Дисертації з теми "Autonomous field of cultural production"
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1
Magaña, Maurice. "Youth in Movement: The Cultural Politics of Autonomous Youth Activism in Southern Mexico." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13325.
Повний текст джерелаАнотація:
This dissertation offers a unique examination of new cultures and forms of social movement organizing that include horizontal networking, non-hierarchical decision-making and governance combined with the importance of public visual art. Based on 23 months of ethnographic fieldwork, I analyze how processes of neoliberalism and globalization have influenced youth organizing and shaped experiences of historical marginalization. What makes youth activism in Southern Mexico unique from that occurring elsewhere (i.e. Occupy Movements in U.S. and Europe) is the incorporation of indigenous organizing practices and identities with urban subcultures. At the same time, the movements I study share important characteristics with other social movements, including their reliance on direct-action tactics such as occupations of public space and sit-ins, as well as their creative use of digital media technologies (i.e. Arab Spring).
This research contributes to the study of social movements and popular politics, globalization, culture and resistance, and the politics of space by examining how youth activists combine everyday practices and traditional social movement actions to sustain autonomous political projects that subvert institutional and spatial hierarchies. They do so through decentralized activist networks that resist cooptation by the state and traditional opposition parties, while at the same time contesting the spatial exclusion of marginalized communities from the city center. This research contributes a critical analysis of the limits of traditional models of social change through electoral politics and traditional opposition groups, such as labor unions, by challenging us to take seriously the innovative models of politics, culture and governance that Mexican youth are offering us. At a larger level, my work suggests the importance of genuinely engaging with alternative epistemologies that come from places we may not expect- in this case urban, indigenous, and marginalized youth.2015-10-03
2
Lantz, Jenny. "Taste at work : on taste and organization in the field of cultural production." Doctoral thesis, Handelshögskolan i Stockholm, Institutionen för Företagande och Ledning, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:hhs:diva-1549.
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3
Maclean, Gavin. "Art versus commerce? : the works of musicians in the field of cultural production." Thesis, Heriot-Watt University, 2016. http://hdl.handle.net/10399/3104.
Повний текст джерелаАнотація:
Labour process theory has been a key resource for the sociological study of work for over four decades. Yet, labour process theory has been conspicuous by its absence from research into cultural labour (Banks, 2007; Dean and Jones, 2003; Hesmondhalgh and Baker et al., 2011). This thesis firstly examines value production and the dynamics of managerial control and creative autonomy within the recorded music industry. Acknowledging the weaknesses identified with “critical theory” approaches in failing to consider the “content” of cultural work (Banks, 2007; McKinlay and Smith, 2009), this thesis considers the art-commerce relation in terms of the interaction between identity, interests and habitus. The thesis draws on data collected from research participants active within the recorded music industry. The data collected consists of forty participants through thirty-one semi-structured interviews and secondary data from four group interviews. The original contribution to knowledge made by this thesis is to conceptualise the art-commerce relation in the recorded music industry as a conflict over potential exchange-value in terms of Bourdieu’s forms of capital. Empirical findings from this research show forms of managerial control consistent with responsible autonomy, simple control and bureaucratic control (Edwards, 1979; Friedman, 1977). Rather than control based on maximising economic surplus value, music companies seek to reduce uncertainties of converting objectified cultural capital produced in the labour process into forms of economic or symbolic capital. Control within the recorded labour process depends on forms of legitimate authority in terms of economic control of the labour process and “artistic authority” (Ryan, 1992) based on Bourdieu’s notions of cultural and symbolic capitals. The relationship between art and commerce is also considered through the interaction between artistic identity, conflicts of interests and a musical habitus. Artistic identity exists as an acted identity where musicians’ social identities are managed based on the levels of capital. The pursuit or possession of large amounts of economic capital acts as a stigma for which musicians engage in repair work (Goffman, 1968; Jenkins, 2014). Similarly, lack of cultural capital leads to impression management over how musicians identify themselves. Economic inequality of the musicians’ employment relationship is not seen as a key determinant of conflict. Rather it is compromise and a lack of autonomy that leads musicians to resist creative control. Musicians’ sense of self, and motivation to put up with low pay and poor conditions, is reflected by the internal drive to make music characteristic of an artistic habitus.
4
Jack, Isla L. "Positioning the author : four writers in the field of cultural production, 1880-1900." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/21320.
Повний текст джерелаАнотація:
Using terms and ideas from Pierre Bourdieu's theories of cultural production, this thesis reconsiders the positions of four authors functioning at the end of the nineteenth century. Therefore, a brief introduction presents the principles behind Bourdieu's work. The reconstruction of the field is begun in the first chapter, 'Towards a Democratic Culture; A Redefining Voice of the 1890s'. It reveals the literary field to be the site of a struggle to impose the legitimate definition of literature and investigates some of the new voices entering the conflict in the 1890s. Considering the development of the literary biography, the literary manual, literary tourism and the appearance of the 'celebrity' author, it points towards the conflict at the heart of the field which centres around opposing principles of valuation. In Chapter Two, 'Structural Divisions: George Gissing and New Grub Street', the reconstruction of the field is continued through a re-positioning of Gissing within the social and cultural networks of his time. It considered in more detail the opposing principles of legitimacy underlying the issue of definition, through a new reading of the novel which introduces the conflict between the sub-fields of large-scale and restricted production. Chapter Three, 'Collective Misrecognition": Walter Besant and Henry James' concentrated on the dual economy necessitated by the differing systems of valuation adopted in each sub-field, revealing the problems encountered in a field which deals in both symbolic and economic capital. The field of Besant and James is reconstructed initially through their contributions to 'The Art of Fiction' debate. The writing, action and fortunes of Besant and James are then reappraised in order to position them within this dual economy, and question their status as representatives of the commercialisation of art and indifferent aestheticism, respectively. Finally, the sub-field of large scale production is considered in greater detail in Chapter Four, 'The Sub-Field of Large-Scale Production: J.M. Barrie, New Journalism and Sentimental Tommy'.
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Wilder, Thomas. "Patina and the role of nostalgia in the field of stringed instrument cultural production." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100219.
Повний текст джерелаАнотація:
In this paper, the evocative nature of patina on stringed instruments is linked to the four agents of transformation that create it. These correspond to four nostalgic values: nostalgic reflection on the passage of time; nostalgia inspired by use; nostalgia for craftsmanship and pastoral nostalgia. Actors in the subfield of restricted cultural production of stringed instruments invoke one or more of these nostalgic values explicitly as a means to rationalize their actions to competing actors and to the broader public in their battle for status. Patina offers visible proof of their claims. Actors in the subfield of large-scale cultural production do not appeal to specific nostalgic values. Rather, they partake of the nostalgic aura surrounding antique instruments by "pasting" artificial patina onto their instruments. This serves to validate the idea of nostalgia. It also lays bare tensions existing in the broader field of cultural production over questions concerning the past and present.
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Lim, Lorraine Boon Fang. "In the global field of cultural production : Singapore as global city for the arts." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3762/.
Повний текст джерелаАнотація:
My thesis is an examination of Singapore's aspiration to become a Global City for the Arts as set out in the Renaissance City Report released in 2000. By examining the key issues surrounding Singapore's attempt to become a Global City for the Arts, this thesis discuss the reasons why Singapore want to be achieve this aim and identifies the key obstacles in realising this goal. Using a Pierre Bourdieu framework of analysis, I provide a different way of examining Singapore's perception of its position in relation to other cities in the world and highlight key areas that Singapore needs to develop as it seeks to truly become a Global City for the Arts. By expanding and extending Bourdieu's concepts of 'field' and 'habitus', I show how the Government firstly, uses a variety of rules and regulations to manage the cultural production of arts and culture in Singapore and secondly, how it attempts to inculcate an appreciation of a specific aesthetic style in both Singaporean artists and audiences. I argue that Singapore's quest to become a Global City for the Arts is stymied due to its inability to develop a meaningful international global profile through the way it attempts to micro-manage the creation, production and consumption of culture in Singapore. These issues coupled with a rapidly changing Singapore society only serve to undermine Singapore's attempt to become a Capital of Culture. I assert that unless there is a fundamental shift in the way policy directives are implemented and enforced in Singapore, it is highly unlikely that Singapore can truly attain its goal of becoming a Global City for the Arts.
7
Belanger, Ashley. "Avalanche and file: the politics of alternative magazines in the field of cultural production 1968-1976." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/7247.
Повний текст джерелаАнотація:
The expanding discourse surrounding the importance of magazines in the field of cultural production during the 1970s presents the alternative art press as a forum that contributed to the dematerialization of art and presented a more democratic space within which to encounter artworks. While discussion surrounding alternative art magazines has often revolved around the idea of the “museum without walls,” magazines have also been recognized as a site of contradiction within the artistic avant-garde. The alternative art press has come to be seen as a contributing factor in the failure of avant-garde movements trying to escape institutional power structures. Acting as a lifeline to the art market and institutions of art, alternative art magazines impeded artists from achieving the utopian goal of conflating art and life and escaping the confines and context of the institutional white cube.
Drawing upon Pierre Bourdieu’s essay, “The Field of Cultural Production, or: The Economic World Reversed,” this thesis aims at articulating a new space within which to consider the contributions of alternative art magazines. Through case studies of the New York based Avalanche (1970-1976) and the Toronto based File (1972-1989) I argue that focus must be shifted to consider the medium of the magazine as a fertile ground exploited by artists, editors and publishers, in order to redefine and call into question how “the game” of cultural production was being played at the time. Instead of escaping the institution altogether artists took advantage of the medium of the magazine to erect their own institutional alternatives.
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Axelsson, Clara, and Charlotte Gustafsson. "Constituting Sesame : a minor field study of a cross-cultural cooperation." Thesis, Blekinge Tekniska Högskola, Institutionen för arbetsvetenskap och medieteknik, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5374.
Повний текст джерелаАнотація:
Internationally, universities are undergoing renewal because of technological and social changes that both increases the importance of open and flexible learning, as well as makes it practicable. Net-based education makes it possible to create courses where students can collaborate and share knowledge globally. Collaborative Learning in Virtual Communities, with the working title Sesame, is a cooperative project between Blekinge Institute of Technology, BTH, and University of Pretoria, UP that has intention to provide a course like this. The aim of this collaboration is to initiate research in, as well as to test, and evaluate methods for net-based collaborative learning to see how this can provide new perspectives for students and lecturers in both countries. One key concept in the project is ?internationalisation at home? and this means interaction and knowledge sharing between people from different countries, and cultures, without them having to physically leave their country. In this thesis we describe the phase of constituting Sesame focusing on the cooperation between the involved parties from the two countries.Sesame är ett projekt mellan Blekinge Tekniska Högskola och Universitet i Pretoria som syftar till att skapa kurser där studenter från de båda universiteten ska samarbeta och därigenom utbyta kunskaper och erfarenheter. Målet med projektet är att initiera forskning, såväl som att testa och utvärdera metoder för kollaborativt lärande. Ett nyckelbegrepp inom Sesame är ? internationalisation at home?, vilket betyder möjlighet till interaktion och kunskapsutbyte mellan människor i olika länder och kulturer, utan att de fysiskt måste lämna sina länder. I den här rapporten beskriver vi planeringsfasen av Sesame där vi fokuserar på samarbetet mellan deltagarna i Sverige och Sydafrika.
9
Tkachev, Natalia. "The work of art in the field of cultural production : the principle of legitimization in the digital era /." Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2767.
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Chin, Bertha Catherine L. P. "From textual poachers to textual gifters : exploring fan community and celebrity in the field of fan cultural production." Thesis, Cardiff University, 2010. http://orca.cf.ac.uk/54414/.
Повний текст джерелаАнотація:
Early fan studies positioned fans as 'textual poachers' (Jenkins, 1992), suggesting that fans poach characters and materials from texts as an act of resistance towards commercial culture to form their own readings through fan cultural production such as fan fiction. As such, fans are often presented as a unified, communal group interacting within the context of fan communities that are considered alternative social communities with 'no established hierarchy' (Bacon-Smith, 1992, p. 41). However, Milly Williamson argued that fans do not all operate from a position of cultural marginality. Fans not only go on to collaborate with the media producers they allegedly poach from, they also "engage in elitist distinctions between themselves and other ... fans" (Williamson, 2005, p. 103). In this dissertation, I look at fan cultural production (specifically fan fiction) by appropriating Bourdieu's (1993) theory on the field of cultural production. I also suggest that the field of fan cultural production manifests the principles of a gift economy (Mauss, 1954). In circulating fan cultural production as gifts, fans are entering into a social relationship of reciprocity, where fan reputation, or fan symbolic capital, becomes tied to the gifts presented to the fan community and the social network of the fan author. The accumulation of fan social, fan cultural and fan symbolic capitals creates a subgroup of fans who are often treated like celebrities by their peers, and these fan subcultural celebrities often go on to determine the social and cultural norms of a fan community. This often results in conflict within fandom as fan status is frequently contested and challenged. By employing an ethnographic study on the fandoms of The X-Files, Angel and the re- imagined Battlestar Galactica, I argue that fan culture is not as homogenous as early fan studies proposed as the boundaries of community and fan celebrity status are frequently challenged.
11
Froese, Michelle Mazza. ""We seem to belong nowhere" : locating Missouri Repertory Theatre's identity in the field of cultural production of Kansas City, Missouri /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9712800.
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Reyes, Acosta Cornelia. "Digitally mediated social ties and achieving recognition in the field of creative and cultural production : unravelling the online social networking mystery." Thesis, London School of Economics and Political Science (University of London), 2016. http://etheses.lse.ac.uk/3604/.
Повний текст джерелаАнотація:
Career paths in the field of cultural and creative production and the attainment of recognition have been associated with networking and point at the relevance of maintaining social relationships. Social capital has been discussed as one key element, given the fact that forming social relations with significant others potentially aids individuals striving for symbolic capital – the precursor to recognition. The emergence of online social networking platforms as a means to amplify opportunities to build social relationships raises questions in regards to its impact on building social capital. The key question that arises is: To what extent can digitally mediated social relationships support creative professionals in attaining recognition for their work by capitalising on digitally mediated social ties? To answer this, it was necessary to uncover the nature of digitally mediated social relatedness in order to understand how and why these relations may be eligible to produce social capital. Tracing this process through drawings of personal networks elicited a wealth of narratives around the influence of digitally mediated social interaction on symbolic capital. This thesis identified that accessing social capital resources via digitally mediated social interaction operates within the context of two prime factors: risk and trust. As such, digitally mediated social ties are useful for building social capital. However, this holds primarily in contexts where risk is relatively low and therefore the required level of trust is marginal. The relevance of digitally mediated social ties in building social capital is thus largely context driven, whereby the individual circumstances of creative professionals are crucial. My findings highlight the ambivalent nature of digitally mediated social ties in terms of their conceptualisation as a form of social relationship. Interestingly, while being highly volatile and fluctuating in nature, these liquid ties, as I have labelled them in my thesis, do afford access to resources such as trust that have hitherto been primarily associated with strong social ties. Essentially, this challenges the prime conceptualisation of social capital as an affordance of strong, established social relationships in the formation of symbolic capital. Therefore, I make a case for a more nuanced approach to (mediated) social capital, which conceptualises the relevance of the social tie in light of its affordance, rather than its formal quality.
13
Choo, Hye Won. "The cultural production and consumption of the fit body in South Korea : focus on established-outsider figuration of the body in the fitness field." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/32514.
Повний текст джерелаАнотація:
This thesis examines the ways in which the fit body has acted as an established form of capital in Korea. In addressing this question, this research explores the theoretical and methodological links between Bourdieu‘s and Elias‘s perspectives. In particular, using the fitness field as the context, this study examines specific types of valued capital and assesses the ways in which figurations between actors are produced and reproduced in ways that reinforce and sometimes disrupt 'established-outsider‘ (E-O) figurations in other fields (such as the academic field). In working toward its findings, this work makes use of multiple methods, including historical media analysis, media production study, interviews, and comparison of Gangnam and Gangbuk, to name but a few. This diverse array of approaches allows for a more robust and nuanced look at the E-O figuration of the body (Elias & Scotson, 1994) that grounded the production and reproduction of body capital and habitus in the fitness field. The findings also reveal that fit bodies are pivotal to the formation of symbolic power in Korean socio-historical contexts. E-O figuration of fitness media production teams influences media texts. Fitness media texts underline the virtue of fit bodies while disguising symbolic violence toward the outsider body. TV producers of fitness programs and star trainers as cultural intermediaries reproduce the belief in the notion of the fit body through media strategies that include storytelling, body models, and intellectualization. Fitness clubs, members, and trainers in Gangnam and Gangbuk are distinguished by their fitness capital, academic capital, and civility. Thus, in contemporary Korean society, fitness is a hidden path that allows for and consolidates the reproduction of Established-Outsider hierarchies; as such, it has a distinctive/civilized mode, a specific form of cultural capital, and undeniable connection to Western fitness culture.
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McKay, Duncan Robert. "Drawn from artists’ lives: An empirical study of the situation and realisation of professional visual art practices in the Western Australian Field of cultural production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/2006.
Повний текст джерелаАнотація:
This thesis presents the findings of empirical research on the working lives of visual artists living and working in Western Australia. No detailed studies of this kind have previously been undertaken in a Western Australian context, though a series of national, economically framed studies have surveyed Australian artists working in a variety of art forms about their working lives on five occasions since the early 1980s. Collectively the reports published from these five studies make up the most comprehensive picture of artists’ economic activity that has been available to policymakers and others involved in arts and culture in this country (Australia Council, 1983; Throsby & Hollister, 2003; Throsby & Mills, 1989; Throsby & Thompson, 1994; Throsby & Zednik, 2010). Seldom, however, has other suitable empirical data been collected from Australian artists facilitating the evaluation of the findings, methods and assumptions underlying economic research in this area. The detailed qualitative data collected for this research both augments and interrogates the findings of national quantitative studies, assessing their applicability to the particular circumstances of professional visual artists working in this state.
Artists’ working lives were examined using data in two forms: Curriculum Vitaes (CVs) of 322 Western Australian visual artists, published on commercial gallery websites; and in-depth interviews with a diverse sample of 20 Western Australian visual artists. This data has provided access to what Florian Znaniecki (1934) has called the humanistic coefficient: the understandings that social actors have of the situations within which they are acting. Without this understanding it is not possible to properly account for social activity, such as professional art practice. CVs have rarely been used as a data source for research, so this study has taken an innovative methodological approach and has demonstrated the potential for further development of these methods and this form of social data. CVs of visual artists were used to examine the Western Australian field of cultural production, and to produce a network-map of the social values and the complex relationships between artists, commercial galleries and other entities in the field.
In-depth interviews with 20 visual artists, practising in different media, at different stages of their career and earning their living in diverse ways, have provided detailed accounts of how visual artists construct their professional artistic identities and sustain their creative practice in Western Australia. Through qualitative analysis of these accounts, a new conceptual model of the labour of visual art has emerged, in which artists’ work is considered across four interrelated kinds of cultural production. 1) Artists define their practice, making it real for themselves. 2) Artists create the conditions in which they can define and maintain their practice. 3) Artists attract validation of their practice, seeking to make it real for other people. Throughout their work to establish the cultural reality of their practice, 4) artists also strive to maintain the integrity of their practice, to ensure that they continue to recognise themselves within it. The development of this conceptual model, the CV study and the rich contextual material obtained through interviews have informed the multi-dimensional understanding of the work of professional artists presented in this thesis, challenging and building upon previous research.
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Jörnesten, Anders. "Forskningens nytta : Om ambivalens i forskningspolitik och vardag." Doctoral thesis, Uppsala University, Department of Sociology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8356.
Повний текст джерелаАнотація:
One important issue in this dissertation is understanding the concept of ambivalence in academic settings. This is addressed in two empirical studies. The first is an interview study on Swedish sociologists, focusing on how they look at and understand their own research as well as their place within academia. The second study is based on political documents and offers two possible perspectives on the historical development of research policy. On the one hand it can be viewed as a linear development toward more commercialized science, and on the other hand it can be viewed as an ongoing struggle between traditionalists and non-traditionalists. An important perspective in the interpretation of the results is Pierre Bourdieu's theory of cultural fields. This theory is especially useful in pinpointing the issues of ambivalence in science, showing how both the sociologists and the political documents can be understandable through the concept of "positions". Another important issue in the dissertation is understanding what type of norms are connected ambivalence in relationship to academia. In the final part of the dissertation, Robert Merton's CUDOS norms and John Ziman's PLACE norms are used to explain both the ambivalence itself as well as what kind of norms are related to different "positions".
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Kanematsu, Makiko. "Saga och verklighet : Barnboksproduktion i det postsovjetiska Lettland." Doctoral thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusstudier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-30602.
Повний текст джерелаАнотація:
The aim of the dissertation is to examine the production of children’s books for the Latvian-speaking population in Latvia and attempt to illustrate how the post-Soviet transformation has affected the conditions surrounding its development. To this end, the study investigates how the economic, political, and cultural aspects of the transformation are perceived and dealt with by actors active in children’s book production. The concept of the field of the production of children’s books as a subset of the broader field of cultural production is based on the term “literary system” as defined in the sociology of literature and the term “field” as defined in Pierre Bourdieu’s sociology of cultural production. The fundamental theoretical standpoint of the study is based on social constructivist theory. The study also investigates the phenomena in the field from the aspect of sociopsychologist Michael Billig’s concept of “banal nationalism” and sociologist Daina Stukuls Eglitis’ model of “narratives of normality.” The material is based primarily on interviews conducted between 2003 and 2005 in Riga with the actors involved with the production of children’s books in Latvia, but also on data gathered from other sources. The results indicate that the role of the state and the commercial market are perceived and dealt with differently amongst the actors in the studied field, where opposing attitudes towards mass-market products indicate that children’s books can be seen as cultural products by some and as commercial products by others. The material further implies that the opinions of the interviewees about the role of children’s books in post-Soviet Latvia are closely related to their personal visions for the future of this newly-reborn independent nation. It is the various survival strategies adopted by the key actors in the field as a response to the changing conditions in the new era that ultimately constitute the transformation of the field.
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Micke, Marina Kai-Ina. "'Wechselschritt zwischen Anpassung und aufrechtem Gang' : negotiating the tensions between literary ambition and political constraints at the Institut für Literatur 'Johannes R. Becher' Leipzig (1950-1990)." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/wechselschritt-zwischen-anpassung-und-aufrechtem-gang-negotiating-the-tensions-between-literary-ambition-and-political-constraints-at-the-institut-fur-literatur-johannes-r-becher-leipzig-19501990(c259d032-f129-4373-a6ef-f8acaf48c4c0).html.
Повний текст джерелаАнотація:
This thesis explores how the Institut für Literatur ‘Johannes R. Becher’, an East German institution for the training of writers, negotiated tensions that arose from the conflicting demands between literary and political values. The Institute had the objective to foster emerging literary talents according to the socialist ideal of a working writer, but often found students and staff drawn towards more autonomous literary values that were incompatible with the views of the East German Socialist Unity Party. As a result, the Institute’s practices fluctuated between toeing the party line and pursuing literary ambitions. An overview of the existing scholarship shows that the Institute and its function have been highly politicised and hardly subjected to analyses that allow for a more nuanced appraisal of its practices. As a result, the study of the Institut has not been able to transcend the binary differentiation between assent and dissent and the Institute is either presented as a liberal haven or an orthodox academy with little artistic value. This thesis addresses this issue by applying Bourdieu’s’ theory of cultural production, more specifically his notion of field, capital and habitus, to the study of the Becher Institute. Three case studies that form the core of this dissertation investigate how cultural capital in its institutionalised, embodied, and objectified form was accumulated, converted and exchanged by the Institute, how it tried to reconcile the tensions between cultural policy and creative aspirations and how these tensions affected the Institute’s common habitus. The first case study will show how the Institute’s founding shaped the institutionalised capital it represented and question the importance that has been attributed to prominent political figures during the founding process. The second case study examines the role of the lecturer and the influence their embodied capital had on the Institute. Two lecturers, working writer Werner Bräunig and poet Georg Maurer, and their representation of the Institute’s multiple habitus will be the focus of the analysis. The third and final case study is dedicated to objectified cultural capital in the form of the Institute’s publications during the 1970s. The Institute’s orthodox publications have so far been overlooked by scholars in favour of its more controversial literary output, which gives a misleading impression of the Institute’s literary output that I aim to amend. By developing a sociological framework for the study of the Institute, this thesis is able to investigate the Institute and its practices as a social and literary space under the watchful eye of the Socialist Unity Party, without denying its pedagogical and cultural dimensions. The findings will reveal a deeply conflicted institution that struggled throughout its existence to resolve the tensions between literary ambitions and political restraints as well as the contradictions within the literary field itself.
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Butcher, Erica. "An Audience Reception Analysis Field Study: Exploring Second and Later Generation Latino Viewers’ Perceived Realism Appraisals of Latino Fictional Television Characters in English Language Television Programs." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1249586967.
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Lim, Wei Ling Tania Patricia. "Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16496/1/Wei_Ling_Lim_Thesis.pdf.
Повний текст джерелаАнотація:
Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children's animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture.
This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood's dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production.
While TV formats like Survivor, Millionaire, Big Brother and American Idol have become profitable and powerful franchises globally, in East Asia, the size of TV format trade is actually eclipsed by the regional trade in East Asian popular cultural commodities from martial arts novels and films, manga and romantic fiction, to popular music. These commodities have become the source of remaking local television culture into tradable cultures as local TV programmes use formatting practices to circulate within their region. The many faces of formatting in television are explored through four case studies - from Hong Kong (TVB's Heaven Sword and Dragon Sabre), Singapore (Robert Chua Productions' Everyone Wins, Peach Blossom Media's Tomato Twins) and Taipei (Comic Ritz Production's Meteor Garden). Conceptualised as Asian media productions, these TV programmes are sites for examining individual agency, the network flows of popular culture and structural changes of their respective broadcasting fields.
This thesis argues that TV formatting practices can become a currency for neo-networked media producers to create a medium of cultural exchange that sets up the possibility for a common market for cultural trade in East Asia. However, the ease with which TV formatting practices and re-sale of TV programmes are copied lower barriers for competition and often this tends toward over production. Over-exposure kills many new genres of production and discourages investment in the research and development component of creating TV formats for trade. Change in East Asian television industries is also aided by media conglomeration, global access through satellite TV, the Internet and increasingly digital entertainment, media de-regulation and pro-development policies.
A number of factors and conditions that accompany the rise of TV formatting in East Asia (such as the role of independents vis-a-vis big local players, the emergence of copyright issues and marketing celebrities) contribute to the innovations that result from adapting formatting practices to local contexts, and suggest how each city's television industry attempts to address the rise of tradable cultural commodities that are increasingly made for pan-Asian consumption.
20
Lim, Wei Ling Tania Patricia. "Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16496/.
Повний текст джерелаАнотація:
Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children's animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood's dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. While TV formats like Survivor, Millionaire, Big Brother and American Idol have become profitable and powerful franchises globally, in East Asia, the size of TV format trade is actually eclipsed by the regional trade in East Asian popular cultural commodities from martial arts novels and films, manga and romantic fiction, to popular music. These commodities have become the source of remaking local television culture into tradable cultures as local TV programmes use formatting practices to circulate within their region. The many faces of formatting in television are explored through four case studies - from Hong Kong (TVB's Heaven Sword and Dragon Sabre), Singapore (Robert Chua Productions' Everyone Wins, Peach Blossom Media's Tomato Twins) and Taipei (Comic Ritz Production's Meteor Garden). Conceptualised as Asian media productions, these TV programmes are sites for examining individual agency, the network flows of popular culture and structural changes of their respective broadcasting fields. This thesis argues that TV formatting practices can become a currency for neo-networked media producers to create a medium of cultural exchange that sets up the possibility for a common market for cultural trade in East Asia. However, the ease with which TV formatting practices and re-sale of TV programmes are copied lower barriers for competition and often this tends toward over production. Over-exposure kills many new genres of production and discourages investment in the research and development component of creating TV formats for trade. Change in East Asian television industries is also aided by media conglomeration, global access through satellite TV, the Internet and increasingly digital entertainment, media de-regulation and pro-development policies. A number of factors and conditions that accompany the rise of TV formatting in East Asia (such as the role of independents vis-a-vis big local players, the emergence of copyright issues and marketing celebrities) contribute to the innovations that result from adapting formatting practices to local contexts, and suggest how each city's television industry attempts to address the rise of tradable cultural commodities that are increasingly made for pan-Asian consumption.
21
Blazanovic, Marta. "Echtzeitmusik." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/16981.
Повний текст джерелаАнотація:
Die Echtzeitmusikszene ist eine zeitgenössische Musikszene, die Mitte der 1990er in Berlin entstanden ist. Seitdem entwickelte sie sich in eine umfangreiche, musikalisch vielfältige, lokale, aber auch extrem internationale Musiker-Community, mit dem Schwerpunkt auf improvisierter und experimenteller Musik. Der Begriff ‚Echtzeitmusik‘ markierte zunächst die Abgrenzung der jungen von der älteren Generation der Berliner Improvisatoren. Die jüngeren Musiker entwickelten bald eine besondere Klangästhetik sowie die Praxis des Improvisierens, was oft als ‚Berlin Reductionism‘ bezeichnet wird. Sich selbst identifizierten sie vor allem mit dem Begriff ‚Composer-Performer‘. Die musikalischen Entwicklungen in der Echtzeitmusik Szene lassen sich innerhalb der Traditionen der Freien Improvisation einerseits und der Cageschen Kompositionstheorie andererseits kontextualisieren. Ausserdem wurden die Entstehung der Szene, ihre Entwicklung und Existenz stark von den einzigartigen räumlichen, sozialen und ökonomischen Bedingungen in Berlin nach der Wende beeinflusst und bestimmt. Die Echtzeitmusik Szene ist ein Beispiel für ein hoch autonomes Feld der Kulturproduktion, in dem das sogenannte symbolische Kapital (Reputation) die wichtigste Kapitalart und ein Machtmittel darstellt. Die Verteilung des symbolischen Kapitals in der Szene manifestiert sich in einer auf den ersten Blick versteckten Hierarchie. Die Mitglieder der Szene teilen eine gemeinsame symbolische Ebene und nehmen an einem klar strukturierten und organisierten Szeneleben teil. Sowohl soziale als auch musikalische Handlungen der Szeneakteure zeigen gewisse Gemeinsamkeiten und Regularitäten, die mit Bourdieu’s Habitus-Begriff erklärt werden. Der Szenediskurs spielt eine wichtige Rolle in den Prozessen der Identifikation, Distinktion und Gemeinschaftsbildung, als auch in der Regulierung der Praxis in der Szene dadurch, dass es als ein Orientierungspunkt für die Insider, aber auch für die Aussenstehenden dient.The Echtzeitmusik scene is a contemporary music scene that emerged in Berlin in the mid-1990s and evolved into an extensive and musically diverse local, yet extremely international community of musicians, who are involved in improvised and experimental music. The term ‘Echtzeitmusik’, literally meaning ‘real-time music’, marked the distinction between the younger and older generation of Berlin improvisers. The younger musicians had soon developed a specific sound aesthetic and approach to improvising, often labeled as ‘Berlin Reductionism’, and identified themselves as ‘composer-performers’. The musical developments in the Echtzeitmusik scene can be contextualized within the traditions of both Free Improvisation and John Cage’s compositional theory; on the other hand, the scene’s emergence, development and existence have been strongly influenced by the unique spatial, social and economic context of the post-wall Berlin from the early 1990s until today. The Echtzeitmusik scene is an example of a highly autonomous field of cultural production, in which the most important type of capital and means of “power” is the so-called symbolic capital (reputation), based on the musicians’ cultural capital (e.g. musical skill and individuality) and even more on their social capital (social relations). The distribution of symbolic capital within the scene is manifested in its, at first sight hidden, hierarchy. The members of the scene share a common symbolic level and take part in a clearly structured and organized scene-life. Both social and musical actions of the scene’s members show commonalities and regularities, which are explained by Bourdieu’s concept of habitus. The scene’s discourse plays an essential role in the processes of identification, distinction and community-making, as well as regulating the practice within the scene, by serving as a point of orientation on the inside and towards the outside.
22
Qiu, Hai-Tang, and 邱海棠. "Another possibility of film: The Field Analysis of Cultural Production on Chinese Independent Film." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/cbze8b.
Повний текст джерелаАнотація:
碩士國立交通大學
傳播研究所
102
The thesis attempts to analyze the change on Chinese Independent Films from 1990 to 2013 by applying Bourdieu’s study on the field of cultural production. The first part is to find out the objective conditions of the field in different period which especially focuses on the context of China. The second part discusses about each independent director’s subjective responses to each position they are given in the field. The study found that Chinese society is following a special path of capitalism transition which is open in economy but conservative in politics. In this way, the development of economy made the independent production of films be possible. The political power pushed the independent films outside the country where get them higher attention in to the international stage. After 2000, the new technologies like DV and internet lower threshold of film production and more and more nongovernmental films organizations improve the impact of independent films. The practice mode of Chinese independent films can be concluded as three positions. First one is the mode of “positively expanding”, which also included there kinds of strategies: “international united production “,”back to national system” and “individual trying”. Second mode is about “individual expression” that the agent concerning more about “pure art” or “equal right movement”. Last, Most directors took the “work sharing” mode are media-related students who need to get their works exposed. In conclusion, Chinese independent film is always in opposition to mainstream films which served as a tool for entertainment or ideology.
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Liu, Chia-min, and 劉佳旻. "Between the Fields: The Cultural Production Field in Early Post-War Taiwan (1945-1947)." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/92174915102214660813.
Повний текст джерелаАнотація:
碩士國立交通大學
社會與文化研究所
98
The main concept of this research is the evolution of the cultural production field of early post-war Taiwan. We discuss about the culture production space composed of magazines, newspapers and all the intellectual groups running this magazines and newspapers. By mapping out the topography of early post-war Taiwan’s culture production, we not only concern the vibration relations including disposition and the distribution of various capitals between different groups, but also discuss the condition of cultural production and how the condition functions on the fields then expend a new cultural production based on the paradigm of Chinese. Therefore, in this research we apply the approach of French Sociologist, Pierre Bourdieu’s discourse of “field” and view the whole society as a field, including the culture producers, institutions, and political dominators, which would be the most important value of this research: we re-built the political capital structure and by discussing it to enter the early post-war Taiwan’s cultural production field. Keywords:field of culture production、political capital、culture capital、post-war、position
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Tai, Chun-Fang, and 戴君芳. "Incorporation or Not: The Field-Analysis of Cultural Production on Taipei''s Little Theatre (1986-1995)." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/47416056480493838284.
Повний текст джерела
25
Hsu, Hui-Chien, and 許蕙千. "After the Success of A-mei? The Field Analysis of Cultural Production on Aboriginal Popular Music in Taiwan." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/74194909006068747799.
Повний текст джерелаАнотація:
碩士國立交通大學
傳播研究所
97
The thesis attempts to analyze the change on aboriginal popular music in Taiwan during these years by applying Bourdieu’s study on the field of cultural production. The first part is the discussion about the typologies in the aboriginal popular music industry. The second part examines the work of cultural intermediaries and the eternal cultural conditions. In the last, it focuses on the singers’ subjective responses to each position they are given in the field. By their self-interpretations, we understand more about their agency and the space of possibilities in the structure. There are more and more singers with self-conscious getting involved in the popular music industry, and some of the cultural intermediaries enthusiastically challenge the structure of industry, so the typology concludes is not fixed and it provides opportunities for the performers to break through. Each position-taking will change each comparative position and the structure will also be transformed.
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Huang, Mei 1985. "Obedience, confrontation and riposte : the Internet and the traditional media in mainland China." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1202.
Повний текст джерелаАнотація:
This thesis discusses the relationship between the two forces—the Internet and the conventional media, and the rules and etiquette that have governed these media from the mid-1990s to present day. I divide the history of interaction between them into three phases, corresponding to different power balances and stances in the field of cultural production. By analyzing three Internet-themed TV talk show episodes, I probe how the Internet has gradually evolved into an active competitor, and how the conventional media have correspondingly changed their stance in response to their thriving counterpart.text
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Sanders, Anne Elizabeth. "The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history." Phd thesis, 2009. http://hdl.handle.net/1885/7452.
Повний текст джерелаАнотація:
The significance of the Mildura Sculpture Triennials from 1961 to 1978 lies in their role as critical nodal points in an expanding and increasingly complex system of institutions and agents that emerge, expand and interact within the Australian art world. These triennial events provide a valuable case-study of the developments in sculptural practice in Australia and offer a close reading of the genesis of an autonomous field of visual art practice; a genesis dependent upon the expansion of the new tertiary education policies for universities and colleges of advanced education that arose in response to the generational pressure created by the post war baby boom.
Given that there was virtually no market for modern sculpture in Australia at the inauguration of these triennials in the 1960s, the extent of the impact of the pressures and expectations of a burgeoning young population upon tertiary education, specifically the art schools, art history departments and art teacher training and, the expanding desire for cultural fulfilment and rapid developments in the cultural institution sector, is delineated at these triennial events. The expansion of the education system and the consequent expanded employment opportunities this offered to young sculptors in the late 1960s and throughout the 1970s, posited the first real challenge and alternative economy to the existing heterogeneous market economy for artistic works.
In order to reinscribe the Mildura Sculpture Triennials into recent Australian art history as an important contributor to the institutional development of Australian contemporary art practice, I have drawn upon the reflexive methodological framework of French cultural theorist and sociologist Pierre Bourdieu and his explanation of the factors necessary for the genesis and development of autonomous fields of cultural production. Bourdieu's method provides an interpretative framework with which to identify these components necessary to the development of an institutional identity - the visual arts profession. This autonomous field parallels, conflicts with and at times connects with the heterogeneous art market economy, depending on the strength of its relative autonomy from the field of economic and political power. However, this is beyond the scope of this thesis.
Mildura's significance lies in the way that the triennial gatherings provide a view into the disparate components that would connect to and eventually create an autonomous field of artistic production, that of the visual arts profession. However, the evolution of each of the components, which were the bedrock of Mildura, was driven by its own needs and necessities and not by the needs of the larger field of which they would eventually become a part. Bourdieu's understanding of the ontologic complicitiy between dispositions and the development of an autonomous field offers a non-teleological approach to the significance of Mildura as a site to map these rapid changes and also Mildura's subsequent displacement from the historical record.
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O'Brien, Michael Seamus 1978. "Disciplining the popular : new institutions for Argentine music education as cultural systems." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-755.
Повний текст джерелаАнотація:
This dissertation focuses on a recent but growing movement in Argentina, state-sponsored formal institutions of popular music education. The musics taught in these schools – tango, jazz, and Argentine folk idioms – have historically been excluded from the country’s formal music education systems. Recent moves to standardize and legitimize these musics in this new institutional context raise questions of canon formation, pedagogical praxis, aesthetics and musical meaning that have implications far beyond the classrooms where they are implemented. I examine two of these schools based in and around the capital city of Buenos Aires: the Escuela de Música Popular de Avellaneda, and the Tango and Folklore department of the Conservatorio Superior de Música “Manuel de Falla.” I adopt an ethnographic approach that considers broad structural and policy issues of power distribution, state intervention, and cultural nationalism. I also examine how these structures play out in discourse and practice within and beyond the classroom, shaped by and in turn shaping students’ and teachers’ aesthetics, politics, and subject positions. I then analyze the output of several musical groups composed of current students and recent graduates of these programs, exploring the notion of an emerging institutional aesthetic and the extent to which these institutions act as homogenizing influences or engender creative divergence. Finally, applying Pierre Bourdieu’s concept of a field of cultural production, I question the extent to which this new “música popular” is truly popular, ultimately arguing that it occupies a sort of third space between mass culture and high culture, replicating some avant-garde assumptions about the role of art as anti-commercial, yet simultaneously embracing a symbolic economy that valorizes populist and subaltern identities and ideologies.text
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Whittaker, Robin Charles. "Un/Disciplined Performance: Nonprofessionalized Theatre in Canada's Professional Era." Thesis, 2010. http://hdl.handle.net/1807/32956.
Повний текст джерелаАнотація:
The discourse of Western theatre practice is founded on, and maintained as, a legitimizing struggle between the terms “professional” and “amateur.” This study moves beyond the traditional signifiers of Canadian amateur theatre—the Little Theatre Movement, the Dominion Drama Festival and connotations of “inferior” and “dilettantish”—to examine two nonprofessionalized companies that have witnessed the professionalization of Anglo-Canadian theatre in order to argue for the relevance and vitality of contemporary “nonprofessionalized” theatre practices. By drawing from Pierre Bourdieu’s field theory and Michel Foucault’s discourse theory and theories of formations of disciplines, this study argues that theatre professions seek to discipline, delegitimize and exclude nonprofessionalizing practices in order to gain capital (economic, social and cultural) at the expense of the creative freedoms inherent in nonprofessionalized work. It also considers the ways in which theatre scholarship omits critical discussion of amateur practice and how the term “amateur” is co-opted as a clouded pejorative signifier and erased by the contested term “community” within theatre discourse (institutions, practices and the Canadian imaginary).
Following a case study approach based on archival documents, the study provides the foundation for a social history of Alumnae Theatre Company (1918- ), beginning with its early years as part of the University of Toronto’s University College Alumnae Association, by examining the relationship between amateur theatre practice and campus philanthropy, followed by Alumnae’s impact on Toronto’s professionalizing theatre scene in the context of alterity in Canadian theatre discourse. It then examines Walterdale Theatre Associates’ (1958- ) relationship to the emerging theatre profession before and after the opening of Edmonton’s Citadel Theatre in 1965 to argue that Walterdale benefits the profession and its professionalizing artists while negotiating complex concerns over institutionalization. Their longevity is explained, in part, by the fact that both companies operate “as if” professional, yet outside of professionalized disciplinary regimes.
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Venter, Marthinus Rudolph. "Die materiële produksie van Afrikaanse fiksie (1990-2005) : ‘n empiriese ondersoek na die produksieprofiel en uitgeweryprofiel binne die uitgeesisteem (Afrikaans)." Thesis, 2006. http://hdl.handle.net/2263/26989.
Повний текст джерелаАнотація:
This study lays a foundation for the empirical mapping of the material production of Afrikaans fiction from 1990 to 2005. The primary research question, namely, how to map Afrikaans fiction production during this period, has been answered through both descriptive-qualitative and statistical-quantitative empirical research. In the first, contextual descriptive component, qualitative research is used to describe the context within which Afrikaans fiction production takes place. The impact of transformation shifts on the production and producer landscapes are mapped through a description of the publishing system. Within this system, book production is regarded as an institution that has inter-systemic relationships with other sub-systems, including institutional contexts (such as media, cultural, literary, educational and library sub-systems), as well as broader societal contexts (such as political, economic and technological contexts). Transformation shifts in the producer landscape (including the establishment, conglomeration, mergers, take-overs and closures of publishing houses) are described through profiling the relevant producers (including publishing houses and other kinds of producers) who contribute to this landscape. In the second, statistical empirical component, quantitative research is used to sketch the contours of Afrikaans fiction production through the construction of production and producer profiles. On a theoretical level, the study follows a sociological and institutional approach to empirical literary studies. This study has been positioned within the developing field of book and publishing studies, specifically within the parameters of the epistemology of production statistics. Itamar Even-Zohar’s poly-system theory and Pierre Bourdieu’s theory of the field of cultural production form the theoretical framework. Several methodological instruments were developed for the purpose of this study, including a new model of the publishing system, a database of production statistics (the Production Database of Afrikaans Fiction – PDAF), and two typologies of kinds of producers and fiction publications according to which both producer and production categories can be distinguished. The publishing system, the PDAF and the two typologies have been proven useful instruments for the mapping of book production. These instruments will contribute to the fields of book and publishing studies through their application to research on other production categories. The PDAF is a useful resource for measuring the growth and diversity of Afrikaans fiction production. The study concludes that Afrikaans fiction production between 1990 and 2005 was incisively influenced by transformation shifts. Publishing in this field became more challenging in that Afrikaans fiction production had to wean itself from the artificial institutional privilege and substantial state support it had enjoyed and was forced to become economically independent. By 2005, there were far fewer significant producers of Afrikaans fiction in the producer landscape than in 1990. In some production categories, fiction production has shrunk, while, in others, it has grown. Overall, the production profile of Afrikaans fiction has greatly diversified, with Afrikaans fiction appearing in a wide variety of production categories. Afrikaans fiction remains the most diverse and best-developed indigenous tradition of fiction production. The challenge for future case studies is to investigate the relationships between production patterns and specific transformation shifts in the publishing system in terms of specific production categories.Thesis (PhD)--University of Pretoria, 2008.
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