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1
Rossi, Christine Skei. "After the sixties : anthropology in sixth grade social studies textbooks." PDXScholar, 1986. https://pdxscholar.library.pdx.edu/open_access_etds/3691.
Повний текст джерелаАнотація:
During the 1960s, anthropology was an important part of the social studies curriculum. This study explores the question of whether twenty years later, anthropology is still an important part of primary and secondary school curricula and textbooks. To answer that question, the author used content analysis to analyze 13 sixth grade social studies textbooks for their anthropological content. Results of the research indicate that there is very little anthropology in the texts, the same topics and concepts are covered in most of them, and that most of the anthropological material is narrative or descriptive in form rather than theoretical. The exclusion of anthropology from the textbooks would seem to be tied in with the process of textbook production, publishing, and adoption. If anthropologists wish to see more anthropology in textbooks, then they will have to involve themselves in the textbook process.
2
Gotthoffer, Douglas. "Turning Sixties." Digital Commons at Loyola Marymount University and Loyola Law School, 1995. https://digitalcommons.lmu.edu/etd/827.
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3
Dickson, Samuel John. "The persistence of postmodernism and the sixties." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13374.
Повний текст джерелаАнотація:
This thesis argues that postmodernism is best understood as an aftereffect, extension or reaction to the 'sixties'. However, what this term designates is not a period of calendar time coterminous with its namesake decade but a set of historical conditions whose period logic doesn't 'end' until the early 1970s. The textual features of postmodernism are interpreted as a response to the sixties as a historical moment of the possibility, and subsequent foreclosure, of a particular mode of radical emancipatory politics. Each chapter identifies the postmodern form as a register of this foreclosure, with cinematic and literary texts ranging from the sixties to present day. Michelangelo Antonioni’s 1966 film Blow-Up is located as a ‘primal’ text for how this political moment is recurrently figured as an intermedial allegory in future postmodernist texts, including his own subsequent film Zabriskie Point (1971) and early features by American director, Brian de Palma (including Woton’s Wake [1962] and Greetings (1968). Joseph McElroy’s novels Hind’s Kidnap (1969) and Lookout Cartridge (1974) are analysed for their unique literary representation of the mass-mediated world of the sixties through an anti-allegorical poetics. Instead, McElroy experiments with a new ‘realist’ means of portraying the immense cognitive activity involved in apprehending and thinking the complexity of the new global economy. Two chapters trace the changes in Thomas Pynchon’s recent fiction into a more explicitly political ‘late style’. The first of these focuses on his ‘California Trilogy’ (The Crying of Lot 49 [1966], Vineland [1990] and Inherent Vice [2009]), where the repeated portrayal of the sixties as a site of failure asserts the period’s unfinished relation to the present. The second chapter explores the use of violence and genre in his 2006 epic Against The Day, arguing that its extensive use of myth, when situated alongside Walter Benjamin’s idea of ‘divine violence’, signifies utopian desire by way of textual exhaustion. The final chapter features an allegorical reading of David Fincher’s Zodiac (2007) as a registration of the transition from the turmoil of the sixties into a melancholic period of the seventies. This period logic is repeated in its own context of the late 2000s which are marked by numerous declarations of the ‘death’ of cinema, a transition locatable in the feature’s own hybrid form of filmic and digital cinematography. In each chapter, the political significance of postmodernism as the registration of lost utopian possibilities, and the perceived persistence of this closure, is allegorised at sites of inter-medial conjuncture. Within each of these meetings of separate media, including written text, photography, cinema and digital images, is an auto-referential, inter-medial allegory whose recurrent content is the anxiety attendant to the lost possible futures since the end of the sixties; the persistence of postmodernism.
4
Faulkner, S. "A cultural economy of British art : 1958-1966." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284879.
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5
Ruvinsky, Maxine. "The underground press of the sixties." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29124.
Повний текст джерелаАнотація:
This thesis describes the underground press of the sixties in the United States, from the beginning of the movement in mid-decade to its apparent demise in the early seventies. I use articles from the underground papers to illustrate the nature of the underground press and apply literary and socio-cultural theories and thinking to the phenomenon in order to chart and analyze its rapid development and speedy disappearance early in the seventies. I focus on the journalistic idealism represented by the papers. By journalistic idealism, I mean the belief that society could be improved if its ills were exposed by journalism conducted in the public interest--the founding faith of the daily press in America. In this sense the underground papers recalled the earlier ideals of a free press in a democratic society. I conclude that the journalistic idealism of the sixties was contained and perverted, but not destroyed. The deeper questions posed here, however, concern the nature of hegemony and of social movements for change and their particular problems with respect to the status quo and its official authorities. The theoretical justification for treating newswriting (generally) as a form of literature (rather than a form of "communications"), is to reveal some of the codes it relies upon to convey meaning (rather than simply information).
6
Claydon, E. Anna. "Masculinity and the sixties British film." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274320.
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7
Luke, Anne. "Youth culture and the politics of youth in 1960s Cuba." Thesis, University of Wolverhampton, 2007. http://hdl.handle.net/2436/20492.
Повний текст джерелаАнотація:
The triple coordinates of youth, the Sixties and the Cuban Revolution interact to create a rich but relatively unexplored field of historical research. Previous studies of youth in Cuba have assumed a separation between young people and the Revolution, and either objectify young people as units that could be mobilized by the Revolution, or look at how young people deviated from the perceived dominant ideology of the Revolution. This study contends that, rather than being passive in the face of social and material change, young people in 1960s Cuba were active agents in that change, and played a role in defining what the Revolution was and could become. The model built here to understand young people in 1960s Cuba is based on identity theory, contending that youth identity was built at the point where young people experienced – and were responsible for forging – an emerging dominant culture of youth. The latter entered Cuban consciousness and became, over the course of the 1960s, a part of the dominant national-revolutionary identity. It was determined by three factors: firstly, leadership discourse, which laid out the view of what youth could, should or must be within the Revolution, and also helped to forge a direct relationship between the Revolution and young people; secondly, policy initiatives which linked all youth-related policy to education, therefore linking policy to the radical national tradition stemming from Martí; and thirdly, influence from outside Cuba and the ways in which external youth movements and youth cultures interplayed with Cuban culture. Through these three, youth was in the ascendancy, but, where young people challenged the positive picture of youth, moral panics ensued. Young people were neither inherent saints nor accidental sinners in Cuba in the 1960s, and sought multiple ways in which to express themselves. Firstly, they played their role as activists through the youth organisations, the AJR and the UJC. These young people were at the cutting edge of the canonised vision of youth, and consequently felt burdened by a failure to live up to such an ideal. Secondly, through massive voluntary participation in building the Revolution, through the Literacy Campaign, the militias and the aficionados groups, many young people in the 1960s internalised the Revolution and developed a revolutionary consciousness that defines their generation today. Finally, at the margin of the definition of what was considered revolutionary sat young cultural producers – those associated with El Puente, Caimán Barbudo and the Nueva Trova, and their audience – who attempted to define and redefine what it meant to be young and revolutionary. These groups all fed the culture of youth, and through them we can start to understand the uncertainties of being young, revolutionary and Cuban in this effervescent and convulsive decade.
8
Heiser, Marshall Stuart. "The Playful Frame of Mind: An Exploration of its Influence upon Creative Flow in a Post-War Popular Music-Making Context." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/366950.
Повний текст джерелаАнотація:
The aim of this thesis is to explore how adopting a playful approach to contemporary popular music making influences creative flow within that context. In order to achieve this aim three component factors derived from the intersection of the scholarly humour, creativity, and play literature––frame of mind, flow, and playfulness (PF)––have informed a single unifying theme I call the “playful frame of mind.”
Contemporary popular music makers live in an era where an over-abundance of affordable technological aids (along with the distribution capabilities of the internet) have created a glut of creative possibilities, and along with it an ever-present risk of cognitive dissonance caused by their “noise.” Such technology brings creative options to all and sundry once reserved for a few rock star elite signed to multinational record companies. It is now possible for every part of the popular music-making process to be performed, or enhanced, within a software context. Nonetheless, popular musicians today still operate according to paradigms largely informed by epoch-changing, post-War recording artists such as Elvis Presley, Bob Dylan, The Beatles, and The Beach Boys. The technology used for doing so may have progressed, but the basic rules (and roles) of the game have remained the same.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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9
Villacorta, Luis, and Liliana Checa. "Recorrido Virtual por la Capilla Sixtina." Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653496.
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10
Phelps, Wesley Gordon. "The "Sixties" Come to North Texas State University, 1968-1972." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4654/.
Повний текст джерелаАнотація:
North Texas State University and the surrounding Denton community enjoyed a quiet college atmosphere throughout most of the 1960s. With the retirement of President J. C. Matthews in 1968, however, North Texas began witnessing the issues most commonly associated with the turbulent decade, such as the struggle for civil rights, the anti-Vietnam War movement, the fight for student rights on campus, and the emergence of the Counterculture. Over the last two years of the decade, North Texas State University and the surrounding community dealt directly with the 1960s and, under the astute leadership of President John J. Kamerick, successfully endured trying times.
11
Darlington, J. A. "Contextualising British experimental novelists in the long sixties." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31430/.
Повний текст джерелаАнотація:
This thesis focuses upon five novelists – B.S. Johnson, Eva Figes, Alan Burns, Ann Quin, and Christine Brooke-Rose – whose works during the 1960s and early 1970s (Marwick’s “Long Sixties”) represent a unique approach to formal innovation; an approach contemporaneously labelled as “experimental”. A number of attempts have been made to categorise and group these texts with varying levels of success. Utilising new archive research, this thesis aims to unpack for the first time the personal relationships between these writers, their relationship to the historical moment in which they worked, and how these contextual elements impacted upon their experimental novels. The thesis is broken into six chapters; a long introductory chapter in which the group is placed in context and five chapters in which each writer’s career is reassessed individually. The B.S. Johnson chapter focuses upon how shifting class formations during the post-war era impact upon the writer’s sense of class consciousness within his texts. The Eva Figes chapter encounters her novels through the consideration of her contribution to feminist criticism and the impact of the Second World War. The Alan Burns chapter investigates the impact of William Burroughs upon British experimental writing and the politics of physical textual manipulation. The Ann Quin chapter engages with experimental theatre and new theories of being appearing in the Sixties which palpably inform her work. The Christine Brooke-Rose chapter reassesses her four novels between 1964 and 1975 in relation to the idea of “experimental literature” proposed in the rest of the thesis in order to argue its fundamental difference from the postmodernism Brooke-Rose practices in her novels after 1984. Overall, by presenting the “experimental” novelists of the Sixties in context this thesis argues that a unity of purpose can be located within the group in spite of the heterogeneity of aesthetics created by each individual writer; overcoming the primary challenge such a grouping presents to literary scholars.
12
Wanat, Matthew Stephen. ""Feels Like Times Have Changed": Sixties Western Heroes." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364225401.
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13
Goldie, Christopher Thomas. "Modernisation and the New Left in sixties Britain." Thesis, Sheffield Hallam University, 2005. http://shura.shu.ac.uk/3194/.
Повний текст джерелаАнотація:
The aim of this thesis is to explore the relationship between the New Left and modernisation, and to suggest that modernisation provides a powerful means of understanding the underlying dynamics of Britain's history in the 1960s. This relationship is understood in terms of a politics of space. The New Left is defined broadly for this purpose as a movement emerging from the dislocating experiences of social, cultural and physical mobility in the postwar period. What is termed the 'modernisation project' is more expansive than the technological and scientific modernisation espoused by Harold Wilson in the early 1960s and is understood to address these new, politicized forms of mobility. Whilst one element of this Politics of dislocation and mobility was a concern about affluence and new forms of cultural consumption, another was concerned with the cultural and geographical dislocation of the upwardly-mobile (sometimes thought of in the language of the 'scholarship boy, ' but with the growth of the student population also associated with the notion of a counterculture). The significance of an enlarged and dislocated intelligentsia is explored through the example of British Pop theory, the approach of which was to engage positively with popular culture, emphasising the value of mass-produced cultural forms which had the qualities of rawness and vitality on the one hand, and expendability on the other. British Pop theory employed pop to explore an alternative historical approach to working class culture but also suggested a different approach to upward-mobility. Contested geographies are explored through the example of New Left attitudes towards suburbia, megalopolis and the cultural geography of the North- South divide. 1968 is explored as the moment when the New Left engaged in a particular form of spatial politics: certain types of space were valued for their psychological characteristics, their sociological inaccessibility to the manipulative power of capitalism, and their capacity to liberate the subject from new forms of alienation. The spaces of New Left protest in 1968 are then compared to other examples of radical space based on radical architecture theory. The politics of the barricade are compared to the politics of indeterminacy.
14
Dammann, Lars. "Kino im Aufbruch : New Hollywood 1967-1976 /." Marburg : Schüren, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016300992&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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15
Saunders, David Edward. "Redressing the nation : direct cinema and the American sixties." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429575.
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16
Watermeyer, Richard P. "Carnival of youth : the dramaturgy of the sixties conterculture." Thesis, Cardiff University, 2008. http://orca.cf.ac.uk/55800/.
Повний текст джерелаАнотація:
This thesis is a study of anti-hegemonic, youth counterculture. It uses a retro-sampling of four aspects of the 1960s hippie counterculture, namely the Beats, Hippies, the Diggers and the Yippies. These are used as a case-study of a culture of resistance that are reapplied as signifiers of cultural and commercial distinction, fashioning a notion and ideal of youth. The thesis uses the theory of Bakhtinian carnivalesque to interpret the performance of dissident youth culture. It examines one fragment of subversive counterculture best described as performative. The performance of counterculture, its street happenings, Acid-Tests, Be-Ins, rock concerts and media pranks, are shown to be assimilated and transformed into commercial entities which are used to frame what it is loosely defined as a 'post-modern' cultural subjectivity. This study provides a reminder of the paradoxes of cultural endeavour, such as the local and global, commercial and cultural, and how anti-hegemonic counterculture is an explicit portrayal of this. The performance of the hippie counterculture is shown as a process of constant reinvention and bricolage enriching and challenging social perceptions and ways of living. The carnival of the American counterculture is a case-study of cultural antagonisms, which demonstrates how performance is infinitely adaptable and replicable for different user groups. Its music, which forms a central part of the thesis, is its legacy, a cultural landmark and recurrent means of expression channelling the voice of carnival, youth and the potential of an inverted world.
17
Applin, Joanne Louise. "The encrypted object : the secret world of sixties sculpture." Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/1446476/.
Повний текст джерелаАнотація:
This thesis examines the work of artists Lucas Samaras, Lee Bontecou and HC Westermann, specifically the way in which they have been excluded from dominant accounts of 1960s sculptural practice. I explore the ways in which a theory of 'secrecy' provides a framework through which to think about each of these artists. Chapter one focuses on Samaras's use of small-scale boxes in relation to his dialogue with the Minimal cubic structure, whilst the second chapter examines the structures of Bontecou in terms of their 'secrecy'. Working from welded steel armatures, Bontecou developed a unique practice of stretching dirty, worn skeins of fabric over the metal structure, always with a gaping hole backed with black felt, a disturbing void around which the surface is organised and the spectatorial encounter disturbed. Unlike the voracious mode of looking Bontecou's works engender, or the partial, fragmented 'peering' offered by Samaras's boxes, Westermann's works require a type of looking that has more in common with the physical act of 'drifting'. I cast both the viewing experience and the mode of construction Westermann's works demand, in terms of 'bricolage' and 'braconnage' (or 'poaching'). The concluding chapter analyses the role of the artistic homage and notion of influence, taking as model the work of psychoanalysts Nicolas Abraham and Maria Torok on haunting and secrecy in relation to the work of Westermann alongside that of Bruce Nauman and Rachel Whiteread. In chapter four I introduce the idea of the 'phantom', as a way of thinking through the problems of inheritance at work in the artistic homage in terms of a series of ruptures, using Abraham and Toroks' concept of the 'transgenerational phantom', in which familial secrets are unwittingly inherited by one's ancestors. In this final chapter, I attempt to undermine the usual way in which influence and artistic lineage are understood.
18
O'Regan, Jade Simone. "When I Grow Up: The Development of the Beach Boys’ Sound (1962-1966)." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367243.
Повний текст джерелаАнотація:
The Beach Boys are an American rock group whose career has spanned over fifty years. However, it was between 1962 and 1966 that the group had most of their chart success and that their unique ‘sound’ was crystallised. This study takes a broad, big- picture overview of the Beach Boy’s repertoire from this period and charts the development of their sound through the apprentice-craft-art (ACA) framework.
The concept of a ‘sound’ is able to draw together the musical, technological, sociological and historical elements that, when combined, create the sound of the Beach Boys during the 1962-1966 period. The flexibility of this concept means that areas often overlooked in popular music studies and in studies on the Beach Boys in general (particularly the roles of production and instrument types), are able to be woven into analyses of more traditional musical elements (such as song structure or chord progressions).
To investigate their sound, this study analyses song structure, rhythmic feels, instrumentation, chord progressions, lyrical themes and vocals from 101 songs that the Beach Boys released on nine studio albums from the 1962-1966 period. The aim of these analyses is to give a detailed understanding of how the Beach Boys’ sound developed over time. Included in these musical analyses is a discussion of instrument types and production styles, which also have an impact on the Beach Boys’ sound. Musical findings are contextualised with important socio-cultural considerations that also contribute to the Beach Boys’ sound, such as their home in Southern California, their complicated personal histories, their relationship to surf music, and the construction of their “California myth”. The combination of the musical, the social and the historical gives a cohesive understanding of the way they constructed their sound.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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19
Rataj-Worsnop, Victoria M. "An examination of the proposition that the International Baccalaureate Diploma might offer the best answer to contemporary questions about the curriculum for sixteen to nineteen." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364971.
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20
Gossman, Peter. "The development of key skills through General Certificate in Education (GCE) Advanced Level Geography coursework." Thesis, University of Huddersfield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368207.
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21
Hughes, Matthew. "The films of Kenneth Anger and the sixties politics of consciousness." Thesis, University of Westminster, 2011. https://westminsterresearch.westminster.ac.uk/item/8zy90/the-films-of-kenneth-anger-and-the-sixties-politics-of-consciousness.
Повний текст джерелаАнотація:
This thesis is an enquiry into avant-garde filmmaker Kenneth Anger’s stated impetus for aesthetic practice, in that his approach is characterised by a desire to elicit a ‘transformative’ response from the spectator: “I chose cinema as the mode of personal expression for its potential and capacity for disruption: it is the surest means to incite change.” This central animating principle of Anger’s practice has been fundamentally neglected in what little critical writing that already exists on his work. Whilst this intent is framed within an esoteric religious paradigm – the occult – my contention is that it must also be understood as part of a much wider socio-historical political process. I argue that as a personal friend of many within the Beat and psychedelic movements, Anger’s practice should be understood as part of the US countercultural drive to ‘revolutionise consciousness’. This aspiration was prompted by the widespread belief within the Sixties US counterculture that ‘normality’ was a state of implicit alienation, and that the undermining of standardised forms of subjectivity was necessary in order that a more authentic mode of existence be found; either as a prerequisite for wider structural change, or, as in the romantic psychedelic movement in which Anger was associated, as a qualifier for change in itself. This particular ‘politics of consciousness’ of the Sixties as propagated by a spiritually inflected, romantic anarchist strain in post-war US society was based upon the utopian belief that the transformation of individual consciousness was a method of facilitating widespread revolution. I see this aspiration as a utopian expression of the refrain ‘the personal is political’ that came to popular fruition in the Sixties, in which the consideration of one’s own life was a political concern in itself. In this politics of consciousness, the Sixties countercultural paradigm saw the idealised forms of subjectivity produced by post-war US capitalism as serial, standardised, and crucially, ‘inauthentic’; as something to be overcome, with aesthetic production playing a fundamental role in this process. I argue that Anger’s Sixties work must be read in much wider relation to the socio-political discourses of its time than has been previously afforded in what little critical writing on Anger’s work that exists to date.
22
West, Mark Peter. "Between times : 21st century American fiction and the long sixties." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5621/.
Повний текст джерелаАнотація:
This thesis examines conceptions of time and history in five American novels published between 1995 and 2012 which take as their subject matter events associated with the counterculture and New Left of the 1960s and 1970s. The thesis is organized around close readings of five novels. The first chapter focuses on Jennifer Egan’s The Invisible Circus (1995) and argues that it incorporates a number of problematic temporal experiences which have the effect of establishing a key tension of all the novels considered here: the concern with contextualizing and historicizing particular events and cultural atmospheres while remaining faithful to utopian ideas of radical change. Chapter two argues that Dana Spiotta’s Eat the Document (2006) is oriented both structurally and thematically towards a future in which the relationship between the 1960s and 1990s will more clearly understandable. The third chapter examines the way Christopher Sorrentino’s Trance (2005) explores the multiplicitous nature of historical narratives, and how he distinguishes between those narratives and a conception of the bare events beneath them. The focus of chapter four is Lauren Groff’s Arcadia (2012) and examines how conceptions of the relationship between humans and nature influence theories of time, mythic histories and post-apocalyptic narratives. The final chapter on David Foster Wallace’s The Pale King (2011) argues that the tension between continuation and change found in the conversion narrative is partly reconciled by a conception of time that allows the moment of radical utopian change (the moment of conversion) to be one of re-entrance into history. At stake throughout is the way these novels’ interpretation of particular events and larger cultural tendencies reveals and makes manifest various processes of historicization. I maintain a dual focus on the way these novels present historicization as something undertaken by individuals and societies and the ways in which these novels themselves not only engage in historicizations of the period but are in various ways self-conscious about doing so. If contemporary scholarship on the emergence of what has been called post-postmodern literature (Stephen J. Burn, Andrew Hoberek, Adam Kelly, Caren Irr) identifies a return to temporal concerns in recent fiction, the readings that comprise my thesis also make use of conceptions of time and history by Mark Currie, Jacques Derrida, Reinhold Niebuhr, Norman Mailer, Christopher Lasch, and Robert N. Bellah (among others) in order to ask: what are the particular material contours of the experiences of time and history manifested in these recent examples of the ‘sixties novel’?
23
Watkins, Shana. "Embracing the Took kinship between Middle Earth and Sixties youth /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1399/umi-uncg-1399.pdf.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Oct. 18, 2007). Directed by Hephzibah Roskelly; submitted to the Dept. of English. Includes bibliographical references (p. 73-75).
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Knight, Peter. "Plotting the sixties : the culture of conspiracy in the USA." Thesis, University of York, 1995. http://etheses.whiterose.ac.uk/14019/.
Повний текст джерелаАнотація:
This dissertation explores how the discourse of conspiracy shaped and was itself shaped by the cultural and political landscape of the USA during the 1960s. It focuses on the popular engagement with notions of conspiracy in four key areas, namely postmodernism, feminism, the counterculture, and gay rights. Broadly speaking, it traces the way those groups who had previously been the object of demonological scrutiny began in the sixties to tell conspiracy theories about those in power-and about each other. It is concerned with "plotting" both as a form of conspiratorial organisation, and as a narrative device. Through close readings of the poetics of conspiracy in both factual and fictional texts, this thesis aims to bring together "realist" and "symbolist" approaches to the "paranoid style" in American culture. It consists of four interrelated case studies, each of which examines key texts from around 1963, in conjunction with works from the 1990s which rethink the earlier representations. The first chapter explores how conspiracy theories have mounted a challenge not just to the official "lone gunman" version of the assassination of President Kennedy, but to the "authorised version" of the 1960s themselves. Through a reading of Don DeLillo's Libra (1988) and Oliver Stone's JFK (1992), I argue that narratives about the conspiratorial activities of the authorities have contributed to a crisis in the authority of narrative, making the Kennedy assassination both a symptom and a cause of a postmodern culture of paranoia. The second chapter considers the figuration of conspiracy in popular American feminist writing, from Betty Friedan' s The Feminine Mystique (1963) to Naomi Wolf's The Beauty Myth (1990). I argue that conspiracy tropes have functioned not only to link the personal and the political, but also to establish a series of implicit divisions within American feminism. The next chapter traces the emergence of a self-conscious engagement with the culture of conspiracy in the sixties through the career of Thomas Pynchon. I then examine what has happened to the conspiracy culture of the sixties, through an analysis of Vineland (1990). I argue that the earlier paranoid "depth" of secrecy has been flattened out by the proliferation of the signs of mass culture. The final chapter concentrates on the highly idiosyncratic paranoid fictions of William S. Burroughs. My aim is not so much to diagnose him as to locate his writings within postwar discourses of homosexuality, drug addiction and disease. I examine how his novels of the sixties rework the notion of paranoia as an externalisation of private fears by highlighting the internalisation and even the literal incorporation-of public surveillance. I then consider the possibilities and pitfalls of reading Burroughs in the light of the HIV/AIDS epidemic, and conversely, of reading his novels as a map of the contemporary culture of body panic.
25
Denton, Georgina. "Motherhood and protest in the United States since the sixties." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8270/.
Повний текст джерелаАнотація:
Focusing on Women Strike for Peace, the welfare rights struggle, the battle against busing and the anti-abortion movement, this thesis highlights the integral role ideologies of motherhood played in shaping women’s activism during the 1960s, 1970s and 1980s. In doing so, it challenges conventional understandings of maternalism, social protest since the sixties, and second-wave feminism in important ways. Indeed, the activists in this study, most of them mothers, many of them middle-aged, do not fit with popular images of the 1960s – centred, as they often are, on youth protests, student movements and a vibrant, colourful counterculture. Meanwhile, studies of mothers’ movements tend to focus disproportionately on white, middle-class women’s reform work during the early twentieth century, eliding maternalism with progressivism, the politics of respectability and nonviolence. However, by revealing the persistence of this political tradition into the 1960s and beyond, and exploring how motherhood was used by activists across the political spectrum during this turbulent era, this study underscores the flexibility, malleability and lasting appeal of maternalism. Within all of these movements, women shared a belief in motherhood as a mandate to activism and a source of political strength. But, as this thesis will show, they ultimately forged distinctive versions of maternalism that were based on their daily lives, and informed by an intersection of race, ethnicity, class, religion and local context. And as a result, there were important differences in the way these activists understood and deployed motherhood. The women in this study also combined more traditional forms of maternal protest with modes of activism popularised during the 1960s, employing direct action tactics to dramatise their maternal concerns in the public arena. Furthermore, some activists espoused a militant brand of maternalism that did not preclude the use of force if deemed necessary to protect their own or others’ children. Finally, although experiences varied widely, many of the women examined here were influenced by, engaged with, and contributed to the era’s burgeoning feminist movement. Thus, this study challenges the popular assumption that maternalist politics are inherently incompatible with women’s liberation – while also providing a vital reminder that second-wave feminism took multiple forms.
26
Beaumier, Casey Christopher. "For Richer, For Poorer: Jesuit Secondary Education in America and the Challenge of Elitism." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104064.
Повний текст джерелаАнотація:
Thesis advisor: James O'TooleIn the 1960s American Jesuit secondary school administrators struggled to resolve a profound tension within their institutions. The religious order's traditional educational aim dating back to the 1500s emphasized influence through contact with "important and public persons" in order that the Jesuits might in turn help direct cultures around the world to a more universal good. This historical foundation clashed sharply with what was emerging as the Jesuits' new emphasis on a preferential option for the poor. This dissertation argues that the greater cultural and religious changes of the 1960s posed a fundamental challenge to Catholic elite education in the United States. The competing visions of the Jesuits produced a crisis of identity, causing some Jesuit high schools either to collapse or reinvent themselves in the debate over whether Jesuit schools were for richer or for poorer Americans. The dissertation examines briefly the historical process that led to this crisis of identity, beginning with the contribution of Jesuit education to the Americanization of massive numbers of first and second-generation immigrant Catholics as they adjusted to life in America in the first half of the twentieth century. As Catholics adapted, increasingly sophisticated American Jesuit schools became instrumental in the formation of a Catholic elite, and many of the institutions found themselves among elite American schools. This elite identity was disrupted by two factors: the cultural volatility of the 1960s and the Jesuits' election of a new leader, Pedro Arrupe. While some Jesuit educators embraced Arrupe's preferential option for the poor, others feared it would undercut the traditional approach of outreach to the elite. Through a case study of one Jesuit boarding school, the dissertation seeks to expand our understanding of the impact of 1960s social change into the less-explored realms of religion and education
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: History
27
Barton, Adrienne. "Sixth Form." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2585.
Повний текст джерелаАнотація:
The ten stories in this short story collection explore the liminal spaces created by certain physical spaces as well as times in the characters’ lives. The stories are largely related to a school environment, and the relationships and experiences that are unique to the players living and moving within that context. How much are the relationships and actions of the characters influenced by the setting. What weight do institutional forces and tradition carry in the characters’ lives, and how do they exploit it for their own will or conform?
28
Santa, Maria Bouquet Jonathan. "Reconstructing a lute by Sixtus Rauwolf." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25738.
Повний текст джерелаАнотація:
The focus of this project is to reconstruct a lute as originally made by Sixtus Rauwolf. Rauwolf was a lute maker active in Augsburg from 1577 until ca.1625; only six of his lutes are known at the present time, and all of them have been altered to keep up with musical trends throughout the last four centuries. These six instruments encompass the entire extant corpus of the lute making tradition of the late Renaissance in Augsburg. The reconstruction of this lute strives to achieve a conceivable historical correctness. Yet, without any Rauwolf lute in original condition available, or any other lute made in the same city as a means of comparison, and due to the lack of tangible evidence of how he conceived and constructed his instruments, the enterprise of reconstructing an archetypical Rauwolf lute in its intended shape and style is essentially a combination of historical research and creative process. To understand Sixtus Rauwolf and his work, part of this research aimed to gather biographical, archival and published material, as well as an in-depth study of the documentation of the known extant lutes by Rauwolf held in public and private collections: The Metropolitan Museum of Art in New York, Musikmuseet in Copenhagen, The Fugger Museum in Babenhausen, Scenkonstmuseet in Stockholm, and two more in private collections in London. In addition, the research process is solidly based on a thorough study of the lute, its characteristics and construction, during the late Renaissance in Europe through printed music and treatises, iconography, and the extant lutes of that period. Nevertheless, none of these resources suffice individually; the separate pieces of information gathered through research underwent a cross examination, and the unanswered questions were solved by means of a creative process reliant also in lute-making experience and ergonomics. The final result of this project is materialized in the construction of a fully functional lute, as newly-made by Sixtus Rauwolf.
29
Garratt, Linda. "Subject choice and student perceptions of A-level courses." Thesis, University of Wolverhampton, 1991. http://hdl.handle.net/2436/90259.
Повний текст джерелаАнотація:
Despite a plethora of proposals and counterproposals, the framework of the A level system has remained largely unchanged for forty years. This study reviews the historical context of sixth form education and provides an insight into students' perceptions of A level courses in the late 1980s. It also examines the reasons behind students' choices of subjects for study at A level and students' subsequent satisfaction with their chosen courses. The variables which most strongly influenced students' choice of subjects for study were the subject's perceived interest value, previous success in the subject and its compatibility with other subjects chosen. Also important, in some subject areas, was the perceived career value of a subject and its necessity for higher education. The students began their A level courses with very positive perceptions. The overwhelming majority view was of students' confidence in their ability to cope and high expectation of their courses. Unfortunately this initial positivism was not sustained. As students progressed through the course an increasing proportion reported that A level work was boring and became more sceptical about the utility of A levels. This growing disillusionment was probably partly responsible for some of the dissatisfaction evident in this study, gauged partly in terms of drop-out rates. It is concluded that A levels in their present form do not seem to be meeting the needs of a proportion of those who are studying them.
30
Stone, Christopher D. "Fields of dreams the image of the sixties in American cinema /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3378382.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--Indiana University, Dept. of History, 2009.Title from PDF t.p. (viewed on Jul 7, 2010). Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 4018. Adviser: Bodnar E. John.
31
Clancy, Kim. "Shaping the sixties : the female body and British culture 1959-1967." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360579.
Повний текст джерела
32
May, Jay James. "Minor cinemas and the redevelopment of London in the long sixties." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/14309/.
Повний текст джерела
33
Von, Bothmer Bernard. "Blaming "The Sixties" the political use of an era, 1980-2004 /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3252774.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--Indiana University, Dept. of History, 2007.Title from PDF t.p. (viewed Nov. 18, 2008). Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0703. Adviser: Michael McGerr.
34
Rising, George Goodwin. "Stuck in the sixties: Conservatives and the legacies of the 1960s." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280496.
Повний текст джерелаАнотація:
This dissertation examines recent (post-1980) conservatives' views of the 1960s era and its legacies by analyzing the discourse of right-wing scholars, journalists, politicians, pundits, grassroots activists, and mass-media entertainment. The chapters are organized around conservatives' perceptions of emblematic 1960s individuals and movements and their legacies: John F. Kennedy and his presidential administration; Martin Luther King, Jr., and the civil rights movement; the Warren Court; the Great Society; the Vietnam War and the antiwar movement; and the New Left and the counterculture. While analyzing conservatives' views about these sixties' figures and movements, this dissertation advances several general arguments. First, most conservatives shared a rough consensus about what symbolized "the 1960s era" and its legacies. Second, they remained obsessed with the decade and its continued influence. Third, they viewed themselves as a countermovement to the sixties movement, focusing their agenda on reversing trends associated with the decade. Fourth, they disseminated a negative caricature of the era and its effects to justify their own agenda. Fifth, conservatives criticized emblematic 1960s movements and their legacies. For example, they denounced the Warren Court and the Great Society for using federal power to bolster "big government" and to inculcate "permissive" values; they condemned antiwar protestors and New Leftists for preaching "anti-Americanism"; and they charged the counterculture with promoting immoral behavior. However, this dissertation also argues that, ironically, the recent right emulated the 1960s left. For example, many neoconservatives appropriated the legacies of John F. Kennedy and Martin Luther King, Jr. Moreover, the recent right, like the sixties left, espoused rigid ideology, passionate conviction, and inflammatory rhetoric. Conservatives also copied sixties leftists' tactics. For example, pro-life activists used King's civil-disobedience strategy; conservative judges, like the Warren Court, made activist rulings; Republicans followed Great Society Democrats by employing federal power to implement their agenda; many conservatives sounded like Vietnam "peaceniks" when opposing President Clinton's use of military force; and some conservatives embraced trends associated with the "hippie" counterculture, including sexual promiscuity, homosexuality, drugs, rock music, and feminism. In sum, post-1980 conservatives' obsession with, and emulation of, the 1960s revealed that they remained "stuck in the sixties."
35
Olson, Ted. "Tennessee Ernie Ford’s 'Sixteen Tons'." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1133.
Повний текст джерелаАнотація:
Excerpt: In 1955, Tennessee Ernie Ford (born Ernest Jennings Ford on February 13, 1919, in Bristol, Tennessee) was an established recording star who could claim several major country hits as well as a few minor pop hits to his name.
36
Kamimura, Rodrigo. "Tecnologia, emancipação e consumo na arquitetura dos anos sessenta: Constant, Archigram, Archizoom e Superstudio." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/18/18142/tde-05012011-153250/.
Повний текст джерелаАнотація:
A presente dissertação aborda o pensamento arquitetônico europeu dos anos sessenta. Foca, particularmente, sobre a produção \"visionária\" do holandês Victor Nieuwenhuys (cujo pseudônimo era \"Constant\"), do grupo de arquitetos ingleses Archigram e dos grupos de arquitetos e designers italianos Archizoom e Superstudio. Analisa em que medida o avanço tecnológico e as novas teorias de informação/comunicação influem sobre tal arquitetura, produzindo uma hibridização entre conceitos advindos de diferentes esferas disciplinares. Avalia, como estudos de caso, alguns exemplos destas projeções: o projeto para a New Babylon, de Constant; a Plug-in City, de Archigram; o Monumento Continuo, de Superstudio; e a No-Stop City, de Archizoom; e como estas articulam a busca por emancipação social e/ou coletiva e as implicações do projeto arquitetônico com a crescente afirmação de uma sociedade de massas orientada para o consumo. Indaga, finalmente, sobre como estas propostas de cidades - ou não-cidades - ficcionais relacionam-se com as transformações sociais, políticas e econômicas em curso, quais as suas implicações em relação ao panorama histórico no qual se situam e que tipo de contribuição trazem para o debate acerca dos problemas das cidades reais.The following thesis approaches European sixties\' architectural thinking. It focuses particularly on the \"visionary\" production of Dutch Victor Nieuwenhuys (whose pseudonym was \"Constant\"), English group of architects Archigram and Italian groups of architects and designers Archizoom and Superstudio. It analyses in which point technological advance and new information/communication theories act on such architecture, producing a hybridization among concepts coming from different disciplinary fields. It evaluates, as case studies, some examples of those projections: Constant\'s project for New Babylon; Archigram\'s Plug-in City; Superstudio\'s Continuous Monument; and Archizoom\'s No-Stop City; and how they articulate the search for social and/or individual emancipation and architectural project\'s implications with the increasing affirmation of a consumption-oriented mass society. Finally, it inquiries how these proposals of fictional cities - or non-cities - relate themselves to the ongoing social, political and economic transformations, what are their implications in relation to the historic moment where they are situated and what kind of contribution they bring to the debate over real cities.
37
Tan, Sisman Gulcin. "Sixth Grade Students." Phd thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12612004/index.pdf.
Повний текст джерелаАнотація:
The purpose of this study was to investigate sixth grade students&rsquoconceptual and procedural knowledge and word problem solving skills in the domain of length, area, and volume measurement with respect to gender, previous mathematics achievement, and use of materials. Through the Conceptual Knowledge test (CKT), the Procedural Knowledge Test (PKT), and the Word Problems test (WPT) and the Student Questionnaire, the data were collected from 445 sixth grade students attending public schools located in four different main districts of Ankara. Both descriptive and inferential statistics techniques (MANOVA) were used for the data analysis. The results indicated that the students performed relatively poor in each test. The lowest mean scores were observed in the WPT, then CKT, and PKT respectively. The questions involving length measurement had higher mean scores than area and volume measurement questions in all tests. Additionally, the results highlighted a significant relationship not only between the tests but also between the domains of measurement with a strong and positive correlation. According to the findings, whereas the overall performances of students on the tests significantly differed according to previous mathematics achievement level, gender did not affect the students&rsquo
performance on the tests. Moreover, a wide range of mistakes were found from students&rsquo
written responses to the length, area, and volume questions in the tests. Besides, the results indicated that use of materials in teaching and learning measurement was quite seldom and either low or non-significant relationship between the use of materials and the students&rsquo
performance was observed.
38
Chak, Winnie. "The Sixth Try." Chapman University Digital Commons, 2020. https://digitalcommons.chapman.edu/creative_writing_theses/5.
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Jenß, Heike. "Sixties dress only : Mode und Konsum in der Retro-Szene der Mods." Frankfurt am Main [u.a.] Campus-Verl, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=016136540&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
Повний текст джерела
40
Embry, Alana. "Amending the American flag artistic liberties in the nineteen sixties and seventies /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6070.
Повний текст джерелаАнотація:
Thesis (M. A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 13, 2009) "Student withdrew illustrations" Includes bibliographical references.
41
LaPlante, Susan Smith. "Factors Influencing Grade Six Students' Perceptions of Teachers." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/LaPlanteSS2003.pdf.
Повний текст джерела
42
Hemsley-Brown, Jane. "Marketing post-sixteen colleges : a qualitative and quantitative study of pupils' choice of post sixteen institution." Thesis, University of Southampton, 1996. https://eprints.soton.ac.uk/192399/.
Повний текст джерелаАнотація:
The thesis concentrates on both the supply and the demand sides of the post sixteen education market place. On the supply side, the study examines four key issues - responses to competition; changes in the performance of colleges; the effect of the market on social inequality; and the possibility of bias and manipulation in marketing information. Firstly, on the supply side, the marketing undertaken by one sixth form college is examined alongside quantitative data from college records, (retained over a period of twelve years.) Data are analysed to determine patterns and trends in the profiles and qualifications of students entering the college throughout the period when a niche marketing strategy was emerging. On the demand side, qualitative research data were collected through a series of interviews with twenty five fourteen to sixteen year olds, in a multisite study. Analysis concentrates on the decision making processes and strategies emerging during the period when students selected among post sixteen colleges. The study concludes that firstly, the potential to manipulate information about colleges is increased in a culture of markets and competition. Colleges need to evaluate and gain feedback on the success of promotional communications through marketing research, to monitor the development of the college's reputation, as well as to identify new markets. Secondly, markets have the potential to allocate resources by socioeconomic class. Colleges seeking to reduce inequalities in post sixteen education and training need to ensure that a number of niche markets are identified, appropriate to local need and labour market conditions, to accommodate a range of decision makers in the market. Thirdly, the findings suggest that sixteen year olds are rarely able to give coherent reasons for selecting colleges until they are exposed to the marketing and promotional information provided by colleges. The findings emphasise the importance of effective promotion and public relations, to ensure that positive and accurate marketing information is entering the marketing and choice cycle. Finally, a 'Typology of Decision Makers' is developed to summarise the decision making behaviour of sixteen year olds. The study concludes with a 'Marketing, Choice and Communications Input-Output Model', which highlights the significance of 'psychological defence mechanisms', and reinforcement strategies', in the decision making processes employed by sixteen year olds when selecting among post sixteen colleges.
43
Green, Tank. "Digging at roots and tugging at branches : Christians and 'race relations' in the sixties." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/24915.
Повний текст джерелаАнотація:
This thesis is a study of the ‘race relations’ work of Christians in the sixties in England, with specific reference to a Methodist church in Notting Hill, London. As such, it is also a study of English racisms: how they were fought against and how they were denied and facilitated. Additionally, the thesis pays attention to the interface of ‘religion’ and politics and the radical restatement of Christianity in the sixties. Despite a preponderance of sociological literature on 'race relations' and 'religion' in England, there has been a dearth of historical studies of either area in the post-war period. Therefore, this thesis is an important revision to the existing historiography in that it adds flesh to the bones of the story of post-war Christian involvement in the politics of 'race', and gives further texture and detail to the history of racism, 'race relations', and anti-racist struggles in England. Moreover, the thesis implicitly challenges the received wisdom of the decline of the churches in the sixties and shows an active engagement of Christians with politics. Using a wide range of private and public archives and interviews, the thesis takes a micro-study of the Notting Hill Methodist Church and places it within its wider contexts: how English Christians approached 'race' and 'race relations', what kinds of racialised political engagements existed in Notting Hill, and what kinds of racisms were expressed in England. The contextualised and detailed micro-study has enabled the thesis to capture the texture and depth which is needed to better understand 'race' and 'race relations' in post-war England. In doing so, the thesis sheds detailed light on some active 'civil rights' struggles in England and therefore challenges the received wisdom which views these struggles as being an American rather than an English (or British) story.
44
Fee, Margery. "Upsetting Fake Ideas: Jeannette Armstrong's Slash and Beatrice Culleton's April Raintree." Canadian Literature, 1990. http://hdl.handle.net/2429/11685.
Повний текст джерелаАнотація:
Both novels expose the "fake idea" that Aboriginal people in Canada can freely choose their identities. The dominant discourse forces a choice on them: assimilate or vanish. Those who refuse the choice face harsh racism. In April Raintree, April assimilates and her sister commits suicide; both "choices" forced on them by racism. In Slash, the hero realizes that it is crucial to retain his identity as an Okanagan person rather than to exhaust himself as an activist. Both novels end with a baby who will be raised in the traditions of his culture. Activism is seen as a dangerous choice for those too young to understand their identity.
45
Krikliwy, Christine Margarita. "The Environmental Web of Social Aggression/Victimization in Sixth Grade." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145447.
Повний текст джерелаАнотація:
Aggression/victimization in school is a problem that is associated with internalizing and externalizing behaviors which may develop into long term emotional problems for the child.Sixth grade is a transitional period in a child's life, whereby a child experiences hormonal changes, enters a new school and establishes social status. Depending on the child's emotional well-being, these are antecedents that are related to experiencing aggression/victimization. Children develop within a context. Within this context there are parents, adults, siblings, peersand teachers whereby the child learns behaviors through proximal and distal interactions which may impact the child's life either positively or negatively. Within this context the child developsresilience, which is a protective factor that enables the child to "bounce back" from negative situations. The goal of this study is to establish a connection between the environment in which achild develops and the impact emotional well-being, peers and adults have on a child in relation to experiencing aggression and ultimately becoming a victim. The findings indicate that childrenwho suffer from emotional distress are more likely to become victims and children who have supportive adults in their lives are less likely to become victims. Overall, emotional distressplays a negative role and resilience plays a positive and protective role in a child's life. This outcome suggests that prevention/interventions should be created whereby a child has more supportive adults in their lives creating a resilient environment.
46
Snell, Justin Madoc. "Roma Felix : Rome of Sixtus V." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615914.
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47
Morisset, Vanessa. "Peinture et cinéma dans l'oeuvre de Mimmo Rotella autour de 1960." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAH037/document.
Повний текст джерелаАнотація:
Depuis son invention, le cinéma a bouleversé la culture, au point que, de manière récurrente, des études s'interrogent sur l'influence qu'il a eue dans la pensée d'éminents intellectuels, par exemple Michel Foucault ou Erwin Panofsky. Mais qu'en est-il de l'influence du cinéma dans le travail des artistes ? Mimmo Rotella (1918-2006), peintre d'origine calalabraise installé après-guerre à Rome, spectateur assidu et passionné de cinéma, évoque un grand nombre de films dans un corpus d'œuvres réalisées autour de 1960 : des tableaux à base d'affiches de cinéma, de genres essentiellement populaires, décollées dans les rues. Ainsi, dans le contexte de l'apogée des studios de Cincecittà et d'un pic de fréquentation des salles obscures jamais égalé en Europe, l'articulation de la peinture et du cinéma prend à ce moment précis de sa pratique une tournure singulière qui exprime l'élargissement de l'art à des références inattendues. Mais, ce faisant, ses œuvres ne risqueraient-elles pas de n'être que le symptôme d'une pratique culturelle naissante, jonglant avec des références tantôt cultivées tantôt populaires, que plus tard Hal Foster nomme l'indistinction ou Richard Peterson l'omnivorité, ou incarnent-t-elles une réelle démocratisation de l'art ?Articulées autour du moment fort que constitue l'exposition monographique intitulée Cinecittà en 1962, les différentes parties de la thèse éclairent les aspects du travail de l'artiste qui introduisent le cinéma dans le champ de l'art. Deux bornes chronologiques, un voyage aux États-Unis qui le détourne de la peinture en 1952-53 et un séjour en prison en 1964 qui lui fait fuir l'Italie, l'éloigne du milieu romain et le coupe de la suite du déroulement de l'art italien, sont déterminantes pour la nature et le contenu du corpus d'œuvres étudiées.C'est tout d'abord l'arrière plan social et culturel comme contexte d'émergence du geste artistique Rotella qui est brossé. Ensuite, est opérée une caractérisation précise des films choisis à travers les affiches afin de développer la réflexion sur l'intrusion du cinéma populaire dans l'art. Puis, dans la partie centrale, l'exposition Cinecittà est étudiée depuis sa conception jusqu'à sa réception. La suite de la thèse analyse les conséquences de cette exposition dans l'œuvre de l'artiste qui se tourne vers des films plus reconnus qu'aux débuts, notamment en s'attachant de plus en plus aux figures de stars : un autre aspect de la culture populaire émanant du cinéma s'invite alors dans le milieu de l'art, le phénomène sociologique du fan. Mais étrangement, peu de référence sont faites au cinéma italien qui vit son âge d'or au même moment, ce dernier constat ouvrant une réflexion sur la cinéphilie confrontée à la conception de « l'homme ordinaire du cinéma » selon l'expression de Jean-Louis Schefer.Ponctué par des images qui apparaissent en tête de partie et de chapitre, le texte du volume 1 évoque les œuvres et les décrit, avec des renvois à un ensemble de planches en annexe dans le volume 2. Ces incursions iconographiques rappellent combien les oeuvres sont à la source de l'ensemble de la thèse.Ainsi, le corpus étudié est le point de départ d'une réflexion sur la manière dont le cinéma et la culture médiatique se sont introduit dans l'art italien des années 1950-1960, tout en débordant ce cadre : il permet de penser comment, depuis cette époque jusqu'à aujourd'hui, certaines références médiatiques constituent le socle d'une culture commune entre le public et les artistesSince its invention, cinema has transformed culture, to the point that studies have recurrently questioned the influence it has had on the thinking of prominent intellectuals, for example on Michel Foucault or Erwin Panofsky. But what of the influence of cinema in the work of artists? Mimmo Rotella (1918-2006), a painter from Calalabria who settled in post-war Rome, and an avid filmgoer with a passion for cinema, evokes a large number of films in a corpus of works produced around 1960: canvases based on movie posters, mostly of popular genres, torn off the city walls. Thus, at this precise time, in the context of the glory years of the Cincecittà studios and a peak of cinema attendance unequalled in Europe, the relationship between painting and cinema took a particular turn, reflecting a broadening of the art to unexpected references. But in embracing cinema, were Rotella's works not in danger of merely being a symptom of an emerging cultural practice, juggling sometimes cultivated and sometimes popular references, something which Hal Foster would later dub nobrow or Richard Peterson omnivorousness, or do they represent a genuine democratisation of art?Articulated around the high point of the 1962 monographic exhibition entitled Cinecittà, the various sections of the thesis illuminate aspects of the work of the artist who introduced cinema into the field of art. Two moments in time – a trip to the United States that diverted Rotella from painting in 1952-53 and a prison stay in 1964 that caused him to flee Italy, distancing him from the Roman scene and subsequently cutting him off from what was happening in Italian art – are critical to the nature and the content of the corpus of works studied.We begin by considering the social and cultural context in which Rotella's artistic act emerged. We then undertake a precise characterisation of the films he chose through the posters to analyse popular cinema's intrusion into art. Then, in the central part, the Cinecittà exhibition is studied from its conception to its reception. The thesis subsequently examines the consequences of this exhibition in the work of the artist, who begins to turn to more recognized films, for example by focusing increasingly on stars. Another aspect of popular culture stemming from cinema then enters the art world, the sociological phenomenon of the fan, although, strangely, no reference is made to Italian cinema, which in that very period was enjoying its golden age. This leads to a reflection on the love of cinema confronted with the conception of “the common man of cinema” as Jean-Louis Schefer puts it.Interspersed with images that appear at the head of the parts and chapters of the thesis, the text of volume 1 discusses the works and describes them with reference to a set of plates in the appendix in volume 2. These incursions into the iconography recall that the works are the source of the entire thesis.Thus the corpus studied is the starting point for a reflection on the way film and media culture were introduced into the Italian art of the 1950s-1960s, while extending beyond this context: it points to how, from that time to the present day, certain media references have constituted the foundation of a common culture shared by the public and artists
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Sandifer, Joseph McNeill. "The factorial validity of Cattell's 16 personality factor questionnaire as a measure of personality in middle and lower socioeconomic status individuals." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/29386.
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Morgan, David. "Shooting the arrow/stroking the arrow : post-sixties Maoism in the United States." Thesis, University of Newcastle Upon Tyne, 2010. http://hdl.handle.net/10443/934.
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Shooting the Arrow/Stroking the Arrow is a fictional documentary made up of two parts. The first part, Shooting the Arrow, is an autobiographical novel based on the author’s experience as a Maoist activist in Seattle in the 1970s and early 1980s. The story begins at the end, in 1981, when Fred, who has by now dropped out of the Party to become a writer, travels down to Los Angeles to investigate the police murder of Damian Garcia, a local Maoist activist. Los Angeles is a city of danger and diversity. Twenty percent of the population is foreign born, and much of the city is broken up into barrios and ghettos, where the police presence has the flavor of an army of occupation in a country like Vietnam. The interviews that Fred conducts show the high stakes and set an international context for the rest of the novel. The narrative then returns to the beginning of the story in 1971, when Fred first joins the Party. It follows Fred’s personal and family life, his life inside the Party and the Party’s political work in the shipyards, factories and on the streets. The narrative is episodic, similar in form to Brecht’s epic theatre, leaping to key personal and political conjunctures in Fred’s life, only this being a novel rather than a play, the conjunctures are not presented as single events, but as narrative units. The novel tells the story of what happened to an influential section of the Sixties movement that has largely been written out of the historical accounts, especially in the United States. Neither flower children nor mad bombers, these were activists who became hard core revolutionaries and tried to bring their revolutionary ideas back into the working class from which many of them had come. Stroking the Arrow is a study of the Maoist conception of dialectical materialism that forms the core philosophy of the main characters in the novel. I argue that Maoist dialectics is simply the further development of the process – begun by Marx and Engels and continued by Lenin – of stripping Hegelian dialectics of its teleological framework. The only universal law of Maoist dialectics is the unity and struggle of opposites: the contradiction in all things between the new and arising versus the old and dying away. As such, dialectics is a working tool, and its only ontological implication is that everything changes. Mao is the first in the tradition of Scientific Marxism to explicitly reject the universality of the law of negation of the negation with its teleological implications. History is a process without an absolute subject, but it is not a process without subjects of any kind. Rather, there is a unity of opposites between determinism and agency. Freedom does not lie in the suspension of causality, but in understanding and being able to consciously manipulate causal relations. The individual – or group – becomes a subject to the extent that it is able to consciously step outside the situation that created it. No matter how big the situation, there is always an outside. The object of Marxist political activism is to enable the working class to step outside the process that created it and become the subject of history, rather than its victim.
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Bukszpan, David Bukszpan. "The Sixty-Story Man." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu152336391107495.
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