Relevant bibliographies by topics / Art and popular culture

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Academic literature on the topic 'Art and popular culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Art and popular culture"

Jaworski, Marcin. "Popular Author of Popular Art." Creativity. Theories – Research - Applications 3, no. 1 (June 1, 2016): 118–26. http://dx.doi.org/10.1515/ctra-2016-0009.

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AbstractThe article provides a report on research conducted on the creative activity of Jerzy Wróblewski, a Polish author of comics published in the book „Urodzony, żeby rysować”. Twórczość komiksowa Jerzego Wróblewskiego, “Born to Draw.” Jerzy Wróblewski’s Comic Art (Jaworski, 2015). It is the first study of this kind in Poland. From this point of view, it contains not only a body of knowledge in the form of a monograph of the comic writer’s artistic creativity, but it also includes a developed research model. The structure of this model, combining traditional monographic narrative with broad historical, political and social context, can be used in the analyses of artistic accomplishments of other authors of Polish comics. The presented study addresses the need for scientific explorations in this field, but also for raising the value of those parts of Polish modern culture which were marginalised as ‘worse’ for many years, first for political reasons, then for cultural ones. It appears that the time has come to examine critically the artistic creativity of important figures of Polish popular culture (in this case of comics) objectively and without ideological prejudice, and recognise them as full authors of Polish culture. Jerzy Wróblewski is among them and that is why the book is about him.

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Eisner, Sigmund. "Professor Loomis and Popular Culture." Arthuriana 8, no. 3 (1998): 76–77. http://dx.doi.org/10.1353/art.1998.0054.

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Caswell, Lucy Shelton. "Popular Culture and the Art Library." Art Reference Services Quarterly 1, no. 2 (January 14, 1993): 65–73. http://dx.doi.org/10.1300/j102v01n02_07.

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Darts, David. "The Art of Culture War: (Un)Popular Culture, Freedom of Expression, and Art Education." Studies in Art Education 49, no. 2 (January 2008): 103–21. http://dx.doi.org/10.1080/00393541.2008.11518729.

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Malkovskaya, I. A. "Brazil: Roots of Popular Culture (experience of interpretations)." Cuadernos Iberoamericanos 11, no. 3 (October 5, 2023): 107–30. http://dx.doi.org/10.46272/2409-3416-2023-11-3-107-130.

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The roots of Brazilian folk culture have different forms, structure and history. These roots have been formed over a long period, they have intertwined and influenced one another. Authentic cultures (Indian tribes) and «newcomers» (African and European culture) have been interacting with one another in complex socio-political realities. Together these cultures have created a vivid aesthetic image of the country. The aesthetic principle is most clearly expressed in folklore, the forms of which are diverse and multifaceted. The culture of the people is dynamic; it speaks through folklore in a variety of verbal and non-verbal languages: plastic art, music, dance, folk crafts, national costumes, works of the verbal genre (fairy tales, epics, legends, myths, etc.). Folk culture defines the identity of society, it is reflected in the high aesthetics of professional visual art, music, literature and gradually enters into mass culture and show business. Modernism, the art trend of the early 20th century, became a vivid reflection of the folk features of Brazilian culture. Over time, the tendency to rely on folk national culture has intensified, affecting all aspects of society — from mass culture to social policy. The cultural construction of society in close interaction and cooperation with the folk tradition, the consolidation and renewal of tradition ultimately determine the mentality of the nation, the stability of its existence and self-preservation. The study of Brazilian folk culture opens up new horizons for those who yearn to understand the world of diversity and the world of beauty. The coexistence in a single space of the people of many traditions and aesthetic images that do not oppose, but complement each other, inspires historical optimism which is «colored» by our experience of interpreting the culture of Brazil.

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Gilbert, Sky. "Drag and Popular Culture." Canadian Theatre Review 58 (March 1989): 42–44. http://dx.doi.org/10.3138/ctr.58.009.

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In this discussion of drag and popular culture, I should make it very clear at the outset that I will be discussing drag in the context of gay culture. This does not mean to say that drag does not exist outside of gay culture, or that every person who dresses in drag (male or female) is gay or lesbian. But, first of all, my specialty is gay culture, and secondly, much of the drag we see in popular or avant-garde art comes from that world. And finally, I’m just dreadfully tired of turning on the television and watching drag artistes on interview shows who are asked whether or not they are gay, replying “I really don’t think sex is that important, do you, that it has to enter into everything? I love women very much, and I’m dating a very lovely woman at the moment, thank you.” The fact of the matter is that many drag artists are gay and this is quite simply because drag is a significant element in gay culture. So much time is wasted (as is always wasted around gay matters) with men defending their so-called “masculinity” that it’s time to redress the imbalance and talk of drag in the context of its roots. (Keep in mind that when I suggest that drag has its roots in gay culture I am referring to modern western culture of the last 500 years. Obviously in Asian cultures and ancient cultures there are different cultural and sociological factors involved.)

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Duncum, Paul. "Revisioning Premodern Fine Art as Popular Visual Culture." Studies in Art Education 55, no. 3 (April 2014): 203–13. http://dx.doi.org/10.1080/00393541.2014.11518930.

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Snaevarr, Stefán. "Pragmatism and Popular Culture: Shusterman, Popular Art, and the Challenge of Visuality." Journal of Aesthetic Education 41, no. 4 (December 1, 2007): 1–11. http://dx.doi.org/10.2307/25160248.

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Wang, Jingbo. "Gender and Culture in Popular Music." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 270–73. http://dx.doi.org/10.54097/e3100279.

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Pop music is a global cultural phenomenon, not only as an art form, but also as a socio-cultural phenomenon. In popular music, gender and culture are two important themes that are intertwined and together constitute the cultural background and artistic value of popular music. This article will provide an in-depth analysis and discussion of pop music from the perspective of gender and culture.

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Putri, Citra Kemala. "The Influence Of Popular Culture On The Visual Music Album Cover." ArtComm : Jurnal Komunikasi dan Desain 3, no. 1 (May 1, 2020): 98–113. http://dx.doi.org/10.37278/artcomm.v3i1.285.

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Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.

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Dissertations / Theses on the topic "Art and popular culture"

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

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

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Mayhew, Margaret 1936. "Modelling subjectivities: life-drawing, popular culture and contemporary art education." Phd thesis, Department of Gender and Cultural Studies, 2009. http://hdl.handle.net/2123/7735.

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Sutcliffe, Paul J. C. "Contemporary art in Japan and cuteness in Japanese popular culture." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5642/.

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This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture. Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.

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Mayhew, Margaret. "Modelling Subjectivities: Life Drawing, Popular Culture and Contemporary Art Education." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/9542.

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This thesis examines life-drawing as a social, cultural and aesthetic practice. It is principally concerned with the changes occurring within life-drawing classes since the mid twentieth century; and how life drawing has spread from being a highly regulated practice confined to art institutions to proliferating among a variety of recreational, semi-professional and pedagogical settings. It is also critically concerned with the discourses surrounding life-drawing, and how these discourses permeate the spaces and practices within life classes. This thesis is concerned with the blind spots in vision, the invisible spaces in the life-room, and how life-drawing as a social practice mediates and manages the imaginary spaces between all participants; spaces of desire, aspiration, alienation and agency. In examining life drawing as a constellation of discourses, aspirations and behaviours, occurring across a number of social and cultural fields, this thesis moves t hrough a number of critical disciplines. The interdisciplinary research involved in this thesis, has involved the development of a number of critical methodologies derived from cultural studies and feminist art theory, and redeployed in a critical examination of life drawing, as a social practice, as a discursive field, and as a compelling and troubling site for inter-subjective encounters. The research for this thesis has been fuelled by the author's experiences as a visual artist and artists’ model in Sydney, and informed by extensive participant observation of life-drawing classes in Australia and internationally. The research consisted of interviews with over fifty participants, comprising artists’ models, artists and senior art-educators, from Sydney, New York, Paris, and the United Kingdom. This thesis develops an account of life-drawing as a performative practice, enabling life classes to exist as liminal spaces where the boundaries between art and sex, education and recreation, and between various cultural mili! eus clai ming and affiliation with ‘high’ art are actively produced and contested. Most critically, this thesis demonstrates the necessity and possibility for the socially reflexive grounding of critical examinations of contemporary art practice. In consciously examining the tacit values aligned with institutionalised categories of art practice and examining the claims, discourses and practices within a range of professional, paraprofessional and amateur art settings, this thesis develops a rigorous interdisciplinary account of how life drawing is experienced, and how a critical understanding of art as a social and cultural practice is necessary to any appreciation of contemporary art and visual culture.

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Reekie, Duncan. "Not art : an action history of British underground cinema." Thesis, University of Plymouth, 2003. http://hdl.handle.net/10026.1/2329.

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My thesis is both an oppositional history and a (re)definition of British Underground Cinema culture (1959 - 2(02). The historical significance of Underground Cinema has long been ideologically entangled in a mesh of academic typologies and ultra leftist rhetoric, abducting it from those directly involved. The intention of my work is to return definition to the 'object' of study, to write from within. This process involves viewing the history of modem British culture not as a vague monolithic and hierarchic spectrum but rather as a distinct historical conflict between the repressive legitimate Art culture of the bourgeoisie and the radical illegitimate popular culture of the working class. In this context, Underground Cinema can be {re)defined as a radical hybrid culture which fused elements of popular culture, Counterculture and Anti-Art. However, the first wave of Underground Cinema was effectively suppressed by the irrational ideology of its key activists and the hegemonic power of the Art tradition. They disowned the radical popular and initiated an Avant-Garde/Independent cinema project which developed an official State administrated bourgeois alternative to popular cinema. My conclusion is that Underground Cinema still has the potential to become a radical and commercial popular culture but that this is now frustrated by an institutionalised State Art culture which has colonised the State funding agencies, higher education and the academic study of cinema. If the Underground is to flourish it must refuse and subvert this Art culture and renew its alliance with radical, experimental and commercial pop culture. My methodology is an holistic interactive praxis which combines research, writing, film/video making, digital design, performance and political activism. My final submission will be an open and heterodox mesh of polemic, history and entertainment. Its key components will be a written thesis which will locate this praxis within its intellectual context and a web site which will integrate my research and practice 1997-2003.

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Bonner, Sarah. "Fairy tales and feminism in contemporary visual art and popular culture." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518484.

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Dungan, Drew W. "South Park and absurd culture war ideologies the art of stealthy conservatism /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2009. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Sherwell, Tina. "Imaging the homeland : representations of Palestine in Palestinian art and popular culture." Thesis, University of Kent, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269144.

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Atashroo, Hazel A. "Beyond the 'Campaign for a Popular Culture' : community art, activism and cultural democracy in 1980s London." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/414571/.

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This thesis offers a new cultural history of State sponsored cultural production in London under the Labour led Greater London Council during the 1980s, bringing the GLC’s cultural policy interventions to the attention of historians of art and culture. The Greater London Council’s Arts and Recreation Committee, and in particular its new ‘Community Arts’ and ‘Ethnic Arts’ Sub-Committees, sought to challenge the Arts Council’s dominant model of cultural sponsorship which aimed to broaden public access to ‘the arts’. The GLC attempted instead to foster a participative ‘cultural democracy’ in London, often centred upon particular political themes and identities. Alongside existing accounts which focus exclusively upon the GLC’s cultural policy discourse, this new cultural history attends to the other side of the sponsorship equation, namely, what cultural forms were prioritised by the various committees, how such policies were perceived by the recipient cultural producers, what cultural texts were produced as a result of GLC sponsorship and how these cultural forms were received more broadly. It explores how the GLC impacted upon cultural production in London, looking to the interrelationship between particular GLC sponsored cultural outputs, whether artworks, murals, posters or films, and wider political and social themes pertinent to that historical moment. In particular, this thesis interrogates cultural forms funded under the auspices of two city-wide campaigns, ‘GLC Peace Year’ (1983) and ‘London Against Racism’ (1984), in order to consider the relationship between GLC cultural sponsorship, cultural production, new social movement activism and democratic participation. Cultural forms of nuclear criticism were funded during ‘Peace Year’ to raise awareness about the GLC’s Nuclear-Free Zone, contradicting central government’s nuclear stance in 1983. These included artist-commissioned poster campaigns and banners, peace murals, pop concerts, community theatre, photography exhibitions and documentary films, including some related to peace activism by women. This case study traces Peace Year’s cultural output to consider the effects of this appeal to London’s nuclear anxieties. The second case study offers a re-reading of the GLC’s new ‘Ethnic Arts’ Sub-Committee’ and its attempts to instigate an anti-racist cultural policy, as part of a broader campaign that sought to address the issue of discrimination in London and across all areas of Council work. It begins by recording a number of the GLC’s initiatives in this area, including its sponsorship of various forms of black cultural production and in particular, the controversial ‘Anti-Racist Mural Project’. Through an examination of contemporaneous and subsequent critical accounts of the GLC’s experiments alongside Council minutes and papers, this account adds nuance to existing narratives by identifying the climate of coexisting and competing discourses at the GLC relating to the state sponsorship of culture and diversity. Ultimately, ‘Beyond The ‘Campaign For A Popular Culture’: Community Art, Activism And Cultural Democracy In 1980s London’ presents a history of the practices and policies of the GLC that is pointedly cultural in focus and attempts to open this field of study to researchers interested in visual culture, art history, community art, identity politics, activism and urban history, alongside those with an interest in cultural policy making at a local government level.

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Cascardo, Ana Beatriz Soares. "Grafite contemporâneo no Brasil: da subversão à incongruência conceitual a serviço da arte." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4679.

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A pesquisa analisa os discursos construídos em torno da manifestação cultural conhecida como grafite, abordando os conceitos flutuantes sobre o que seria grafite e o seu papel no mundo da arte. O grafite é abordado como uma manifestação cultural urbana, típica das grandes metrópoles contemporâneas, destacando-se seu caráter popular, que surge e se desenvolve a partir do cotidiano das pessoas no meio social. Foram enumerados e analisados os recursos utilizados para a construção ideológica do grafite como arte e como se dá esta relação, que ocorre de maneira negociada
This research is focused on the ideas concerning the cultural manifestation known in Brazil as grafite and on the identification of a great range of different concepts regarding the meaning of graffiti and its role in the art world. We see the grafite as an urban and cultural manifestation, characteristic of the contemporary big cities and we captured its popular nature, which emerges and develops in the everyday practices. We listed and analyzed the resources used for the ideological construction of the graffiti as a form of art and how this relation is constructed

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Books on the topic "Art and popular culture"

1943-, Jain Jyotindra, and Hospice Comtesse (Lille France), eds. Indomania: L'art populaire indien = Indian popular culture. Louvain: Snoeck, 2007.

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F, Symmes Marilyn, and Marter Joan M, eds. Pop art & after: Prints+popular culture. New Brunswick, N.J: Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, 2008.

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Jane Voorhees Zimmerli Art Museum. Pop art & after: Prints+popular culture. New Brunswick, N.J: Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, 2008.

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Dawson, Beverley. Ballet, popular culture and high art. [Guildford]: University of Surrey, 1998.

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Jane Voorhees Zimmerli Art Museum. Pop art & after: Prints+popular culture. New Brunswick, N.J: Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, 2008.

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Buszek, Maria Elena. Pin-up grrrls: Feminism, sexuality, popular culture. Durham, NC: Duke University Press, 2006.

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Adam, T. R. The museum and popular culture. Ann Arbor, Mich: University Microfilms International, 1989.

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González, Claudio Malo. Arte y cultura popular. Cuenca, Ecuador: Universidad del Azuay, 1996.

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Kharkrang, Roland. Theatre, art and life. New Delhi: Omsons Publications, 1994.

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1943-, Jain Jyotindra, and National Centre for the Performing Arts (India), eds. India's popular culture: Iconic spaces and fluid images. Mumbai: Marg Publications on behalf of National Centre for the Performing Arts, 2007.

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Book chapters on the topic "Art and popular culture"

Danesi, Marcel. "AI-Generated Art." In AI-Generated Popular Culture, 105–25. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-54752-2_6.

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King, Barbara Amelia. "When Art Was Science." In Outer Space and Popular Culture, 19–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91786-9_2.

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Crabbe, Anthony. "Museums of Fine Art and their Public." In Readings in Popular Culture, 208–15. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20700-8_25.

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Dash, Sarita. "Popular Culture." In Cultural Dimensions of India’s Look-Act East Policy, 197–230. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-3529-9_6.

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Griffiths, John. "‘Indian Decorative Art’, in The Art Journal Supplement 1886, The Colonial and Indian Exhibition of 1886, p. 5." In Empire and Popular Culture, 372–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351024709-60.

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Jack, James. "The Art of Upcycling in the Seto Inland Sea." In Introducing Japanese Popular Culture, 463–74. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003302155-54.

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Parham, John. "‘Eco-Cinema’: Art Film and Documentary." In Green Media and Popular Culture, 177–204. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-00948-7_7.

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Pfefferman, Richard. "Conclusion: The Art of Strategic Reinvention." In Strategic Reinvention in Popular Culture, 161–65. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137373199_11.

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King, Barbara Amelia. "The Limitless Horizons of Space Art." In Outer Space and Popular Culture, 53–73. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91786-9_3.

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Griffiths, John. "‘Imperial Gallery of Art’, in Yorkshire Post, 5th April 1929, p. 5." In Empire and Popular Culture, 381–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351024709-63.

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Conference papers on the topic "Art and popular culture"

Kim, Charyung, Changyong Jung, and Hyunggi Kim. "Kinetic Art: Popular Culture, Invisible ‘Transmission’ of Power." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.113.05.

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Xu, Yadi. "Public Pedagogy, Popular Culture and Feminine Consciousness Awakening." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.197.

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Chairunnisa, Baiq Clara Dita, and Ade Solihat. "Henna Art in Global Era: From Traditional to Popular Culture." In Joint proceedings of the International Conference on Social Science and Character Educations (IcoSSCE 2018) and International Conference on Social Studies, Moral, and Character Education (ICSMC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icossce-icsmc-18.2019.41.

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Lee, Chang Ku, and Seungyon-Seny Lee. "Fusing Korea and Cuban Rhythms to Derive Rhythm Contents for Popular Music." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.113.01.

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Luo, Jing. "A Study on “Internet Buzzwords” as Popular Culture: Characteristics, Existing Problems and Suggestions." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.142.

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Kera, Denisa. "From Data Realism to Dada Aggregations: Visualizations in Digital Art, Humanities and Popular Culture." In 2010 14th International Conference Information Visualisation (IV). IEEE, 2010. http://dx.doi.org/10.1109/iv.2010.99.

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MOKAN-VOZIAN, Ludmila. "Valorization of culture and popular traditions within the school disciplines." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v3.25-03-2022.p257-260.

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The culture of contemporary society is interethnic. It is impossible to live in today‘s society without knowing the culture of your own people and other ethnicities, and at the same time being a successful person. The basis for studying the culture of the people is the interconnection and interaction with other cultures. The education of the younger generations is inconceivable without taking into account the origins of national culture and popular traditions. The achievements of pedagogical thinking at national and global level in this aspect are very important, as the issue of the influence of popular traditions and customs on the formation of personality is directly related to the development of society.

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Eroğlu, Feyzullah, and Esvet Mert. "A Research on the Relationship between Preferred Music Type and Entrepreneurship Tendency." In International Conference on Eurasian Economies. Eurasian Economists Association, 2017. http://dx.doi.org/10.36880/c08.01858.

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Cultural systems are grouped into high culture, folk culture and popular culture. High cultural, scientific, philosophical, aesthetic information, etc. Folk culture is based on folklore information from the past day. Popular culture represents the degraded and dissolved state of traditional cultures, various subculture areas, which have failed after modernization efforts. The aim of the study is to reveal the influence of young musical genres on the entrepreneurial tendencies. The first method used in the research is the questionnaire survey for senior students studying in the university business and economics. According to the survey data, questionnaires were distributed out of a total of 350 students, only to the evaluation of the survey of 311 eligible. The most important findings of the research can be summarized as follows. While 6,1% of the "youth of higher education" who participated in the survey preferred "high culture product" music; 10,6% were "folk culture products" music; and 83,3% preferred "popular culture product" music. The "entrepreneurship tendencies", which are the main aim of the subjects of "education for young people" receiving basic courses in economics and business administration, were found to be 131,5 (Min 36, Max.180). According to the research findings, in the direction of the basic assumption of the study, "entrepreneurial tendencies" of students who prefer music, which is a high cultural product, are higher than others. The sort of "entrepreneurial tendencies" is followed by popular genres and popular music genres.

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Hu, Yang. "Study On Popular Culture Contacts and Traditional Cultural Identity in the Youth Group." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.16.

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Gao, Shunqi. "Cultural Reflection on Ideological and Political Education in Universities under the Background of Popular Culture." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.77.

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Reports on the topic "Art and popular culture"

Berrian, Brenda F. Chestnut Women: French Caribbean Women Writers and Singers. Inter-American Development Bank, July 2001. http://dx.doi.org/10.18235/0007945.

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Humpage, Sarah D. Benefits and Costs of Electronic Medical Records: The Experience of Mexico's Social Security Institute. Inter-American Development Bank, June 2010. http://dx.doi.org/10.18235/0008829.

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Electronic medical record (EMR) systems are increasingly used in developing countries to improve quality of care while increasing efficiency. There is little systematic evidence, however, regarding EMRs' benefits and costs. This case study documents the implementation and use of an EMR system at the Mexican Social Security Institute (IMSS). Three EMR systems are now in operation for primary care, outpatient and inpatient hospital care. The evidence suggests that the primary care system has improved efficiency of care delivery and human resources management, and may have decreased incidence of fraud. The hospital systems, however, have lower coverage and are less popular among staff. The greater success of the primary care system may be due to greater investment, a participatory development process, an open workplace culture, and software appropriately tailored to the workflow. Moving forward, efforts should be made to exploit data housed in EMRs for medical and policy research.

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Kapoor Malhotra, Suchi, Marcella Vigneri, Nina Dela Cruz, Liangying Hou, and Howard White. Economic development interventions in humanitarian settings: a promising approach but more evidence is needed. Centre for Excellence and Development Impact and Learning (CEDIL), April 2023. http://dx.doi.org/10.51744/ceb9.

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Humanitarian crises caused by political events and environmental catastrophes forcibly displaced 82.4 million people around the world at the end of 2020. Many conflicts continue for several years, reconstruction can take a long time, and people may anyway be unwilling to return to hazardous environments. Displaced people may remain in their new locations for months or even years, not days or weeks. In response, economic development interventions for displaced populations have become more popular. This includes interventions that invest in the economic development of the host community, and so provide opportunities for those living in nearby camps. Economic development interventions provide a livelihood for displaced people and so reduce reliance on their external support, build or utilise their skills, and so reduce the chances of a culture of dependency and preserve the dignity of the displaced population. Investments in the host population can provide economic opportunities for displaced people and reduce the resentment which may arise if local people see substantial relief aid going into the camp and they get nothing. This brief summarises findings from a systematic review of economic development interventions in humanitarian settings.

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White, Lauren. Managed Retreat: An Introduction and Exploration of Policy Options. American Meteorological Society, October 2022. http://dx.doi.org/10.1175/managed-retreat-2022.

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As sea levels rise, 100-year floods occur more frequently than ever, and permafrost melts at unprecedented rates, these phenomena (and others) inflict change in our environment that may necessitate action. Proactive measures against environmental threats include protection, accommodation, and relocation. Protective and accommodating actions such as building sea walls and elevating structures can often be sufficient, but some communities may be at greater risk for hazards. Managed retreat is a tool for community adaptation to repeated environmental threats that involves the physical relocation of people, structures, and infrastructures away from areas exposed to repeat hazards. Though conversations surrounding managed retreat are becoming more commonplace in academic literature and public policy vernacular, the practice has been around for decades, as explained in the case studies at the end of this document. Managed retreat is not particularly a popular choice: much of our human experience is tied to the place where we live, our neighbors, shared location-based history and culture, and a sense of belonging. There are four main goals for this document: 1) to provide relevant, useful, introductory information to demystify retreat for decision-makers; 2) to encourage and enable conversations around this adaptive strategy; 3) to promote a framework of continual education and emphasize that progress on managed retreat is grounded in iterative processes instead of a one-time activity; and 4) to provide a range of potential actionable next steps tailored to community and local audiences.

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Haynes-Clark, Jennifer. American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.20.

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Da Matta, Roberto. Understanding Messianism in Brazil: Notes from a Social Anthropologist. Inter-American Development Bank, September 1996. http://dx.doi.org/10.18235/0007921.

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Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham, and Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, January 2021. http://dx.doi.org/10.5204/rep.eprints.207597.

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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.

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Reeves-DeArmond, Genna. Infusing popular culture into the museum experience via historic dress: Visitor perceptions of Titanic’s Rose as a living history interpreter/character. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-779.

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Huezo Mixco, Miguel. El Salvador and the Construction of Cultural Identity. Inter-American Development Bank, October 1999. http://dx.doi.org/10.18235/0007937.

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Seidametova, Zarema S., Zinnur S. Abduramanov, and Girey S. Seydametov. Using augmented reality for architecture artifacts visualizations. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4626.

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Nowadays one of the most popular trends in software development is Augmented Reality (AR). AR applications offer an interactive user experience and engagement through a real-world environment. AR application areas include archaeology, architecture, business, entertainment, medicine, education and etc. In the paper we compared the main SDKs for the development of a marker-based AR apps and 3D modeling freeware computer programs used for developing 3D-objects. We presented a concept, design and development of AR application “Art-Heritage’’ with historical monuments and buildings of Crimean Tatars architecture (XIII-XX centuries). It uses a smartphone or tablet to alter the existing picture, via an app. Using “Art-Heritage’’ users stand in front of an area where the monuments used to be and hold up mobile device in order to see an altered version of reality.

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