition de cette industrie de l’édition révélait la stratégie des immigrants qui gagnaient leur vie par lianhuanhua. Le Chapitre IV recherche comment la culture populaire rencontrait les défis politiques différents. Les médias publics, surtout des journaux, représentaient la voix ‘correcte’ imposée sur les gens ordinaires par la classe la plus haute de la société. La guerre elle-même de 1937 créait un défi spécial à cause de l’instabilité politique. L’ingérence officielle du Gouvernement Nationaliste aussi agissait sur le rôle de lianhuanhua. Nous pourrions identifier quatre éléments pendant le développement de lianhuanhua : Le premier, la condition préalable principale pour le développement de lianhuanhua était l’émergence de Shanghai comme une métropole moderne. Le deuxième, le genre de lianhuanhua était économiquement et culturellement disponible pour la plupart des gens. C’est un facteur très important pour sa popularisation. Le troisième, les producteurs sont un groupe crucial pour le développement de lianhuanhua. Le quatrième, lianhuanhua était une scène de lutte entre les élites et les gens ordinaires
This study examines the development of lianhuanhua, a genre of Chinese comic, as an expression of popular culture in modern Shanghai, the most important metropolis in the Chinese modern history. Chapter one attempts to explain why lianhuanhua was born in Shanghai and how it became a part of popular culture. The background was the political and cultural configurations created as a result of the presence of the foreign settlements. Cultural and technical elements fed the creation of lianhuanhua. The development of lianhuanhua was a process of combining pictures and words into comic booklet that became very popular among the common people. In Chapter Two, The Fate of Hong and Bi is taken as an example to explore the relationship between lianhuanhua and other forms of entertainments. It established a connection between different entertainment spheres. Through the whole process of transition, we can observe the development of visual narrative, the interaction between different forms of urban entertainments, and the urban culture that played an essential, decisive and directional role behind the scenes. In Chapter Three, research focuses mainly on producers from three angles: the producers’ original cultural identity and social status, their condition in production circles, and their relationship with the metropolis. Lianhuanhua was a link between these new residents and the metropolis.. The complexity of this publishing industry reveals the living strategy of these immigrants. In Chapter Four, we study how popular culture faced the three different political challenges. The public media, especially the press, represented the “correct” discourse by the upper classes over the common people. The war itself in 1937 raised a special challenge due to political instability. Official interference by the National Government also influenced the role of lianhuanhua. Yet Lianhuanhua survived all these challenges. We identified four important elements in the process of the development of lianhuanhua. First, the basic precondition for the rise and the development of lianhuanhua was the emergence of Shanghai as a modern city. Second, the genre of lianhuanhua was within the reach, economically and culturally, of a wide range of readers, which was an important factor for its popularisation. Third, producers were a crucial group for the development of lianhuanhua. Fourth, lianhuanhua is a stage of the wrestle between the elite and the common people

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Herrmann, Andrew F. ""Saving People. Hunting Things. The Family Business": Organizational Communication Approaches to Popular Culture". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/439.

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Book Summary: 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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Dudding, William P. "Soldier of Culture: A Literary Analysis of the Works of Kanye West". Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/192.

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In my thesis, I explored the work of the artist Kanye West as a rejected voice of Generation Y. Why was he rejected? Could he, in fact, be the voice? By examining readings of several of his songs and music videos over the span of his career as well as his public interactions, I attempt to properly place West in American culture. As a result of my research, I found West to be an extremely influential artist and an intriguing representation of the 2000s.

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Herrmann, Andrew F. "Book Review of Reading Joss Whedon". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/838.

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Meier, Lori T. "Making Sense of Popular Culture, Spaces of Learning, and Self: Educational Experiences at the Boundaries of Teacher Education". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/5902.

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Sutton, Matthew D. "The Young, Clean-Cut America: The Hootenanny, Revisited". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2365.

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Herrmann, Andrew F. "Daniel Amos and Me: The Power of Pop Culture and Autoethnography". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/752.

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Nearly everyone I know has a relationship with something in popular culture, whether it is Buffy the Vampire Slayer, amassing The Astonishing X-Men comics, or collecting every version of every Star Wars movie. Relationships and pop culture: couldn’t that make an autoethnography? This is a short version of my relationship with a band, Daniel Amos. I am not in Daniel Amos. I don’t know the members of the band (although I am Facebook friends with them now). I first heard them in 1982 serendipitously. Or maybe it was destiny. Either way, they opened my eyes to the wonders, doubts, and excesses of my life, critiqued my faith, and brought me joy. I feel like I know them, and they me. Thirty-one years after first hearing them, I realize our relationship is one of the longest I have had. We grew up and are growing older together.

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Herbig, Art, e Andrew F. Herrmann. "Polymediated Narrative: The Case of the Supernatural Episode "Fan Fiction"". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/757.

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Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.

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Sutton, Mathew D. "Review of Florence Dore, Novel Sounds; Randall J. Stephens, The Devil’s Music; Daniel Kane, “Do You Have a Band?" Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7830.

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Reviews: Novel Sounds: Southern Fiction in the Age of Rock and Roll. By Dore, Florence. New York: Columbia Univ. Press. 2018. xiii, 178 pp. Cloth, $85.00; paper, $28.00; e-book, $27.99.The Devil’s Music: How Christians Inspired, Condemned, and Embraced Rock ’n’ Roll. By Stephens, Randall J.. Cambridge, MA: Harvard Univ. Press. 2018. 337 pp. Cloth, $29.95.“Do You Have A Band?”: Poetry and Punk Rock in New York City. By Kane, Daniel. New York: Columbia Univ. Press. 2017. xii, 276 pp. Cloth, $90.00; paper, $30.00; e-book, $29.99.

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Herrmann, Andrew F., Art Herbig e Adam W. Tyma. "The Beginnings: #weneedaword". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/477.

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Book Summary: Beyond New Media: Discourse and Critique in a Polymediated Age examines a host of differing positions on media in order to explore how those positions can inform one another and build a basis for future engagements with media theory, research, and practice. Herbig, Herrmann, and Tyma have brought together a number of media scholars with differing paradigmatic backgrounds to debate the relative applicability of existing theories and in doing so develop a new approach: polymediation. Each contributor’s disciplinary background is diverse, spanning interpersonal communication, media studies, organizational communication, instructional design, rhetoric, mass communication, gender studies, popular culture studies, informatics, and persuasion. Although each of these scholars brings with them a unique perspective on media’s role in people’s lives, what binds them together is the belief that meaningful discourse about media must be an ongoing conversation that is open to critique and revision in a rapidly changing mediated culture. By studying media in a polymediated way, Beyond New Media addresses more completely our complex relationship to media(tion) in our everyday lives.

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Herrmann, Andrew F. "Communicating, Sensemaking, and (dis)organizing: Theorizing the Complexity of Polymediation". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/447.

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Book Summary: Beyond New Media: Discourse and Critique in a Polymediated Age examines a host of differing positions on media in order to explore how those positions can inform one another and build a basis for future engagements with media theory, research, and practice. Herbig, Herrmann, and Tyma have brought together a number of media scholars with differing paradigmatic backgrounds to debate the relative applicability of existing theories and in doing so develop a new approach: polymediation. Each contributor’s disciplinary background is diverse, spanning interpersonal communication, media studies, organizational communication, instructional design, rhetoric, mass communication, gender studies, popular culture studies, informatics, and persuasion. Although each of these scholars brings with them a unique perspective on media’s role in people’s lives, what binds them together is the belief that meaningful discourse about media must be an ongoing conversation that is open to critique and revision in a rapidly changing mediated culture. By studying media in a polymediated way, Beyond New Media addresses more completely our complex relationship to media(tion) in our everyday lives.

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Herrmann, Andrew F., e Art Herbig. "All Too Human”: Xander Harris and the Embodiment of the Fully Human". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/756.

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Herbig, Art, Andrew F. Herrmann e Robert Andrew Dunn. "Concluding a Book and Opening a Discourse". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/448.

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Book Summary: Beyond New Media: Discourse and Critique in a Polymediated Age examines a host of differing positions on media in order to explore how those positions can inform one another and build a basis for future engagements with media theory, research, and practice. Herbig, Herrmann, and Tyma have brought together a number of media scholars with differing paradigmatic backgrounds to debate the relative applicability of existing theories and in doing so develop a new approach: polymediation. Each contributor’s disciplinary background is diverse, spanning interpersonal communication, media studies, organizational communication, instructional design, rhetoric, mass communication, gender studies, popular culture studies, informatics, and persuasion. Although each of these scholars brings with them a unique perspective on media’s role in people’s lives, what binds them together is the belief that meaningful discourse about media must be an ongoing conversation that is open to critique and revision in a rapidly changing mediated culture. By studying media in a polymediated way, Beyond New Media addresses more completely our complex relationship to media(tion) in our everyday lives.

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Garner, Alexandra. "The Erotics of Fanfiction: Queering Fans, Works, and Communities in Modern Internet Fandom". Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460129118.

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Herrmann, Andrew F. "Re-Discovering Kolchak: Elevating the Influence of the First Television Supernatural Drama". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/811.

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Each panelist has chosen an artifact (or type, genre, etc.) from the recent past and interrogated its role as an influence on contemporary popular culture, working to show the linkage between then and now. This type of work is underappreciated and we would like to attempt to show how informing ourselves on popular culture past can make us better critics in the present. Our hope is to inspire others to take up that cause as well. In that spirit, we would like to encourage people to come prepared to discuss ideas and share their own work in a workshop type environment.

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Sutton, Mathew D. "Omar’s Bayou: The Jazz Origin Myth of Treat It Gentle". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7831.

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Book Summary: Swamp Souths: Literary and Cultural Ecologies expands the geographical scope of scholarship about southern swamps. Although the physical environments that form its central subjects are scattered throughout the southeastern United States―the Atchafalaya, the Okefenokee, the Mississippi River delta, the Everglades, and the Great Dismal Swamp―this evocative collection challenges fixed notions of place and foregrounds the ways in which ecosystems shape cultures and creations on both local and global scales. Across seventeen scholarly essays, along with a critical introduction and afterword, Swamp Souths introduces new frameworks for thinking about swamps in the South and beyond, with an emphasis on subjects including Indigenous studies, ecocriticism, intersectional feminism, and the tropical sublime. The volume analyzes canonical writers such as William Faulkner, Zora Neale Hurston, and Eudora Welty, but it also investigates contemporary literary works by Randall Kenan and Karen Russell, the films Beasts of the Southern Wild and My Louisiana Love, and music ranging from swamp rock and zydeco to Beyoncé’s visual album Lemonade. Navigating a complex assemblage of places and ecosystems, the contributors argue with passion and critical rigor for considering anew the literary and cultural work that swamps do. This dynamic collection of scholarship proves that swampy approaches to southern spaces possess increased relevance in an era of climate change and political crisis.

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Sutton, Mathew D. "Just Friends: Racial Allies in Jazz Autobiography". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/7829.

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Autobiographical accounts of interracial friendships tend to take on unrealistic Huck-andJim-type dimensions, particularly in southern musicians’ autobiographies, where musical compatibility is often mistaken for a larger sense of harmony. A select few memoirs, however, have dispensed with this master narrative to illustrate instances of overcoming segregation through interpersonal means. In the vein of fellow Alabamian W.C. Handy’s The Father of the Blues, (1941), jazz composer/performer Willie Ruff’s A Call to Assembly (1991) uses the tools of African American respectability politics (ideals of democracy, Christianity and common humanity) to build more balanced relationships with young white contemporaries also enraptured by jazz, in the process shaming segregationists. In this case, music paves the way for whites’ understanding of larger social equality. In Bakhtinian terms, this authorial positioning is “centripetal” (literally meaning “rotation toward the center”), affirming unity and common core values to the reader. By contrast, bebop musician Dizzy Gillespie in his To Be or Not to Bop (1979) takes on more centrifugal proportions, “clowning” his way around segregation like the time-honored trickster figure, finding allies in the jazz counterculture in the west, the north and abroad, beyond the reach of Jim Crow. Like Ruff, though, Gillespie takes advantage of jazz’s strategies to escape the trap of asymmetrical “friendships.” By eschewing the platitudes of the interracialbrotherhood tale, Ruff and Gillespie reveal the reciprocity and sacrifice necessary for white ally ship and establish jazz as a medium for political expression and true collaboration.

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Herrmann, Andrew F. "Discourses of Horror TV: Kolchak, Twin Peaks, and the Supernatural Drama". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/792.

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Herrmann, Andrew F. ""C-can We Rest Now?": Foucault and the Multiple Discursive Subjectivities of Spike". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/753.

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Excerpt: Besides the lead character herself, the leather-clad vampire Spike -- introduced as the "Big Bad" in Buffy the Vampire Slayer (BtVS) Season 2 -- the most analyzed character in the Buffyverse.

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Herrmann, Andrew F. "Never Mind the Scholar, Here’s the Old Punk: Identity, Community, and the Aging Music Fan". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/461.

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Book Summary: Part I, 'Theoretical Openings,' of Volume 39 of Studies in Symbolic Interaction contains outstanding contributions by leading interactionists on welfare reform, history, biography and memory. The three chapters in Part II, 'Studies in Social Construction,' interrogate the complexities of social interaction, interpersonal and professional identity, and the cinematic representation of alcoholism. Part III takes up important interpretive interventions on the topics of imagination and intimate deception in everyday life.

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Herrmann, Andrew F. "Murder as an Organizational Externality: The Case of The Cabin in the Woods". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/837.

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Sutton, Mathew D. "The Beat of Time and the Melody: The Soundscape of The Golden Apples". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7832.

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Sutton, Mathew D. "The Tennessee Two-Step: Narrating Recovery in Country-Music Autobiography". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/7833.

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Moving beyond familiar myths about moonshiners, bootleggers, and hard-drinking writers, Southern Comforts explores how alcohol and drinking helped shape the literature and culture of the U.S. South. Edited by Conor Picken and Matthew Dischinger, this collection of seventeen thought-provoking essays proposes that discussions about drinking in southern culture often orbit around familiar figures and mythologies that obscure what alcohol consumption has meant over time. Complexities of race, class, and gender remain hidden amid familiar images, catchy slogans, and convenient stories. As the first collection of scholarship that investigates the relationship between drinking and the South, Southern Comforts challenges popular assumptions by examining evocative topics drawn from literature, music, film, city life, and cocktail culture. Taken together, the essays collected here illustrate that exaggerated representations of drinking oversimplify the South’s relationship to alcohol, in effect absorbing it into narratives of southern exceptionalism that persist to this day. From Edgar Allan Poe to Richard Wright, Bessie Smith to Johnny Cash, Bourbon Street tourism to post-Katrina disaster capitalism and more, Southern Comforts: Drinking and the U.S. South uncovers the reciprocal relationship between mythologies of drinking and mythologies of region.

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Sutton, Mathew D. "Beyond the Valley of The Dollmaker: The Curious Reception of Harriette Simpson Arnow’s The Weedkiller’s Daughter". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7828.

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Readers of Harriette Simpson Arnow’s most well-loved novel The Dollmaker had to wait sixteen years for her next work, The Weedkiller’s Daughter (1970). Clearly, the book was no quick cash-in. By the time Arnow was in her fourth decade of writing, the literary landscape had changed radically. The reviews for The Weedkiller’s Daughter reflect this shift. While many reviews of this contemporary account of a daydreaming teenage girl’s life in suburban Michigan praised Arnow’s sensitivity in portraying adolescents, a vocal minority took Arnow to task for the book’s anachronisms in post-Woodstock America. One review attacked the main character for being a “dull little frump.” Another snidely recommended the novel to “a few middle-aged virgins in Nebraska.” It would be grossly misstating the facts to claim that the mixed reception of The Weedkiller’s Daughter alone drove Arnow to write history and historical fiction subsequently. But one cannot ignore the fact that Arnow shunned the writing of contemporary fiction after 1970. Arguably, her choice to compartmentalize her rural Kentucky past from her suburban Michigan present cost her readers. This paper presentation is based on my own work with the Arnow Collection at the University of Kentucky’s Special Collections, both as an assistant archivist and as a researcher-scholar. I conclude from studying manuscripts and reviews of the novel that Arnow was unfairly pigeonholed as a regionalist writer, charged with writing barely fictionalized social commentary, when The Weedkiller’s Daughter was created as a reimagining, rather than a recapitulation, of themes found in The Dollmaker.

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Sutton, Mathew D. "A Damned Big Book’: Ken Kesey’s Sometimes a Great Notion as Faulkner – Hemingway Synthesis". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/7827.

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Herrmann, Andrew F. ""Threading" through the Whedonverse: A Polymediated Autoethnography". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/799.

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Polymedia, transmedia, and spreadable media are all relatively new foundational theories of mediated communication in need of further interrogation and examination. The panelists examine various aspects of these theories, through differing case studies within popular culture. The examinations in this panel include what it means to “own” players in fantasy football, the language based critical comedy of George Carlin, the flows and “traces” in the Whedonverse, and the phenomenon of Sharknado.

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Herrmann, Andrew F. "Bud and Nick: My Unofficial Mentors". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/815.

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Dunn, Andrew R., e Andrew F. Herrmann. "Participatory Fandom as Reality Convergence". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/807.

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Strydom, Richardt. "A comparative reading of the depiction of Afrikaner ancestry in two works by C.D. Bell / Richardt Strydom". Thesis, North-West University, 2009. http://hdl.handle.net/10394/4987.

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This dissertation investigates the contradictions and similarities regarding the depictions of Afrikaner ancestry in two works by Charles Davidson Bell: The landing of Van Riebeeck, 1652 (1850) and Cattle boers' outspan (s.a.). The works were discussed and compared from a conventional perspective in order to establish the artworks' formal qualities, subject matter and thematic content This reading was extended by employing postcolonial theoretical principles in order to contextualise these two artworks within their Victorian ideological frameworks, social realities and authoring strategies. The extended comparative reading revealed a number of similarities and contradictions regarding the artist's depiction of Afrikaner ancestry in these two works. Postcolonial theory further facilitated a more comprehensive and dense reading of the chosen artworks, as well as of the artist's oeuvre.
Thesis (M.A. (History of Arts))--North-West University, Potchefstroom Campus, 2010.

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Herrmann, Andrew F. "Stigmatized at the Comic Book Shop? An Ethnography of Collectors, Accumulators, and Other Forms of Geek". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/803.

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Herrmann, Andrew F. "Living Stories of Working Lives: Personal Narratives in Organizations". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/796.

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Herrmann, Andrew F., e Art Herbig. "Xander Harris and the Interrogation of American Masculine Rhetoric". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/800.

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Herrmann, Andrew F. "Every Story Paints a Picture Don't It? Writing Stories of Comic Shopes, Barbershops, and Other Ethnographic Stops". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/801.

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Herrmann, Andrew F. "Business in the Front, Party in the #Backchannel". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/808.

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Backchanneling – maintaining real-time online conversations alongside the primary group activity or live spoken remarks – is a growing part of our mobile-enhanced, networked world. Backchanneling is now prominent in many contexts, including presidential debates, conferences, and classrooms. As such, backchanneling offers possibilities and challenges for communication scholars, including carnival, collaboration, bricolage, and performance. This panel will present various theories and practices of backchanneling and encourages backchanneling from audience members through the Twitter hashtag #csca14bc.

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Herrmann, Andrew F. "The Perilous Predicament of the Aca/Fan Positionality". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/810.

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Popular culture scholar Henry Jenkins chronicles the intellectual and emotional labor of being an “aca/fan” – or an academic, trained in media criticism, who also operates as a media consumer. This panel explores aca/fan identity through Joss Whedon’s media narratives, such as The Avengers, Buffy the Vampire Slayer, Cabin In the Woods, Dollhouse, Dr. Horrible’s Sing Along Blog and Fire

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Herrmann, Andrew F. ""Killing in the Name of…." Organizational Logic, Ethics, and Discourses in The Cabin in the Woods". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/795.

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Herrmann, Andrew F. "It’s the Organization, not the Zombies: A Critical Organizational Interrrogation of Cabin in the Woods". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/809.

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Recent media scholars have taken, as their focus, relationships between qualitative research methods and examinations of contemporary media texts (e.g., Fox, 2013; Manning, Dunn, & Stern, 2012; Meyer, 2012). The purpose of this panel is to further examine these relationships. Participants will demonstrate how a qualitative research method (e.g., ethnography, autoethnography, narrative analysis, textual or discourse analysis, audience studies) can be used to study contemporary television and film texts (e.g. Coronation Street, Here Comes Honey Boo Boo, Orange is the New Black, Mad Men, Cabin in the Woods, The Butler). Participants will first discuss their particular method and then provide an exemplar of that method as they examine their chosen media text(s). To assist with the audience discussion of these methods and texts, participants will also include a brief clip/excerpt of their chosen texts.

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Herrmann, Andrew F., Julia Barnhill e Mary C. Poole. "The Scoobies, The Council, The Whirlwind, The Initiative: Portrayals of Organizing in Buffy The Vampire Slayer". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/820.

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With the 2012 releases of The Cabin in the Woods and The Avengers, writer/director Joss Whedon moved beyond his cult status and into the mainstream. His cult television work, however, remains admired in both the popular imagination and in the academic world of popular culture studies. This year’s CSCA13 corresponds with the ten-year anniversary of the cancellation of Whedon’s first successful cult television show, Buffy the Vampire Slayer. Whedon’s other work, including Firefly, Dr. Horrible’s Sing-Along-Blog, Dollhouse, Angel, etc., are not only cult fan favorites, but favorites in popular culture academia. The participants on this panel will explore various aspects of Whedon and the Whedonverse, including: Whedon’s rhetorical framing regarding his transformation from cult director to mainstream phenom; his genre-bending frameworks across his various projects; his examination of gender roles; exploring and exploding Whedon’s use of mythology; and how Whedon’s characters manage to out-organize formal organizations.

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Guffey, Ensley F. "Fantastic Histories: War and American Memory in Selected Works of Joss Whedon". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2333.

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This thesis used theories of historical memory studies to examine the ways in which the American writer/director/showrunner Joss Whedon uses American memories, particularly those associated with American experiences in the Civil War and World War II, in his works of fictional, genre television and film. Emphasis was placed on the manner in which Whedon engages in the construction of popular memory, how his work challenges and/or reinforces existing memory narratives, and how Whedon uses historical memories to comment on and influence political, social, and cultural issues in the present. This investigation shows how at least certain productions of American popular culture are increasingly dominant forces in the construction of public memory. The major theoretical underpinnings of this examination are provided by the works of John Bodnar, Richard Slotkin, and Jeanine Basinger.

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43

Brock, Stephen. "A travelling colonial architecture Home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon /". Click here for electronic access: http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20070424.101150, 2003. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20070424.101150.

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A thesis submitted for the Degree of Doctor of Philosophy - Flinders University of South Australia, Faculty of Education Humanities, Law and Theology, June 2003.
Title from electronic thesis (viewed 27/7/10)

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44

Shannon, Elizabeth J. "Paul Strand and Cesare Zavattini's 'Un paese' (1955) : the art, synergy and politics of a photobook". Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3331.

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"Paul Strand and Cesare Zavattini's 'Un paese' (1955): the art, synergy and politics of a photobook" is a study of the genesis, production and reception of the photobook 'Un paese', created in a collaboration between the American photographer Paul Strand and the Italian neorealist screenwriter Cesare Zavattini. Set in Luzzara, a small town in northern Italy, Strand portrayed the community in a series of images of the landscape, the townsfolk and still lives. The thesis reconstructs the reasoning behind Strand's decision to abandon documentary filmmaking for the creation of photobooks. Strand and the critic Elizabeth McCausland are shown to have specifically conceptualised the photobook as a hybrid form capable of communicating a multifaceted political message through a narrative synthesis of text and image, utilising strategies drawn from documentary film, the photomural and mass media publications. It is shown how Strand and his collaborators combined image and text placed within a deliberately spare graphic design and layout, to emphasise the solidity and importance of the subject matter, and to privilege the communicatory capacity of the photograph. In addition, this thesis reorients the study of Strand from concentration on his early individual fine prints to the collaboratively created political artworks of his later career. It is argued that Strand's production of photobooks is directly related to his status as a Marxist American expatriate who left the United States to avoid blacklisting at the end of the 1940s. By carefully choosing the sites where he worked, utilising realist photographic strategies developed earlier in his career, and collaborating with sympathetic writers, Strand's photobooks present the idealised image of communitarian, primarily agrarian life. 'Un paese' is shown in this thesis to typify Strand's working method; to visually and materially embody his creative and political beliefs; and to exemplify the intermedial collaboration required by the photobook.

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Liu, Michel. "« Zhichang wenxue » : la littérature des cols blancs en Chine". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCF027.

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Aux alentours de 2008, un genre littéraire nommé « zhichang xiaoshuo » suscite l’engouement en Chine : des best-sellers avec leurs adaptations engendrent quelques centaines d’œuvres dans la même veine. Ce phénomène que nous désignons par la « littérature des cols blancs », est à la fois littéraire, socio-économique et culturel. Inédite dans l’histoire littéraire, cette littérature est atypique par le statut de ses auteurs, par ses formes hybrides, et aussi par ses modes de production. Quatre œuvres, englobant les plus médiatisées et les plus originales, constituent notre corpus noyau, et forment un échantillon qui permet de rendre compte de la richesse du phénomène. Notre travail relève d’une double approche socio-historique et littéraire. Pour les œuvres du corpus, nous procédons à l’étude de l’intrigue, des personnages, de la structure textuelle et des techniques narratives. Nous examinons en parallèle deux romans d’écrivains reconnus ayant mis en scène le monde du travail respectivement au début et à la fin des années quatre-vingt, ainsi que des œuvres de fiction relevant des genres « guanchang » et « shangchang », écrites au tournant du siècle ou contemporaines des« zhichang xiaoshuo ». Le contexte économique, politique et culturel dans lequel est apparu le phénomène, est largement étudié. Nous analysons également les adaptations en tant que variantes de l’œuvre littéraire, et tentons d’expliquer leurs différences. Enfin, nous explorons les fonctions de cette littérature « grand public » dans la société chinoise du XXIe siècle, une société affichant sa prospérité et jouissant de nouveaux moyens technologiques d’une part, et d’autre part marquée par le traumatisme du passé et par la perte de repères
Around 2008, a literary genre called "zhichang xiaoshuo" arouses enthusiasm in China: bestsellers with their adaptations generate several hundred works in the same vein. This phenomenon that we call "white-collar literature" is literary, socio-economic and cultural at once. New in the history of literature, this literature is atypical due to the professional identity of its authors, its hybrid forms, and also its production methods. Four works, including most publicized and most original, constitute our core corpus, and offer a sample of the richness of the phenomenon. Our work takes a two-pronged approach, both socio-historical and literary. For works of the corpus, we first study the plot, the characters, the textual structure and narrative techniques. We examine in parallel two fictions by renowned writers who portrayed the working world of the early and late 1980s, respectively, and two fictions in the “guanchang” and the “shangchang” genres at the turn of the century or contemporary with “zhichang xiaoshuo”. The economic, political and cultural context in which the phenomenon appeared is widely studied. We also analyze the adaptations as variants of the literary work, and try to explain their differences. Finally, we explore the functions of this popular literature in twenty-first century Chinese society which is, on the one hand, proud of its prosperity and enjoying the benefits of new technologies; and on the other hand, marked by the trauma of its past and by a general loss of bearings

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Boyd, Amanda Charitina. "Demonizing esotericism: The treatment of spirituality and popular culture in the works of Gustav Meyrink". 2005. https://scholarworks.umass.edu/dissertations/AAI3193882.

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This study reintroduces the early-twentieth-century Austrian author Gustav Meyrink (1868-1932) and situates his literary oeuvre at the intersection of literature, religion, and popular culture. This once widely popular satirist, fantasist, and occultist, most commonly remembered for his best-selling novel Der Golem (1915), has received only limited attention from the scholarly community in recent decades. But Meyrink's philosophical essays demonstrate contemplative interaction with questions of spirituality in the scientific and industrial age worthy of further consideration, and these topics, although obscured, are also manifest in his fiction. A practicing occultist highly revered for his esoteric knowledge, Meyrink recognizes the turn-of-the-century occult revival as a justifiable reaction to religious concerns generated by the crisis of modernity, as well as an integral element of European popular culture. In implementing his vast knowledge of esotericism, Meyrink purposefully manipulates occult material in his fantastic works with the result that he effectively demonized certain spiritual notions otherwise deemed essential to attaining spiritual enlightenment. Disenchanted with what he perceives to be the trivialization of occultism initiated by the melding of this brand of spirituality and popular culture, Meyrink's fiction demonizes esotericism by shrouding occultists and their rituals in negative, demonic, and monstrous imagery. In so doing, Meyrink depicts the serious ramifications of unsound and ill-fated occultist practices. Meyrink wishes to send his readers a spiritual message cautioning them against falling victim to erroneous teachings and fraudulent spiritual guides during a time when these risks rapidly increased due to the growing popularity of occultism in Europe. Yet, despite their obvious criticisms of popular occultism, Meyrink's works also promote the benefits of esotericism in the modern era. In a display of the tensions inherent in cultural modernism, Meyrink's seemingly regressive representation of esotericism is actually an attempt to showcase religious currents as progressive belief systems better suited to serve the needs of a scientifically and technologically advanced society.

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Brock, Stephen James Thomas. "A travelling colonial architecture home and nation in selected works by Patrick White, Peter Carey, Xavier Herbert and James Bardon /". 2003. http://catalogue.flinders.edu.au/local/adt/public/adt-SFU20070424.101150/index.html.

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Mlauzi, Linje Manyozo. "Reading modern ethnographic photography : a semiotic analysis of Kalahari Bushmen photographs by Paul Weinberg and Sian Dunn". Thesis, 2002. http://hdl.handle.net/10413/4609.

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Indigenous communities, like the Bushmen of the Southern Kalahari, always attract visitors who 'go there' to experience the 'life out there'. Travelling in their 4x4s, these visitors also bring cameras and take pictures of their interactions with subject communities as evidence of 'having been there'. For academics and journalists, these pictures are meant to illustrate their presentations of 'what is actually there'. Both types of photographs are known as ethnographic photography. This study. asks and attempts to answer the question: how do we study ethnographic photography? As much as photographers attempt to portray their subjects realistically, their representations are often contested and criticised as entrenching subjugation, displacement and dehumanisation of indigenous peoples through 'visual metaphors' and other significatory regimes. This discussion reconsiders the concept of imaging others, by offering an analytical semiotic comparison between Paul Weinberg's anchored and published photographic texts of the Bushmen, on the one hand, and Sian Dunn's unpublished, inactive texts of the #tKhomani Bushmen, on the other. The discussion is an attempt to understand documentary photographers, processes of producing of images, the contexts in which they are produced and how the communities that are represented make sense of them. Concerns with the objectivity of representation go beyond the taking and consuming pictures of other cultures. This study is, therefore, grounded in cultural, social and ideological factors that shape the production and consumption ofphotographic representations of and from other cultures.
Thesis (M.A.)-University of Natal, Durban, 2002.

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Keen, Rusti Leigh. ""Look West," Says the Post: The Promotion of the American Far West in the 1920s Saturday Evening Post". Thesis, 2012. http://hdl.handle.net/1805/3087.

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Indiana University-Purdue University Indianapolis (IUPUI)
This thesis will look at the various images of the American Far West presented by the Saturday Evening Post during the 1920s under the editorship of George Horace Lorimer, and will examine his editorial strategy that promoted the Far West as a last land of opportunity while also recognizing and weighing in on the challenges of that region.

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Machek, Jakub. "Pražský ilustrovaný kurýr. Masový tisk jako obraz světa obyčejných lidí". Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-307970.

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- Jakub Machek Prague Illustrated Courier. The Prague Penny-press as a Window into the World of Common Men. This work is dedicated to early sensational pictorial press (Pražský Illustrovaný Kurýr and its less successful predecessors) and its urban readers, as an example of the rising Fin de siècle popular culture in the Czech lands and its significance for revealing fundamental social and political changes that took place at the turn of the 20th century. During this era, even the members of lower social classes broadened their economical and cultural potency and thus capacity to absorb the development of new common culture generated by the rapid industrialization and urbanization. Production and reception of emerging popular press is analysed as a marker of the new modern urban experience and its social influences. Global pattern of successful mass daily press was, however, modified for Prague audience, its specific local beliefs, values and desires, distinctively different from those of western urban centre dwellers.

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