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Berglund, Jeffrey Duane. „Cannibal fictions in U.S. popular culture and literature /“. The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935573771863.
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Wang, Yi. „From revolutionary culture to popular culture: Chinese literature and television 1987-1991“. Thesis, Wang, Yi (1996) From revolutionary culture to popular culture: Chinese literature and television 1987-1991. PhD thesis, Murdoch University, 1996. https://researchrepository.murdoch.edu.au/id/eprint/50714/.
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For over forty years since 1949, the People's Republic of China adapted to a unified and homogeneous "revolutionary cultural" identity that was deeply inscribed with communism and socialist ideals, which was located in a fixed relationship to the culture of the past and the culture of the West. The emergence of an elite culture in the 1980s and then a popular culture in the 1990s were significant historical breakthroughs. It not only highlighted the changes in the co-existence of different cultural domains but also, more significantly, provided sites for new discourses of elite culture and popular culture.
This study argues that China's cultural identity has become an arena of multiple identities rather than a singular subjectivity. In terms of contemporary cultural value and authority, and their relation to social power, there are at least three distinct cultural spheres representing different cultural forces in the national community: elite culture, popular culture and official culture. This new division in the contemporary cultural field not only deconstructs the powerful single, unified "revolutionary Chinese culture", but also reflects and generates conflicts of value and belief as between the Chinese authorities, intellectuals and ordinary people; more than that, it urges a renegotiation of contemporary Chinese cultural (and national) identity and China's official cultural policy.
Therefore, whether the blend of the three cultures - elite culture, popular culture and official culture - can co-exist harmoniously in future with an encroaching "Western" and "modern" culture is a question with no answer yet. It is possible that if the open policy and reforms of the past decade which have made possible such a variety of China's cultural life continue, China, facing the age of popular culture in the 21st century, will gradually move towards the global order of communication, towards cultural heterogeneity, if not fragmentation.
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Potamitis, Ann. „Verbal modes of popular culture in ancient Greek literature“. Thesis, King's College London (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633114.
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Lam, King-sau, und 林勁秀. „Wang Shuo's fiction and popular culture“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35319161.
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Su, Genxing. „The seduction of culture: Representation and self-fashioning in Anglo-American popular culture“. Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290379.
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One important means by which a society maintains and reproduces its dominant ideology is through cultural seductions. By creating in its viewers/readers a good feeling about themselves and the world they live in, popular culture entices individuals into approving of, supporting and embracing the dominant social, political and economic orders of our world. What Louis Althusser calls ideological "interpellation," therefore, is frequently a form of seduction involving the use of sweeteners that render certain values, beliefs and social positions enticing and attractive. Among such seducers are money, women (sexual pleasure), fear, an illusion of power and the semblance of dissent/rebelliousness, many of which are, or are generated by the representation of, the cultural and political "others" of the West. At the same time, the reproduction and maintenance of the dominant orders in the West, to which these "others" make no insignificant contributions, ultimately reinforce their subordinate and underprivileged statuses. Driving such illusion-based ideological seductions are capitalism and its colossal culture industry--a symbol of the postmodern convergence of the cultural, ideological and the economic--whose insatiable desire for profit casts the "others" of the West into the vicious circle of mis-representation and domination.
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Curran, Kieran. „Cynic sensibility in British popular literature and culture, 1950 to 1987“. Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9494.
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In my thesis, I focus on delineating 'The Cynic Sensibility' in British Popular Literature and Culture (1950-1987). Focusing primarily on literature and music (and, to a lesser extent, cinema/television), this works seeks to write a cultural history through analysing cultural texts. The sensibility has three key characteristics: I) it is a Bohemian sensibility; ii) it is apolitical, in that it does not endorse any political alternative to the status quo at any given time, and iii) it is popular, and exists across traditional high/low cultural lines. Connected to this last point is a tendency to oppose stylistic Modernism and its attendant obscurities. Underpinning my thesis are the work of the philosopher Peter Sloterdijk on cynicism as a philosophical phenomenon, and the cultural theory of Raymond Williams. Using this approach, I seek to not only connect spheres of culture which hitherto have been kept separate, but to provide a different insight into 20th century British cultural history.
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Litherland, Kate. „Pulp : youth language, popular culture and literature in 1990s Italian fiction“. Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/31136.
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In this thesis I analyse a selection of Italian pulp fiction from the 1990s. My approach combines sociolinguistics and literary criticism, and uses textual analysis to show how this writing fuses influences from contemporary youth cultures and languages, and Italian literary tradition. The key themes of my analysis are pulp's multifaceted relationships with Anglophone culture, in particular punk music, its links to previous generations of Italian authors and intellectuals, and its engagement with contemporary Italian social issues. In Chapter 1, I review the existing literature on 1990s Italian pulp. Following on from this, I outline how a primarily linguistic approach allows me to consider a selection of authors, such as Rossana Campo, Silvia Ballestra, Aldo Nove, Enrico Brizzi and Isabella Santacroce, from a unifying perspective, and how this approach offers a means of considering the varied but contemporary perspectives on Italian culture, society, politics and literature offered by this group of writers. In Chapter 2, I show how pulp authors construct their linguistic style on the basis of spoken youth language varieties, and consider their motivations for doing so. Chapter 3 traces the literary precedents for this use of language, using comparative textual analysis to examine the nature of the relationships between pulp and American literature, and late twentieth century Italian fiction by Arbasino, Tondelli and Pasolini, in order to question some of the myths surrounding the literary sources of pulp. Chapter 4 deals with the relationship between pulp and popular culture, contrasting the notion of popular culture presented in this fiction to that proposed by earlier generations of Italian intellectuals, and discussing the theoretical perspectives that this reveals. Finally, I debate the extent to which pulps often disturbing and controversial subject matter reflects an attempt to deal with ethical issues, and consider pulp's success in achieving these aims.
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Moreira, Alam Félix dos Santos. „A Materialização do universo-cordel no palco: imagem, tema e verso no espetáculo Os ovos de Militão“. Escola de Teatro, 2015. http://repositorio.ufba.br/ri/handle/ri/27043.
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RESUMO Nesta dissertação, são desenvolvidas considerações acerca da tríade – imagem, tema e verso, para explorar os conceitos geradores da teoria sobre as representações das matrizes estéticas encontradas no folheto da literatura popular em versos – denominada como Universo-Cordel. Uma encenação do grupo teatral rebanho de atores, no caso Os Ovos de Militão, é analisada, em seus aspectos artísticos, cênicos e dramatúrgicos, tendo como ponto de partida os elementos estéticos do universo-cordel. Aspectos históricos da literatura popular são abordados, bem como conceitos e classificações. Alguns autores são utilizados como fundamentação teórica, a exemplo de Néstor García Canclini (2011), Joseph Maria Luyten (2005), Idelette Muzart-Fonseca dos Santos (2006; 1999), Franklin Maxado (1982), Ivan Cavalcante Proença (1982), Sebastião Nunes Batista (1977), Manoel Cavalcanti Proença (1964), Luiz da Câmara Cascudo (2001; 1953; 2005; 1982; 2000) e Anatol Rosenfeld (2002). Uma trajetória histórica e o perfil artístico do grupo rebanho de atores também são traçados no decorrer desta dissertação.
ABSTRACT In this dissertation, considerations are developed on the triad: image, theme and verse, to explore the operative concepts of the theory of representations of aesthetic matrices found in the booklet of popular literature in verse, called as Universe-Cordel. A staging of the herd theater group of rebanho de atores, in case Os Ovos de Militão, in its artistic aspects, scenic and dramaturgical taking as its starting point the aesthetic elements of the universe-cordel. Historical aspects of popular literature are discussed, as well as concepts and classification. Some authors are used as theoretical basis, like Néstor García Canclini (2011), Joseph Maria Luyten (2005), Idelette Muzart-Fonseca dos Santos (2006 and 1999), Franklin Maxado (1982), Ivan Cavalcante Proenca (1982) Sebastião Nunes Batista (1977), Manoel Cavalcanti Proenca (1964), Luiz da Câmara Cascudo (2001; 1953; 2005; 1982; 2000) and Anatol Rosenfeld (2002). Also, a historical trajectory and the artistic profile of the herd group rebanho de atores are traced in the discourse of the dissertation.
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Tait, Lisa Olsen. „Mormon Culture Meets Popular Fiction: Susa Young Gates and the Cultural Work of Home Literature“. Diss., CLICK HERE for online access, 1998. http://patriot.lib.byu.edu/u?/MTNZ,25499.
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Seiler, Sascha. „"Das einfache wahre Abschreiben der Welt" : Pop-Diskurse in der deutschen Literatur nach 1960 /“. Göttingen : Vandenhoeck & Ruprecht, 2006. http://www.gbv.de/dms/bs/toc/516032682.pdf.
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Foster, Anna Louise. „Remaking English in secondary schools, crossing boundaries between literature and popular culture“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ45484.pdf.
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Brigham, Ann Elizabeth. „Popular attractions: Tourism, heterosexuality, and sites of American culture“. Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284560.
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"Popular Attractions: Tourism, Heterosexuality, and Sites of American Culture" investigates the serious business of pleasure, analyzing the circuits of desire that link stories of tourism and heterosexuality. I assert that the core impulses of tourism persistently shape American identity. Though the technology changes, the story perseveres: subjects leave the familiar behind in order to find themselves elsewhere. Quite simply, they ground themselves through movement. Tracing protagonists' upward and outward movements, I argue that the preservation of the American myth of mobility requires multiple conquests--geographical, cultural, sexual, ethno-racial, and economic. Examining literary narratives and tourist trends from the nineteenth- and twentieth-centuries, I suggest how a changing rhetoric of productivity anchors and threatens the parameters of pleasure. As the erotics of sightseeing dovetail with those of heterosexual romance, a twinned desire for defamiliarization and domestication emerges. The subject simultaneously yearns for mobility and placement. I conclude that the narrative patterns of fiction, film, and popular tourist sites generate and capitalize on the queasiness produced by this dual desire. As feminist geographer Doreen Massey has noted, social relations "necessarily have a spatial form" (120). The narratives of geographical movement I discuss romance the possibility of new social intimacies with ambivalent results, as indicated by the repeated erasure, revision, and defense of multiple boundaries. In the introduction I analyze Lynne Tillman's novel Motion Sickness to challenge the assumption that the objectives of tourism and heterosexuality are to produce and maintain a self different from an other. Indeed, while sightseeing and heterosexual seduction both promise the pleasures of inhabiting an other's locale, they also expose the impossibility of defining differences between familiar and foreign. Considering these issues in works by Henry James, Sinclair Lewis, Stephen Spielberg, Jamaica Kincaid, Leslie Silko, and Lynne Tillman, and the tourist destinations represented in them, succeeding chapters analyze the reassuring and continuous constructions of binaries like home/away, distance/intimacy, and familiar/strange, illuminating their instability by revealing how they become blurred, contradictory, or representative of seemingly disparate concerns.
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Ransdell, Diane Renee. „A cultural approach to ESL composition: Using popular culture to teach rhetorical conventions“. Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289200.
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For English as a Second Language students, learning to write academically effective essays is an immense challenge because the students must obey linguistic conventions, write for an unfamiliar audience, and employ rhetorical strategies that the audience expects. In composition programs the special challenges that ESL students face are sometimes overlooked. In this dissertation I provide a rationale for developing ESL composition programs and concrete strategies for doing so. To account for, understand, and accommodate rhetorical expectations for American academic audiences, ESL students need information that acts as an interface between conventions in their countries and the conventions American academic readers expect. The study of popular culture allows ESL students to develop such information by helping them decipher aspects of the culture they are living in. Popular culture texts reflect everyday uses of language and commonly held views because they are produced for general American audiences. They reflect widely accepted rhetorical strategies because audiences demand that texts be written according to their expectations. The process of studying popular culture is liberating for ESL students because it integrates learning about academic essay writing with broader cultural concerns. I concentrate on three genres of popular culture texts: ads, because their use of rhetorical appeals is so clear and because their content suggests American values; formula fictions, because they portray popular role models and follow readers' expectations; and news articles, which show examples of discursive domains and structural conventions. I also make suggestions for using contrastive analyses to help students perceive differences and similarities in cultural expectations, and I demonstrate partial results through research and samples from student writing. By incorporating popular culture texts into the ESL composition curriculum, we help students learn to communicate their ideas in practical, accessible ways. It is by actively targeting American culture as a focus of study and helping students develop tools to analyze popular culture materials on their own that we can make effective changes in composition programs for ESL students.
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Cervelli, Filippo. „Ima deshō : the vacuum of immediacy in contemporary Japanese literature and popular culture“. Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:521d5f5e-d34d-454a-b622-a0454783cf80.
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The value of literature in the contemporary age is a controversial issue. The challenge posed by the interpretation of this era is expressed by the provocative remarks of critics such as Karatani Kōjin and Suzuki Sadami maintaining that after the 80s modern "pure" literature died (History and Repetition, 2012; The Concept of "Literature" in Japan, 2006). Reading Karatani and Suzuki's comments as merely provocative, signifying that a form of literature has died, this study enquires into how literature (and the arts) have changed and found new ways of expression after the historical break of 1989. The dissertation offers immediacy as a possible answer. Immediacy is a theme, a literary device stressing the present moment submerging clear notions of past and present. The precondition for immediacy is an ideological vacuum, experienced by characters across age groups and genders, where they do not share social ideologies or collective purposes. In this isolation, they concentrate only on their local realities, on what they perceive directly (physically and emotionally), acting quickly and repeatedly in the absence of critical thought. The constant action is often carried out in response to corporeal stimuli, specifically violence and sex, that grant immediate gratification in the vacuum. However, at the core characters indulging in immediacy long for inter-personal connections. Building a community based on critical thought and mutual understanding is the solution to escape from immediacy. The dissertation explores manifestations of immediacy in contemporary Japanese literature and popular culture (manga and anime) published or broadcast between 1995 and 2011. Through the analyses of cultural theories, literature by Takahashi Genichirō, Taguchi Randy and Hirano Keiichirō, and influential works in manga and anime (Neon Genesis Evangelion, Psycho-Pass and Shingeki no kyojin), it shows the theme's relevance and discusses how it contributes to the broader fields of contemporary Japanese literature and popular culture. By doing so, the dissertation also provides a study of the current artistic panorama in Japan, one that is often neglected critically, but that speaks of its culture with great force and imagination.
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Chaney, David Christopher. „Spectacular drama in urban entertainment : the dramatisation of community in popular culture“. Thesis, Durham University, 1985. http://etheses.dur.ac.uk/10497/.
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This is a study of some of the many types of entertainment that have been called spectacular, of the cultural significance of certain conventions in ways of transforming space and identity. Forms of spectacular drama both require and celebrate urban social relations, they constitute essential parts of the popular cultural landscape. They display an idealisation of ways of picturing collective experience. Although I note continuities in forms of spectacular drama through different eras, it is differences in the ways in which our sense of collective life or community is experienced and expressed that provide for very different understandings of forms of spectacular display. I describe and discuss forms of spectacular drama in the fifteenth, nineteenth and twentieth centuries. I have chosen the fifteenth century as it was a period when there was a flourishing range of dramatic entertainment but no theatres. The principal features of the culture that I stress are the looseness of the dramatic frame. In contrast, the nineteenth century is a period of both urban expansion and theatrical supremacy. In the course of the century the population became urbanised and the growing cities became spectacular stages for new forms of social experience. I describe a broad framework of popular entertainment which provided many forms of spectacular experience, but concentrate upon the theatrical form of melodrama and forms of pictorial realism. In the chapter on the twentieth century I am principally concerned with the implications of processes of massification - both of society and culture. I argue that the democratic individualism of consumer culture and mass leisure has made the vocabulary of identity and community peculiarly problematic. The theme is that spectacular drama in contemporary culture has become more insistent and more public and yet our participation and response has been increasingly privatised.
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Stepanek, Ellyn M. „Pop-culture artifacts“. Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1209741511.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on July 11, 2008). Includes bibliographical references (p. 43-44). Available online via the OhioLINK ETD Center. Also available in print.
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Lam, King-sau. „Wang Shuo's fiction and popular culture Wang Shuo xiao shuo yu da zhong wen hua /“. Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35319161.
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Dabbs, Ashlie C. „The Invisibility of “Second Sight”: Double Consciousness in American Literature and Popular Culture“. Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1319390310.
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Glover, Stuart. „Literature and cultural policy studies /“. [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19342.pdf.
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Define, Lynn Dorsey. „Popular Culture, Thomas Beer, and the Making of "The Sound and the Fury"“. W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625894.
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Egerton, Jacqueline Linda. „Beyond the sentiment : the image of Victorian motherhood in literature, art and popular culture“. Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273194.
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Lemieux, Amélie. „Understanding literature through popular culture: a case study of senior high school students' evolving responses to Québec literature“. Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119587.
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Francophone Quebec, as a minority culture in North America, needs to pay attention to and celebrate not only what makes it different within the North American context, but also what it shares. Literature, as a branch of the arts, takes the pulse of the society that it represents. In this regard, American novelist Richard Ford (2011) states that literature "realigns conventional wisdom" all the while improving its literacy levels. Apart from functioning as an effective instrument of education (Carroll, 2002), literature is also the means through which language skills are most often taught in Quebec's French classes. Regrettably, the province of Quebec has more people with low literacy than the national average, which results in a weak foundation for future learning, including formal learning at the post-secondary level. Research points to students' loss of interest in French classes as a common cause for this alarming phenomenon. In addition to this issue, only approximately half the Quebec student population over 16 years of age (52%) have a literacy level at or above the estimated level for living efficiently (O'Sullivan et al., 2009). This is a serious educational and social challenge that needs to be addressed. In an effort to reduce the weak literacy rate of students, I suggest an alternative teaching of Wajdi Mouawad's Quebec play Incendies in three different secondary 5 classes. I charted patterns of meaning-making responses that provide an understanding of directions a teacher might take to increase interest in reading, specifically within the francophone community. The patterns of responses are meant to help educators by providing them with student responses where it seems advisable. Another objective of this study is to adopt appropriate methods to reinforce an interest in Francophone Quebec literature and develop a further interest in reading.Le Québec francophone, en tant qu'identité culturelle minoritaire en Amérique du Nord, doit se pencher sur ce qu'il partage avec le reste du Canada et sur sa singularité par rapport aux autres cultures. Parallèlement, la littérature en tant que domaine des arts prend le pouls de la société qu'elle représente. En plus d'être un élément clé en éducation (Carroll, 2002), la littérature est le champ d'études qui permet de développer la capacité de lire et d'écrire (la littératie) ainsi que d'élargir l'horizon culturel des étudiants. Malheureusement, la province du Québec démontre des statistiques désastreuses; son rendement en lecture et en écriture est très faible par rapport à la moyenne nationale, ce qui vient nuire à la réussite scolaire, notamment dans les établissements secondaires et même postsecondaires. Des études récentes ont démontré que la cause principale de ces données alarmantes est le manque d'intérêt pour les cours de français au secondaire. En plus de ce problème, seulement la moitié (52 %) de la population étudiante du Québec de plus de 16 ans montre un niveau de littératie égal ou supérieur au niveau estimé nécessaire pour vivre de manière fonctionnelle (O'Sullivan et al., 2009). Le manque d'intérêt envers la littérature québécoise constitue un problème trop important pour en faire fi. Ainsi, dans un effort de réduire le faible taux de littératie des étudiants, je suggère un enseignement alternatif de la pièce québécoise Incendies, de Wajdi Mouawad, dans trois classes de secondaire 5. Pour ce faire, j'ai compilé des types de réponses sémantiques à une scène de la pièce de théâtre Incendies qui a été choisie en collaboration avec les enseignantes de français du Collège Sainte-Marcelline. Ces modes de réponses ont pour but d'aider les professeures en leur donnant une idée des réactions de leurs élèves, pour ensuite adopter des méthodes appropriées pour renforcer l'intérêt envers la lecture et l'écriture en français.
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Brune, Jeffrey A. „Industrializing American culture : heartland radicals, Midwestern migration, and the Chicago Renaissance /“. Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/10453.
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Ho, Melanie. „Useful fiction why universities need middlebrow literature /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619436971&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Yang, Qiong. „Mr. Science Goes Popular: Science as Imagined in Twentieth-Century Chinese Literature and Culture“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1480543527922239.
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Palmer, Jane Elizabeth. „Medical mythologies : iconographies, histories and counter-discourses in medicine, the arts and popular culture“. Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282587.
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Taggesell, Richard Patrick. „Popular culture in the language arts classroom a survey /“. Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Taggesell_RPMIT2010.pdf.
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Cação, Bárbara Laís Falcão da Silva. „Tempos de barbante : declínio e revitalização da literatura de cordel. Da Primeira República à contemporaneidade /“. Assis, 2016. http://hdl.handle.net/11449/136214.
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Orientador: Francisco Cláudio Alves MarquesBanca: Gabriela Kvacek Betella
Banca: Esequiel Gomes da Silva
Resumo: A partir da década de 1960, a produção de folhetos de cordel, como vinha sendo tradicionalmente praticada, sofre um considerável declínio, embora neste mesmo período poetas como Rodolfo Coelho Cavalcante ainda estejam produzindo, existe o receio de que o cordel brasileiro possa cair no ostracismo. Para evitar o desaparecimento dessa prática, alguns poetas populares começam a dar um tratamento distinto a seus folhetos, adotando temáticas de interesse mais geral e empregando certa erudição nas suas narrativas em versos, numa tentativa de atingir um público mais amplo, como é o caso de Gonçalo Ferreira da Silva, um dos principais mentores do processo de revitalização da Literatura de Cordel. O fato é que, no fim dos anos 70 e início dos anos 80, o interesse pela literatura de folhetos aumenta, principalmente por parte dos pesquisadores e do público acadêmico, cada vez mais interessado em entender aspectos da cultura popular brasileira. Para a compreensão do processo de declínio e revitalização da Literatura de Cordel, o presente trabalho se propõe a analisar alguns folhetos anteriores e posteriores à década de 1960, observando sempre as modificações de ordem técnica, contextual e temática. O corpus desse trabalho conta principalmente com folhetos pertencentes à produção dos poetas Leandro Gomes de Barros, pertencente à Primeira República, Rodolfo Coelho Cavalcante (situado em período intermediário) e Gonçalo Ferreira da Silva, nosso contemporâneo, com pequenas inserções de outro... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: From 1960 the cordel leaflect production, as it was being traditionally made, suffers a considerable decline, although during this period poets like Rodolfo Coelho Cavalcante were still producing, the fear of Brazilian cordel might fall into ostracism already existed. In order to avoid the oblivion of this practice, some popular poets started to treat their leaflets differently, resorting to general interest, as well as exert slight erudition in their narratives in verse, in an attempt to reach a broader public, like Gonçalo Ferreira da Silva, one of the main mentors of the revival process of cordel literature. Surely, at the end of the 70s and at the beginning of the 80s, the interest for leaflet literature raises, especially from researchers and academic community, growing more interested in understanding the aspects of Brazilian popular culture. To understand the process of decline and revival of Cordel Literature, this paper proposes to analyze some leaflets from earlier and later 60s, always observing the modification regarding technique, context and theme. The corpus is composed mainly of leaflets belonging to the production from the poets Leandro Gomes de Barros, referring to the First Republic, Rodolfo Coelho Cavalcante (placed in-between period) and Gonçalo Ferreira da Silva, our contemporary, with small inserts of other leaflets to illustrate the process of modification of cordel literature along 100 years of production
Mestre
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Padley, Jonathan. „(De)monstration : interpreting the monsters of English children's literature“. Thesis, Swansea University, 2006. https://cronfa.swan.ac.uk/Record/cronfa42979.
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This thesis is intended to document and explain the peculiarly high incidence of monsters in English children's literature, where monsters are understood in the term's full etymological sense as things which demonstrate through disturbance. In this context, monsters are frequently young people themselves; the youthful protagonists of children's literature. Their demonstrative operation typically functions not only as an overt or covert tool by which to educate children's literature's implied child audience, but also as a wider indicator - demonstrator - of adult appreciations of and arguments over children and how children should be permitted to grow. In this latter role especially, children are rendered truly monstrous as alienated and problematic tokens in adult cultural arguments. They can fast become such efficient demonstrators of adult crises that their very presence engenders all the notions of unacceptability with which monsters are characteristically associated. The chronological range of this thesis' study is the eighteenth-century to the present. From this period, the following children's authors, children's books, and series of children's books have been examined in detail: • Thomas Day: Sandford and Merton • Anna Laetitia Barbauld: Lessons for Children and Hymns in Prose for Children • Sarah Trimmer: Fabulous Histories • Mary Martha Sherwood: The Fairchild Family • Charles Kingsley: The Water-Babies • Lewis Carroll: Alice's Adventures in Wonderland and Through the Looking-Glass • George MacDonald: At the Back of the North Wind • J.M. Barrie: Peter Pan in Kensington Gardens, Peter Pan, and Peter and Wendy • C.S. Lewis: The Chronicles of Narnia (The Lion, the Witch & the Wardrobe, Prince Caspian, The Voyage of the Dawn Treader, and The Last Battle) • J.K. Rowling: Harry Potter {The Philosopher's Stone, The Chamber of Secrets, The Prisoner of Azkaban, The Goblet of Fire, The Order of the Phoenix, and The Half-Blood Prince). The theoretical notions of monsters and monstrosity that are used to discuss these texts draw principally on the writings on the sublime by Edmund Burke and Immanuel Kant, the uncanny by Sigmund Freud, and the fantastic by Tzvetan Todorov.
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Salinas, Zabalaga Jaime Omar. „En busca de lo popular en el proceso de construccion de la nacion“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468926666.
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Samson, Barney. „Islands in the (main)stream : the desert island in anglophone post-war popular culture“. Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20617/.
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This thesis examines the motif of the desert island in anglophone post-war popular culture as it coincides with the destabilisation of modern conceptions of identity. The extent to which desert island narratives either reify or challenge normative societal ideals is charted through the analysis of a range of texts across media: novels, radio, advertising, magazine cartoons, television, films and video games. Each text is placed into the context of a dialectic between discipline, the coercive method of state control theorised by Michel Foucault, and seduction, the technique of market dominance described by Zygmunt Bauman. Semiotic, psychoanalytic and spatial approaches are also used in close readings. The relationship of ‘home’ to ‘the Other’ was transformed by the advent of affordable international travel and communication; the thesis considers desert island texts since 1942, from the period since our planet has been opened up to tourism and global capitalism. This post-war timeframe maps onto the development of a self that is increasingly understood as fragmented, reflexive and alienated. A chronological approach is used in order to chart the ways in which desert island texts reflect this trend during what Bauman calls the liquid modern era. Power structures are examined but, rather than taking an overtly postcolonial stance, the thesis explores relationships between the ‘mainland’ and the castaway. The desert island is a useful site for exploring such concerns precisely because its desertedness, (presumed) Otherness and distance from ‘home’ allow it to function as an analogy of both the subject and the Other, and as an altered reflection of ostensibly normative continental life. Desert islands are often revealed to be inhabited; if the desert island represents a fantasy of agency in self-creation then the appearance of the Other represents the anxiety that that fantasy intends to dispel or seeks to embrace.
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Mialet, Esperança Bielsa. „Literature and popular culture in Latin America : the croÌnica as an intermediate urban form“. Thesis, University of Glasgow, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428712.
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McAvan, Em. „The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror“. Thesis, McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. https://researchrepository.murdoch.edu.au/id/eprint/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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McAvan, Em. „The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror /“. McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Dobbins, Jeffrey. „Becoming imaginable : Japanese gay male identity as mediated through popular culture“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33279.
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This thesis will examine how gay men are depicted in mainstream Japanese pop culture. To be discussed are: gay-themed comics for girls, mainstream movies in which the protagonists are gay, and finally, gay men's magazines which are gay authored and consumed. In examining how fantasies in these texts respond to the needs of various readerships, it is possible to understand how important and challenging it is for gay Japanese men to create identities of their own, identities which will allow them more possibilities than the prevailing facade of compulsory heterosexuality, complete with marriage and children.
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Ingvoldstad, Bjorn Paul. „Post-socialism, globalization, and popular culture 21st century Lithuanian media and media audiences /“. [Bloomington, Ind.] : Indiana University, 2006. 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:3219906.
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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2006.Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 1962. Adviser: Barbara Klinger. "Title from dissertation home page (viewed June 21, 2007)."
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Lau, Cheung-cheung. „A study of Manga and adolescent popular fiction in Hong Kong /“. Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20354010.
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Hall, Karen J. „War games and imperial postures: Spectacles of combat in United States popular culture, 1942--2001“. Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.
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Pearson, Wendy G. „Calling home queer responses to discourses of nation and citizenship in contemporary Canadian literary and visual culture /“. Connect to this title online, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060123.143327/.
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Thesis (Ph. D.)--University of Wollongong, 2004.Title from PDF title page (viewed on Mar. 6, 2006). Includes bibliographical references (p. 299-323). Also issued as a print manuscript. Print manuscript includes ill. omitted from online version.
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Silva, Josivaldo Custódio da. „Pérolas da cantoria de repente em São José do Egito no Vale do Pajeú: memória e produção cultural“. Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6172.
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This study aims to record and study the memory of Repente Singing in São José do Egito-PE The Immortal Cradle of Poetry, a town in the microregion Valley of Pajeú. The singing was discussed in the context of oral literature, removing it from the involucre of folk literature, conventionally taken as the basis for categorizing this art of northeast repente. A critical theoretical route has been traced about Memory, Orality and Identity and also about the origin, the context, the singer and modality of the singing universe. Thereafter, the memory and poetry of São José do Egito have been analyzed through the speeches and poems collected in the interviews. As a result, we realized how much poetry, not just the improvised one, but also the bancada one, is respected and admired in the region, revealing cultural values and identity of the people. It has been found out a variation in many memorized verses. This proves the direct influence of orality, which does not mean that these texts are to be taxed as folklore or without poetic value. On the contrary, it reveals the existence of the poetic vein, the reciter himself, he feels no difficulty in modifying the verses, instead, creates new verses, which justifies a view of poetry in traditionalization. Thus, there is an oral poetic collection in the city which persists in the memory of that people that quite often is transformed by the reciter. Finally, we understand that in São José do Egito, poetry is a kind of "their daily bread", allowing the creation of a new way of treatment among citizens that is the term poet.
Este trabalho tem como objetivo registrar e estudar a memória da Cantoria de Repente em São José do Egito-PE O Berço Imortal da Poesia, cidade situada na microrregião do Vale do Pajeú. Foi discutida a cantoria no contexto da literatura oral, retirando-a do invólucro da literatura folclórica, convencionalmente adotada como base para categorizar essa arte do repente nordestino. Foi traçado um percurso teórico crítico sobre Memória, Oralidade e Identidade e também sobre a origem, o contexto, o cantador e modalidades do universo da cantoria. A partir daí, foi analisada a memória e produção poética de São José do Egito, através dos discursos e versos colhidos nas entrevistas. Como resultado, percebemos o quanto a poesia, não apenas a de improviso, como também a de bancada, é respeitada e admirada naquela região, revelando valores culturais e identitários do povo. Descobriu-se, ainda, variação em muitos versos memorizados. Isso comprova a influência direta da oralidade, o que não significa que esses textos devam ser taxados como folclóricos ou sem valor poético. Muito pelo contrário, isso revela a existência da veia poética, no próprio declamador, que não sente dificuldade em modificar os versos, ao contrário, cria novos versos, o que justifica uma poesia em vista de tradicionalização. Existe, assim, na cidade um acervo poético oral que persiste na memória daquele povo e muitas vezes é transformado pelo fazer do declamador. Por fim, compreendemos que em São José do Egito, a poesia é uma espécie de Pão nosso de cada dia , permitindo a criação de uma nova forma de tratamento entre os concidadãos que é o termo poeta.
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Savage, Glenn. „Silencing the everyday experiences of youth?: issues of subjectivity, corporate ideology and popular culture in the English classroom“. Thesis, Savage, Glenn (2006) Silencing the everyday experiences of youth?: issues of subjectivity, corporate ideology and popular culture in the English classroom. Masters by Research thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/292/.
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This study investigates the influence of popular culture texts on the subjectivities of young people and argues that critical pedagogical practices need to be further deployed by English teachers in response to the corporate driven nature of popular texts. Three levels of synthesized information are presented, using data analysis born of a quantitative survey and in-depth interviews with a group of secondary English students in Perth, Australia.
Firstly, I argue that popular culture texts constitute the predominate form of consumed textual material for young people and that these texts are increasingly defined by corporate ideologies and branding. Secondly, I investigate the influence that these popular culture texts have on the subjectivities and everyday social experiences of young people. I argue that the ideologies and discourses in popular texts position young people to assume subjectivities that are increasingly defined by branding and corporate ideology, and that these texts often have a normalizing effect.
Hence, I argue that young people?s social currency is often defined by the extent to which individuals demonstrate an alliance to the ideologies of popular media, and that individuals who deviate from such popular norms often experience subjugation and exclusion within peer and social settings. Constructivist notions of subjectivity and an analytical framework heavily influenced by Foucauldian theory inform this theorization. Thirdly, I finalize my argument by dealing pedagogically with subject English and areas of it that hold relevance in terms of the integration and analysis of 'the popular'; including critical literacy, multiliteracies and critical pedagogy. I argue that a commitment to critically analyzing popular culture texts in the subject is lacking and that students feel many English teachers are 'out of touch' with the everyday realities of young people and their popular culture influences. I argue that such failures risk producing students whose everyday experiences are silenced and who are unaware of the ways they are being positioned to adopt certain corporate driven subjectivities.
Methodologically this study is informed by principles of critical theory, cultural studies, discourse analysis and a commitment to position the often-silenced student voice as a prime analytical tool. Aspects of autoethnography are deployed through punctuating personal narratives that feature within this text in order to illuminate the journey of self-realization and fundamental self reevaluation I have traveled throughout the production of this research work.
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Savage, Glenn. „Silencing the everyday experiences of youth? : issues of subjectivity, corporate ideology and popular culture in the English classroom /“. Savage, Glenn (2006) Silencing the everyday experiences of youth?: issues of subjectivity, corporate ideology and popular culture in the English classroom. Masters by Research thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/292/.
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This study investigates the influence of popular culture texts on the subjectivities of young people and argues that critical pedagogical practices need to be further deployed by English teachers in response to the corporate driven nature of popular texts. Three levels of synthesized information are presented, using data analysis born of a quantitative survey and in-depth interviews with a group of secondary English students in Perth, Australia.
Firstly, I argue that popular culture texts constitute the predominate form of consumed textual material for young people and that these texts are increasingly defined by corporate ideologies and branding. Secondly, I investigate the influence that these popular culture texts have on the subjectivities and everyday social experiences of young people. I argue that the ideologies and discourses in popular texts position young people to assume subjectivities that are increasingly defined by branding and corporate ideology, and that these texts often have a normalizing effect.
Hence, I argue that young people?s social currency is often defined by the extent to which individuals demonstrate an alliance to the ideologies of popular media, and that individuals who deviate from such popular norms often experience subjugation and exclusion within peer and social settings. Constructivist notions of subjectivity and an analytical framework heavily influenced by Foucauldian theory inform this theorization. Thirdly, I finalize my argument by dealing pedagogically with subject English and areas of it that hold relevance in terms of the integration and analysis of 'the popular'; including critical literacy, multiliteracies and critical pedagogy. I argue that a commitment to critically analyzing popular culture texts in the subject is lacking and that students feel many English teachers are 'out of touch' with the everyday realities of young people and their popular culture influences. I argue that such failures risk producing students whose everyday experiences are silenced and who are unaware of the ways they are being positioned to adopt certain corporate driven subjectivities.
Methodologically this study is informed by principles of critical theory, cultural studies, discourse analysis and a commitment to position the often-silenced student voice as a prime analytical tool. Aspects of autoethnography are deployed through punctuating personal narratives that feature within this text in order to illuminate the journey of self-realization and fundamental self reevaluation I have traveled throughout the production of this research work.
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Rhodes, Molly Rae. „Doctoring culture : literary intellectuals, psychology and mass culture in the twentieth-century United States /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9809139.
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Cesar, Maria Cecilia de Salles Freire. „As representações do imaginário popular nos romances de Carlos de Oliveira“. Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-20022008-110807/.
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O objetivo desta tese é investigar o vínculo da prosa ficcional de Carlos de Oliveira com as tradições populares. Para tanto, foram escolhidos os quatro primeiros romances do escritor: Casa na Duna (1943), Alcateia (1944), Pequenos Burgueses (1948) e Uma Abelha na Chuva (1953). Além disso, como subsídio, foi analisada uma coletânea de contos populares que Carlos de Oliveira e José Gomes Ferreira publicaram em 1957, os Contos Tradicionais Portugueses. O conto popular, fonte rica de informação interdisciplinar, anônimo e ubíquo, é um documento vivo dos costumes, idéias e mentalidades de um povo, e suas representações acabaram por impregnar a ficção de Carlos de Oliveira, artista que viveu boa parte de sua vida numa região pobre e rural, a Gândara, que teve intensos reflexos em sua obra. Entre as representações do imaginário popular que foram rastreadas em seus romances, incluem-se entidades, crenças, mitos, provérbios e ditos populares. Como se procurou evidenciar, a tradição, porém, não é simplesmente incorporada a seus romances, mas problematizada e encarada sob o viés da ironia e da crítica. Na sua escrita ficcional, a linearidade fabular, estudada por Propp, Alain Dundes e outros, é rompida e, nesse processo, desvia-se da construção esquemática dos personagens dos contos tradicionais. Conforme neste trabalho se enfatizou, na passagem do tradicional ao literário, dá-se a quebra da exemplaridade, que é importante marca do conto popular. Pela inclusão das análises de capítulos de dois romances (Casa na Duna e Pequenos Burgueses), pretendeu-se pontualmente acrescentar como, reunindo o mítico, o anedótico e o mágico, essas mininarrativas recuperam o caráter oral dos causos famosos. O resgate de contos da tradição popular lhes dá ganho da longevidade nos romances de Carlos de Oliveira, pela competência artística de, transformando-os, atualizandoos, conceder-lhes outro futuro.The purpose of this thesis is to investigate the bond between the fictional prose of Carlos de Oliveira and the popular traditions. In order to do that, the first four novels of the author have been chosen: Casa na Duna (1943), Alcateia (1944), Pequenos Burgueses (1948), and Uma Abelha na Chuva (1953). In addition, as a subsidy, the Contos Tradicionais Portugueses, a collection of popular tales published in 1957 by Carlos de Oliveira and José Gomes Ferreira has been analyzed. The popular tale, a rich source of interdisciplinary information, anonymous and ubiquitous, is a living document of habits, ideas, and mentalities of people. Its representations have impregnated Carlos de Oliveira\'s fiction, an artist who lived in a poor, rural area called the Gândara, which, by its turn, ended up having an intense influence in his work. The representations of the popular imaginary that have been tracked by his novels include entities, beliefs, myths, proverbs, and popular sayings. As this work intended to unveil, tradition is not simply incorporated in his novels, but it\'s an issue and is viewed under the bias of irony and criticism. In his fictional writing, the fable linearity studied by Propp, Alain Dundes, and others is broken and the schemed construction of characters of the traditional tales is deviated in the process. As this work emphasizes, when it goes from the traditional to literary, there is a break of exemplary, which is one of the main characteristics of popular tales. Through the analyses of the chapters from two novels (Casa na Duna and Pequenos Burgueses), which connect the mythic, the anecdotal, and the enchantment, this work presents how these short narratives recover the oral character of the famous causos. The recovery of the tradition popular tales provides a gain of longevity in Carlos de Oliveira\'s novels, as his artistic competence is able to transform and update them, as well as grant them another future.
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Coats, Jerry Brian. „Las Cantigas de Santa Maria: Thirteenth-Century Popular Culture and Acts of Subversion“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862766/.
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Across medieval Europe, the pilgrimage route to Santiago de Compostela in Spain traced a lattice web of popular culture. From the lowest peasant to the greatest king and churchmen, the devout walked pathways that created an economy and contributed to a social and political climate of change. Central to this impulse of piety and wanderlust was the veneration of the Virgin Mary. She was, however, not the iconic Mother of the New Testament whose character, actions, and very name are nearly absent from that first-century compilation of texts. As characterized in the words of popular songs and tales, the mariales, she was a robust saint who performed acts of healing that exceeded those miracles of Jesus described in the Bible. Unafraid and authoritative, she confronted demons and provided judgement that reached beyond the understanding and mercy of medieval codes of law. Holding out the promise of protection from physical and spiritual harm, she attracted denizens of admirers who included poets, minstrels, and troubadours like Nigel of Canterbury, John of Garland, Gonzalo de Berceo, and Gautier de Coinci. They popularized her cult across Europe; pilgrims sang their songs and celebrated the new attributes of Mary. This dissertation uses the greatest collection of these songs, Las Cantigas de Santa Maria compiled in the thirteenth century under the direction of Alfonso X, King of Castile and Leon, to construct the history of a lay piety movement deeply rooted in medieval popular culture. Making the transition from institutionalized, doctrinal saint to popular heroine, Mary becomes a subversive conduit through which culture moved from Latin poetry to vernacular verse and from the monasteries of scholasticism to the popular pathway of Wycliffite reform.
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Shen, Yipeng. „In the Heat of Sentiments: Nationalism, Postsocialism, and Popular Culture in China, 1988-2007“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10846.
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xi, 284 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation delves into the recent articulation of popular nationalism in Mainland China, with particular emphasis on the changes that globalization and transnationalism have brought about to the representation of the Chinese nation in sentimental terms. Complementing the rich existing literature of Chinese nationalism that focuses mainly on the pre-1949 period, my study explores the less-treaded contemporary era characterized by the new historical condition of postsocialism, which features a residual of the socialist past as well as its reinvention under new overwhelming trends of globalization. Postsocialism and its consequences-the deepening of a neoliberalist economic refonn, the state-intellectual promotion of cultural economy, the emergence of a dominant consumer culture, etc.-have produced new issues existing scholarship on Chinese nationalism has yet to address. One such issue is how the paradoxical entity of the "nation" in time and space has been fragmented by the accretion of diversified voices from a wide spectrum of Chinese society. In postsocialist China, the agents imagining the nation include not only regulars like the state and intellectuals, but also new players like mass-media elites and netizens (wangmin). I argue that these voices of different social forces that break up the hegemony of the state in representing the nation-the result of which being not that the state is excluded from this enterprise but that it now tells only part of the story-become expressed as modes of national sentiments (minzu qinggan) when the nation is imagined under the historical condition of postsocialism. My study then explores in detail the fashioning and refashioning of contemporary Chinese subjectivity, as it relates through the joining of national sentiments to the literal and figurative body of the nation and the social power structure, by analyzing these specific voices in a broad range of popular texts from TV, film, and the Internet. The detailed examination includes four chapters dealing with specific modes of national sentiments articulated by the intellectuals, the state, the mass-media elites, and the netizens, respectively.
Committee in charge: Tze-lan Sang, Co-Chairperson, East Asian Languages & Literature; David Leiwei Li, Co-Chairperson, English; Maram Epstein, Member, East Asian Languages & Literature; Bryna Goodman, Outside Member, History
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Bromley, R. „Making memories : Politics and popular writings; the representation of the period 1918-1945 in recent cultural forms“. Thesis, University of Sussex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378284.
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Woodrow, Ross Daniel. „Darwinism and images of race in the Australian popular press (c.1860-1900)“. Thesis, The University of Sydney, 1994. https://hdl.handle.net/2123/26912.
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This thesis began as an examination of the influence of Darwinism on images of racial types in the Australian illustrated popular press. Taking a broad scope, encompassing depictions of the Irish, Chinese, Aborigine and South Sea Islander, I soon discovered that a single focus on social Darwinist influence was perhaps more restrictive than revealing. Consequently, although I maintain Darwinian evolutionary theory is at the hub of influences on the iconography of racial types, I have allowed my analysis to range outside the Darwinian influence to encircle a more complex ideological construction of these racial images. Nevertheless, I have kept the core of the study as a demonstration of the significant impact of Darwinian evolutionary theory on the iconography of racial groups. I argue that the influence of the publication of Darwin’s Origin of Species on racial representations was mainly on the modification of existing iconographic stereotypes, but I also claim that the evolutionary impact did produce new images or types. The principal focus is the Australian popular illustrated and comic press. However, to investigate the derivation of particular iconographic types, selected English and American sources are also examined.
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Robb, Ashley. „From Popular Culture to Enlightenment: Rabelais' Pantagruel and Gargantua as Instruction Manuals“. Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1336258300.
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Sperber, Richard. „Modernism and mass culture in Botho Strauss and Antonio Muñoz Molina /“. Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/6619.
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