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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 negociadaThis 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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Koehler, June, and June Koehler. "An Old Art for a New Culture: The Popular and the Avant-Garde in Josep Renau's Nueva Cultura." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12418.
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The Spanish artist Josep Renau (1907-1982) published the propaganda
periodical Nueva cultura from 1935 to 1937. Although richly illustrated with cuttingedge
graphic design and photomontage, it made use of popular culture with more
frequency than might be expected in a left-wing, vanguard publication. This is seen
most notably in the March 1937 special edition, published to coincide with a local,
popular festival. In the special edition, Renau primarily utilized popular forms of
illustration in the layout. Further, by publishing it in the regional language rather
than Castilian Spanish, he attested to the importance of addressing people in their
own language, both linguistically and formally. This thesis examines the periodical in
relation to philosopher Mikhail Bakhtin’s writings on folk culture and James V.
Wertsch’s research on collective remembering.
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au, LMcrae@westnet com, and Leanne Helen McRae. "Questions of Popular Cult(ure)." Murdoch University, 2003. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040428.152619.
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Questions of Popular Cult(ure) works in the uncomfortable and unclear spaces of popular culture. This thesis demonstrates how cult cauterizes ambiguity and functions as a framing agent for unpopular politics in popular culture. In tracking the flows and hesitations in the postwar period through the rise of the New Right and identity politics, this thesis shows how cult contains moving and malleable meanings that maneuver through everyday life. It is a slippery and slight subject that denies coherent categorization in definitional frames.
This thesis negotiates this liminality by tracking broad social shifts in race, class and gender through textualised traces. The complicated concept of cult is activated within a series of case studies. These chapters are linked together to demonstrate the volatile variance of the cult category.
Section one contextualises the terrain of the intellectual work in this thesis. It paints broad brush-strokes of the postwar period, through an animated intersection of politics and popular culture. The first chapter defines the currency of cult in contemporary times. It is devoted to investigating the relationships between colonisation and popular culture. By pondering postcolonialism, this chapter prises open thirdspace to consider how writing and madness performs proximity in the pre and post-colonial world. The maddening of cargo cults by colonisers in Melanesia operates as a metonym for the regulation of marginal modalities of resistance. In popular culture, this trajectory of insane otherness has corroded, with the subversion of cult being appropriated by fan discourses, as worship has become accountable for the mainstream market.
Chapter two unpacks The X-Files as a text tracking the broad changes in politics through popular culture. This innovative text has moved from marginality into the mainstream, mapping meanings through the social landscape. Consciousness and reflexivity in the popular embeds this text in a cult framework, as it demonstrates the movement in meanings and the hegemonic hesitations of the dominant in colonising (and rewriting) the interests of the subordinate as their own.
Section two creates a dialogue between gendered politics and contemporary popular culture. The changes to the consciousness in masculinity and femininity are captured by Tank Girl, Tomb Raider, Henry Rollins and Spike (from Buffy: The Vampire Slayer). These texts perform the wavering popularity of feminism and the ascent of mens studies in intellectual inquiry. Tank Girl articulates unpopular feminist politics through the popular mode of film. The movement to more mainstream feminism is threaded through the third wave embraced by Tomb Raider that reinscribes the popular paradigms of femininity, via colonisation. The computer game discourse permits a pedagogy of power to punctuate Lara Crofts virtual surfaces and shimmer through the past into the present.
Tracking this historical movement, two chapters on masculinity brew the boom in mens studies questioning of manhood. Henry Rollins is a metonym for an excessive and visible masculinity, in an era where men have remained an unmarked centre of society. His place within peripheral punk performance settles his inversionary identity. Spike from Buffy: The Vampire Slayer demonstrates the contradictions in manhood by moving through the masculine hierarchy to deprioritise men in the public sphere. This is a mobile masculinity in a time where changeability has caused a crisis for men. Both these men embody a challenging and confrontational gender politics. Cult contains these characters within different spaces, at varying times and through contradictory politics.
Section three ponders the place and role of politics at its most persistent and relevant. It demonstrates the consequences for social justice in an era of New Right ideologies. The chapter on South Park mobilises Leftist concerns within an overtly Rightist context, and Trainspotting moves through youth politics and acceleration to articulate movement in resistive meanings.
These case studies contemplate the journey of popular culture in the postwar period by returning to the present and to the dominant culture. The colonisation of identity politics by the New Right makes the place of cultural studies as a pedagogic formation - powerfully important. Colonisation of geographical peripheries is brought home to England as the colonisation of the Celtic fringe is interpreted through writing and resistance.
This thesis tracks (and connects) two broad movements - the shifting of political formations and the commodification of popular culture. The disconnecting dialogue between these two streams opens the terrain for cult. In the hesitations that delay their connection, cult is activated to cauterize this disjuncture.
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Woods, Carrie L. "Visual Culture: A Case Study." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193266191.
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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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Hockemeyer, L. "Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
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Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
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Laforge, Frédéric. "De la question éthique à l'esthétique /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.
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McRae, Leanne. "Questions of popular cult(ure) /." Access via Murdoch University Digital Thesis Project, 2002. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20040428.152619.
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Farinas, Rebecca Lee. "The Aesthetic Agency of Popular Culture in the Writings of Pierre Bourdieu and Arthur C. Danto." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/949.
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ABSTRACT The Aesthetic Agency of Popular Culture: In the Writings of Pierre Bourdieu and Arthur C. Danto Rebecca L. Farinas, Ph.D. Pierre Bourdieu and Arthur C. Danto are significant interlocutors in the areas of aesthetics and popular culture. This study affirmatively answers a question raised by both writers, that popular culture puts forward a strong enough aesthetic to change elitist views of society, which concern people's disrespect for the importance of commonplace and everyday experiences. Bourdieu approaches the problem by applying sociology to aesthetics, and Danto raises the question through a view of aesthetics based on his philosophy of culture, which he begins to cultivate in his late writings. Each approach is important, in that firstly through looking at culture through sociology we can omit highbrow abstractions of some philosophies, and look evidentially at the dynamics of aesthetic agency. Secondly, thinking about culture philosophically, we can reveal how people's feelings and actions make meaningful and ethically valuable aesthetic representations. Comparing the two perspectives, we find two different views of how contemporary societies change for the better through individual and communal aesthetic actions. It is Danto's theory of culture, however, which answers the question of the agency of popular culture fully, because his theory of the third realm of beauty is constituted through communal values, which grow out of people's relationships as they interact through everyday, commonplace experiences. Bourdieu and Danto's writings converge on many points, and we can notice several similarities and one major difference in their philosophies. The main similarities are; that feelings and perceptions change social conditions through ideas and actions, that popular culture is facilitated by people's common relationships with one another, and that people who contribute to a commonplace ethos of mutual respect and openness re-possess popular culture with agency, in contrast to a weak sense of culture that is controlled by abstracted concepts and elitist judgements. Danto's distinction in aesthetics through value making, is especially important because in our contemporary, interconnected, global world popular culture needs to do more than merely create nationalistic standards and static traditions. For Danto, people develop a more creative and fair world through understanding and acting on their commonality of inner beauty. Inner beauty is an aesthetic spirit of virtues made through our reciprocal participation in our cultural representations, and we use this agency to propagate our belief in each other as unique and caring human beings.
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Muzart, Fonseca dos Santos Idelette. "Em demanda da poética popular : Ariano Suassuna e o Movimento Armorial /." Campinas : Ed. da Unicamp, 1999. http://catalogue.bnf.fr/ark:/12148/cb37730759r.
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Dantas, Maria Josevânia. "Cenopoesia, a arte em todo ser: das especificidades artísticas às interseções com a educação popular." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8581.
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This paper brings up an important issue in popular culture, but rarely addressed in the academic setting: the “cenopoesia”. The phenomenon stands in the study anchored by the themes of art and popular education. It aims at understanding and interpreting the “cenopoesia” as artistic specificity to unravel whether we can identify it as an expression of popular education. Methodologically, the study has a qualitative approach, referenced by the dialectical method and has an exploratory purpose. As investigative tools, we use the literature and documents, participant observation and open questionnaire applied to ten (10) “cenopoetas”, analyzed in the light of the technique content analysis. The research highlights the artistic nature of “cenopoesia” from the historical analysis of the concept of art emphasizing its hybrid aspect and its open work perspective arguing that we can all live and make art. Strives to learn the meaning, of its “cenopoesia” history, how it is, constituted and how it expresses itself. Uses historical review and the foundations of popular education by examining the perceptions of “cenopoetas” as for their views on “cenopoesia” and their approaches to popular education. Finally, it presents some interpretations of the “cenopoetas” acting weighted by an analysis between theory and practice. The study reveals that “cenopoesia” is guided in an artistic perspective with hybrid basis, in which its actions result from an open and democratic creation process accepting all forms of expression along its manifestations, knowledge, experience and languages through an autonomous and affective dialogue. It searches for overcoming the artistic exceptionality in order to restore the ontological creative condition of the people. Its practice is characterized by the articulation of human repertoires and its compositions are made through various modalities. The performance of “cenopoetas” legitimizes “cenopoesia” as knowledge built in praxis, from experiences and life experiences. The "cenopoesia" emerges in a popular background, adopted by people who are involved and active along the transformation of the environment where they live. It appears as a movement in defense of the creative freedom, communicative democratization, human emancipation, empowered by the inventive form of resistance created to highlight its presence in history.
Esta dissertação traz à baila um tema relevante na cultura popular, mas pouco abordado no cenário acadêmico: a cenopoesia. O fenômeno ergue-se no estudo ancorado pelos temas da arte e da educação popular. Objetiva compreender e interpretar a cenopoesia enquanto especificidade artística, a fim de desvendar se podemos identificá-la como expressão da educação popular. Metodologicamente, o estudo tem abordagem qualitativa, referenda-se pelo método dialético e tem finalidade exploratória. Como instrumentos investigativos utilizamos o levantamento bibliográfico e documental, observação participante e questionário aberto aplicado a 10 (dez) cenopoetas, analisados à luz da técnica análise de conteúdo. A pesquisa sublinha a natureza artística da cenopoesia a partir da análise histórica do conceito de arte, destacando seu aspecto híbrido e sua perspectiva de obra aberta, defendendo que todos somos capazes de viver e de fazer arte. Empenha em conhecer o significado, a trajetória, como se constitui e como se manifesta a cenopoesia. Recorre à revisão histórica e aos fundamentos da educação popular, ponderando as percepções dos cenopoetas quanto às suas concepções sobre a cenopoesia e as suas aproximações com a educação popular. Por último, tece algumas interpretações sobre a atuação dos cenopoetas, mediadas por uma análise entre o discurso e a prática. O estudo revela que a cenopoesia pauta-se numa perspectiva artística de base híbrida, em que suas obras resultam de um processo de criação democrático e aberto, acolhendo nos seus atos todas as formas de expressão, de saberes, de experiências e de linguagens, por meio de diálogo autônomo e afetivo. Busca a superação da excepcionalidade artística de modo a restaurar a condição ontocriativa das pessoas. Sua prática caracteriza-se pela articulação de repertórios humano e suas composições se efetivam por meio de diversas modalidades. A atuação dos cenopoetas legitima a cenopoesia como um saber construído na práxis, a partir de vivências e experiências de vida. A cenopoesia emerge em solo popular, sendo praticada por pessoas que estão envolvidas, ativas, na transformação do meio onde vivem. Configura-se como uma manifestação em prol da liberdade criativa, da democratização comunicativa, da emancipação humana, fortalecendo-se como uma forma inventiva de resistência criada pelo povo para se fazer presença na história.
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Marfella, Claudia. "Art, industrial design, science and popular culture : modernism and cross-disciplinarity in Italy and Great Britain, 1948-1963." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/33746/.
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Conceived inside a chronological frame, which starts in 1948, the year the Institute of Contemporary Arts in London founded, and ends in 1963, when Gillo Dorfles wrote a crucial essay on industrial design, concluding more than a decade of discussions, the thesis aims to examine some artistic and cultural phenomena identified in Italy and Great Britain, and seen as the acknowledgement or as the reaction to modernity. Topics and fields taken in consideration within the thesis are technology, science (fact and fiction), vision of the future, the relationship between arts and the awareness of industrial design as a new discipline. All these aspects, that might seems unusual in relationship with visual arts, are perceived as the expression of a second phase of Modernism. The British personalities included in the thesis are Reyner Banham, Richard Hamilton, Nigel Henderson, John McHale, Eduardo Paolozzi, Alison and Peter Smithson, all members of the Independent Group. With the presence of architects, visual artists, photographers, critics and, in a broader sense, designers, the group encompassed a variety of popular interests, with the inclusion of mass‐produced goods. The Italian figures presented in the thesis – Gillo Dorfles, Bruno Munari, Ettore Sottsass and Giuseppe Pinot‐Gallizio – focused on industrial design objects, viewed as a new artistic branch, to promote, to plan or to question. Other recurring figures analysed in the thesis are Max Bill, Asger Jorn and Tomás Maldonado, who give international connections to the themes and British and Italian personalities examined. In order to provide a wider understanding of the 1950s and their crucial function in the story of post‐war Europe, the thesis aims to emphasise the role played at different level by British and Italian visual artists, designers and critics, and explain the reasons that, in the following decade, would push Italy in its industrial miracle and Great Britain at the peak for its popular culture, pop music and fashion creativity.
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Percassi, Jade. "Arte, política, educação popular: diálogos necessários para transformação social." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-07072015-132300/.
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Pretendemos com este trabalho contribuir para evidenciar a atualidade do debate conceitual sobre a educação popular, em diálogo com o fazer artístico e a intencionalidade política. Para tanto, lançamos mão da observação participante junto a uma iniciativa de grupos de teatro de grupo da cidade de São Paulo, de criação de espaços coletivos de ação e reflexão sobre seu fazer artístico, investigando potencialidades e limites de sua contribuição estética, políti-ca e pedagógica para a formação cultural e política - e conscientização - da classe trabalhado-ra. Nessa trajetória emergiram questões fundamentais para a construção de uma atuação transformadora do ponto de vista estético, das condições materiais, do modo de produção, das formas organizativas dos trabalhadores e trabalhadoras da arte e do teatro, da relação com o público, da interação com movimentos sociais. Tais questionamentos nos remeteram a sua historicidade, identificando continuidades, descontinuidades, contradições e supera-ções em relação a experiências anteriores em que a arte, assim como a educação, como as-pectos da cultura estiveram imbricadas em uma estratégia política de transformação social.We intend with this work contribute to highlighting the relevance of the conceptual debate on popular education, in dialogue with artistic practice and the political intentionality. For this, we used participant observation with an initiative of theater groups \"group\" of São Pau-lo, of creating collective spaces of action and reflection on their artistic practice, investigating the potential and limits of its aesthetic , political and educational contribution to the cultural and political - and raising awareness - of the working class. Along the way key issues emerged for the construction of a transforming performance - from the aesthetic point of view, the material conditions, of the production process, the organizational forms of workers of art and theater, the relationship with the public, the interaction with social movements. Such questions have referred to their historicity, identifying continuities, discontinuities, contra-dictions and overcomes from previous experiences when art, as well as education, as cultur-al aspects, were intertwined in a political strategy of social transformation.
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Fredwest, Janice M. "Popular Library: Rethinking the Cultural Relevancy of the American Public Library." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277140389.
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Vermorel, Fred. "Biography & identity, celebrity & fanhood : researching intersections of avant-garde and popular culture." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22495/.
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This PhD by publication critically reviews the background, context, and reception of work published from 1978-2008. The work surveyed, comprises popular music biography, texts on art school influenced bohemia and counterculture, and on celebrity and fan culture. The social and cultural context of the work is mapped and methodological and stylistic issues addressed. The origins of the punk aesthetic through the Sex Pistols is charted. The turn in celebrity studies towards a "fan culture" based approach is demonstrated by the publication of 'Starlust' in 1985. Subsequent work on "fan culture" is discussed. Issues relating to researching and theorising popular culture and cultural and design history are debated. Extracts from the publications cited are provided.
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Dias, Paulo Henrique Barbosa. "Musica que meu povo gosta." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280467.
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Orientador: Jose Mario Ortiz RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A tese analisa os modos como um grupo de sujeitos localizados socialmente define suas preferências por bens simbólicos em geral e por obras, intérpretes, gêneros e estilos musicais em particular. Para tanto procuro 1) definir que lugar ocupa o consumo de bens simbólicos ¿ em especial a música ¿ no conjunto de experiências de que os sujeitos participam ¿ a posição deste tipo de consumo na hierarquia de suas prioridades; e 2) descrever as situações concretas em que as obras são apreendidas e os processos através dos quais as experiências de que o sujeito participa cotidianamente definem os significados atribuídos às obras.. A pesquisa toma por referencial empírico habitantes de uma região localizada na periferia de Campinas (Distrito Industrial de Campinas, o DIC). Tal escolha deveu-se ao meu interesse em abordar a discussão sobre gosto ancorando-a no espaço social definido pelo pertencimento aos segmentos populares. Assim, associa-se, na pesquisa, análises de correlações entre fatores sócio-econômicos e práticas de consumo de bens simbólicos às baseadas em observações etnográficas dos comportamentos e percepções dos atores. Entre muitos padrões observados pode-se perceber a predominância dos repertórios caracterizados pelo ecletismo, o que em determinadas situações estaria associado a algum grau de tolerância à diversidade
Abstract: This thesis analyze the ways that groups of specific places define your preferences about symbolic goods in general and about oeuvres, interprets, genders and musical styles in particular. To make this work try to:1) define the place of the consume of symbolic goods ¿ especially music ¿ in these peoples¿ experiences ¿ the position of this kind of spend in the priorities¿ hierarchy; 2) To describe the concrete situations where the artistic oeuvres are apprehended and the process through of the daily experiences of this people define the meanings attributed to this oeuvres. The research uses as empiric referential, the habitants of a region placed in the Campinas¿ periphery (Industrial District of Campinas, DIC). This choice comes from my interests in approaching the discussion about taste linked in the social space defined by the belonging to the popular social segments.Thus, it is associated in the research, analysis of correlations between socioeconomics factors and practices of consume of symbolic goods. Among many patterns observed it is possible to perceive the predominance of repertories characterized by the eclecticism. It, in some circumstances, could be associated to the tolerance to the diversity
Doutorado
Doutor em Ciências Sociais
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Fernandez, Samuel. "Popular religiosity and Hispanic liturgy toward a mutual enrichment /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Toukan, Hanan. "Art, aid, affect : locating the political in post-civil war Lebanon’s contemporary cultural practices." Thesis, SOAS, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604312.
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Schütz, Marine. "Entre les lignes : dessin, illustration et pratiques graphiques dans le Pop art (1950-1975)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3104.
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Dès l’apparition du Pop art autour de 1962, l’iconographie de l’illustration et de la publicité indique l’émergence d’une véritable esthétique graphique. La rencontre du Pop art et du dessin se révèle particulièrement intéressante car suivre les productions réalisées dans cette discipline éminemment manuelle permet de réexaminer les différentes positions des artistes vis-à-vis de la culture de masse et d’aborder des questions tant matérielles qu’iconographiques. Partant du constat que les formations artistiques sont à l’origine du va-et-vient entre options manuelles et mécaniques dans l’économie du Pop art, le propos débute par l’examen des conditions d’émergence du dessin. L’examen des relations entre dessin et culture de masse ne saurait être complet sans évoquer la réponse d’artistes qui s’engagent dans la recherche d’un dialogue avec un public croissant (par des stratégies de classe, l’iconographie de logos de produits, la prise en compte des possibilités de l’estampe etc.). Non seulement l’œuvre naît du parcours de la main, mais le dessin pop dépasse le seul processus créateur pour exister dans un corpus d’œuvres autonomes, qui s’écarte de tout schéma finaliste. Cette présence souligne ce que peuvent avoir de critique l’image et l’action du corps. De même que Claes Oldenburg et David Hockney opposent une tension manuelle aux expressions mécanisées dans la société – et là réside le double sens de la notion d’engagement autant physique que politique dans le dessin pop –, le réinvestissement du corps sous la forme du portrait et du nu affirme sa solidarité avec les combats pour la libération sexuelle à l’aube des années soixante-dixBy 1962 with the beginning of Pop art, the iconography of illustration and advertising points the development of an art founded on graphics. Interestingly, the relations between Pop art and drawing allow to follow how the handmade practices reassess the artists’ positions towards mass culture and deal with material issues (such as manual involvement) and the meaning of iconography (counter-culture, return of the figure). Starting from the point that artistic pop economy of art owes its back and forth mouvement between manual and mechanical options to its protagonists’ artistic education, this dissertation opens with the study of drawing’s emergence in a pedagogical context. The study of the relations between drawing and mass culture wouldn’t be fully led without assessing the answer of the artists who involve in the claim for a bigger audience (with a class strategy, an iconography full of mass products and the possibilities of prints). Moreover, not only the graphic works stem from the hand, but pop drawing overwhelms the solely issue of creation processes to exist in an autonomous corpus of works, which doesn’t fall into the finalist schema. This presence points how critical may be the body, through drawing, as an image and as an action. Similary to Claes Oldenburg and David Hockney who oppose a manual tension to the social mechanized expressions – and there lay the double sense of the very notion of involvement which is to be understood in Pop art in the same time on a physical and a political level – the reinvolvement of the body by way of portrait or nude shows its solidarity with the fights in the wake of the sixties, fight for sexual liberation, or women rights
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Ryan, Michael Joseph. "Hard knocks on a thick skull training the body for a "closed habitus" in a Venezuelan civilian combative art /." Diss., Online access via UMI:, 2007.
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Boneh, Galia. "Moving from entertainment towards art a new model for creating performance on HIV/AIDS /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1568127991&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Weller, Rebecca Ann. "Los Angeles look(ing) process, perception, and popular culture in the art of Larry Bell, Craig Kauffman, and John McCracken /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 270 p, 2008. http://proquest.umi.com/pqdweb?did=1601513221&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Gonçalves, Edson Antonio. "Os bonecões no carnaval de Atibaia = uma experiência em arte-educação." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284427.
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Orientador: João Francisco Duarte JúniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A intenção deste trabalho pode ser justificada em sua essência: uma experiência em arte-educação. Ele destaca propostas de atividades com metas realistas, mais próximas ao universo do aluno e que possam ser realizadas dentro da sala de aula. Neste sentido, a educação (do) sensível - estimulada pela experiência e observação estreita do nosso cotidiano, a contemplação da natureza e a simbiose com vivências e pesquisas oferecidas pela Cultura Popular - demonstrou ser forte aliada. Os procedimentos foram cruciais para facilitar a aprendizagem conceitual e para despertar o interesse na produção de esculturas nas aulas de artes. O desenvolvimento de obras tridimensionais com os alunos do Ensino Fundamental parecia ser um grande desafio, uma vez que estamos cientes da falta de equipamentos apropriados e espaços adequados para tal prática. A confecção dos bonecos gigantes constituiu a provocação necessária para despertar o interesse dos educandos, e a oficina de artes realizadas no âmbito da Escola CEFI (Centro de Educação e Formação Integrada) facilitou o desenvolvimento do processo. A prática da reciclagem de materiais de uso diário descartados, por meio de obras em assemblage, permitiu não só sensíveis encantos, mas também refinou a sensibilidade estética dos aprendizes. Além disso, gerou consciência e respeito ao meio ambiente. Estimulou iniciativas de conservação e preservação. O entendimento da Cultura Popular, conseguida através deste projeto, transformou uma ação pedagógica, inicialmente restrita ao ambiente de uma escola, em um compromisso prazeroso com a sociedade. Este processo possibilitou o retorno dos Bonecos Gigantes ao Carnaval de Atibaia, que há vinte anos haviam desaparecido. Houve grande apelo emocional e desenvolvimento mútuo. Os alunos produziram esculturas que reuniram o público no centro da cidade, onde puderam interagir e se complementar: obras e espectadores
Abstract: The intention of this work can be justified in its essence: it is an experiment in art education. It highlights proposals of activities with realistic goals, closer to the student's universe and that can be undertaken within the classroom. In this sense, sensitive education - stimulated by the experience and close observation of our everyday life, the contemplation of nature and the symbiosis with experiences and research offered by popular culture - was a strong ally. The aforementioned procedures were crucial to facilitate conceptual learning and to awaken the interest in the production of sculptures in art classes. The development of three-dimensional works with students in elementary school seemed like a great challenge for us, given that we are aware of the lack of appropriate equipments and suitable spaces for such practice. The confection of giant puppets was the teaser to awaken the student's interest, and the arts workshop carried out within CEFI School (Center for Integrated Education and Training) has facilitated the development process. The practice of recycling materials of daily use, by means of works of assemblage, resulted not only in sensitive enchantment, but also raised the aesthetic sensibility of the apprentices. Furthermore, it advanced awareness and respect for the environment and encouraged conservation initiatives. The understanding of popular culture achieved through this project transformed a pedagogical action, initially restricted to the ambient of a school, into a pleasurable engagement with society. This process also recovered the Giant Puppet Carnival at Atibaia, that disappeared twenty years ago. There was great emotional appeal and mutual development. The students produced sculptures that met the public in the city center, where they interacted and complemented each other: works and spectators
Mestrado
Artes Visuais
Mestre em Artes
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Rierola, de Mas Montsita. "Goula. Art, joc i memòria. D'una aventura industrial a una experiència artística." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/456167.
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L'estudi a l'entorn de la fabrica Goula, que va produir miniatures, figures i jocs educatius a Vic entre els anys 1942 i 1996, posa en relació un cas industrial amb una proposta artística, que dóna lloc al treball de recerca Goula. Art, joc i memòria. D’una aventura industrial a una experiència artística, iniciat a partir de disposar d'una reserva de l'estoc de figures i peces de jocs de quan la fabrica va tancar.
La producció artística inicial va propiciar, posteriorment, un interès històric per l'orígen de les peces i de les vicissituds de la indústria que les va crear, impulsant una recerca transversal que s'ha nodrit de diferents fonts. La metodologia emprada ha tingut en compte la complementarietat entre la recerca i la practica artística, amb un clar benefci en el resultat fnal.
El treball s'ha organitzat amb un índex que delimita una sèrie de tasques d'investigació i de producció artística. Així, el situa en un punt que permet comprendre, des de diferents òptiques, la transcèndencia industrial i social de la fàbrica Goula. En primer lloc, la introducció conté uns ítems per contextualitzar el títol de l'estudi, la motivació, els objectius, la hipòtesi, la metodologia i les fonts d'informació.
L'índex continua amb una memòria històrica que explica l'orígen de la fàbrica en un petit pis de Vic, i com va progressar fins a arribar a la construcció de la fàbrica nova. També s'analitza la història de les torneries de fusta, en concret amb relació a Goula, ja que van ser el seu principal recurs industrial a l'hora de realitzar les seves produccions.
Més endavant figura l'apartat més extens i complex del treball, Producció Goula. Una aventura industrial, que fa una selecció de les figures i els jocs que l'empresa va produir al llarg de la seva trajectòria. S'esmenta igualment l'entorn gràfic i publicitari que dóna compte de l'imaginari iconogràfic que va promoure l'empresa.
Durant els anys de la primera fase, Goula va fabricar els Menajes, uns petits jocs en miniatura. Després van arribar les figures de molla, que van ser de les produccions mes emblemàtiques de l'empresa. l finalment van incorporar una maquina d'injecció de plàstic, amb la qual es feien figures que compartien espai amb les peces de fusta a les col·leccions Urbis.
Al mateix apartat de producció es presenten dos nous títols, «Noves figures» i «Jocs educatius». El primer aplega diferents famílies de noves figures realitzades amb fusta, tret d'alguns detalls que incorporaven com a complements. Es tracta de les figures del 1964 Familia Kordills, Serie Pilcolor, Wikingos, Girasoles Musicales i Huchas. Totes aquestes col·leccions es van produir enmig de la fase de consolidació de la indústria Goula, amb molt bones vendes nacionals i a l'estranger, sobretot en el cas dels Wikingos.
L'apartat «Jocs educatius» analitza l'important pas que va fer la indústria Goula en fabricar una gran diversitat de jocs educatius, principalment de fusta, en què el paradigma del fet lúdic es complementa amb la qüestió educativa i social dels inicis dels anys seixanta. S'inclouen aquí les diferents tipologies de jocs educatius fabricats per Goula: jocs de construcció, jocs de muntatge, jocs catalogats, jocs de butxaca, Chics, Mini Juegos, Kits, Classic's i Goulines.
Finalment, s'afegeixen aquí quatre epígrafs relacionats amb la temàtica: «Aproximacions didàctiques», que ajuda a comprendre els plantejaments educatius bàsics a partir dels quals es fabricaven els jocs; «Els concursos», per explicar com van discórrer els concursos nacionals, que van portar a la venda d'una nombrosa quantitat de productes per a escoles; «Centre Ocupacional Sant Tomàs», en que s'exposen els recursos cercats per atendre aquesta demanda, i, finalment, «El fi d'un anunci», un recull de textos per entreveure el debat sobre el joc educatiu i la seva didàctica a partir d'algun anunci i publicacions vinculades.
El punt següent, «Fabricants d’il·lusions: documental d’entrevistes a l’entorn de Goula», explica com i per que s'ha produït un vídeo documental basat en les entrevistes a les persones relacionades amb el context de Goula. S'hi especifica la metodologia emprada i es presenten els protagonistes, amb la finalitat d'ajudar a copsar les idees i les emocions que s'intuïen abans de fer-lo. En el marc de la recerca, ha estat una de les fonts d'informació més importants, i esdevé un testimoni excepcional de la història industrial.
L'explicació del treball realitzat en vídeo dóna peu al darrer apartat de les tasques relacionades amb la investigació, «Experiència artística: Goula. Projecte d'art, joc i memòria», un sumari de les peces artístiques dutes a terme conjuntament amb l'artista visual Jordi Lafon. Com s'ha especificat al principi de la introducció, aquestes obres s'han fet a partir d'elements i figures de l'estoc de la fabrica tancada. De la mateixa manera que el document videogràfic ha permès explorar la memòria oral de les persones vinculades a la indústria Goula, la producció artística ha complementat la recerca des d'una observació antropològica dels objectes, afegint-se a la investigació en un exercici tangible per conèixer l'origen i els usos de la major part de les peces, que resultaven inconnexes al principi i que al final han configurat el projecte dotant-lo de sentit.
Finalment, les conclusions tanquen el treball amb una sèrie de valoracions que reflexionen sobre com s'ha generat aquesta recerca, obrint canals d'investigació que han aportat dades per ajudar a recuperar una part de la memòria històrica de Goula. En aquest sentit, també es reflexiona sobre el projecte artístic desenvolupat en paral·lel, i sobre la manera com les dues metodologies de treball s'han complementat. La valoració dels aprenentatges i els resultats configura nous camins d'investigació, com ara els àmbits de la teoria i la pràctica, en els quals s'ha treballat.
Per concloure, la bibliografia es presenta íntegrament al final del treball. D'altra banda, els annexos s'adjunten en un document a part, en correspondència amb els apartats de l’estudi.
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Jones, Danielle Lynise. "Perception of cuteness and beauty." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002538.
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D'Olimpio, Lauralin. "The moral possibilities of mass art." University of Western Australia. Philosophy Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0172.
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This Thesis critically examines the moral possibilities of mass art. Mass art is often dismissed by critics as pseudo or ersatz art, described as 'kitsch' and lacking in aesthetic and moral value. I will critically examine several definitions of mass art which argue whether or not mass art can and should be classified as art qua art, and what its moral possibilities are given that definition. I focus my analysis on the theories proposed by Noel Carroll, Clement Greenberg, R. G. Collingwood, Dwight MacDonald, Walter Benjamin, T. W. Adorno and Max Horkheimer with a view to defending a positive account of mass art as art with moral capabilities while also arguing that the ethical concerns raised by Adorno and Horkheimer must be taken seriously. After examining the aesthetic and ethical issues that are raised by mass art and how these inter-relate, I explore the link between aesthetic and ethical education. Drawing upon Martha Nussbaum's theory of literary education, I outline a supplementary moral theory that I term
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Oliveira, Amilton Damas de. "Festas populares paulistas : impressões xilográficas." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284549.
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Orientador: Lúcia Eustáchio Fonseca RibeiroDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa tem como objetivo desenvolver um estudo e considerações sobre a presença da cor na minha produção, por meio do processo subtrativo, composta por uma série de xilogravuras coloridas, em sua maioria no processo matriz perdida, realizada entre os anos de 2009 e 2011. A temática é construída de narrativas provenientes de vivencias cotidianas rurais e urbanas e, principalmente, com as expressões da cultura popular das festas, folias e folguedos religiosos do Estado de São Paulo. Para efetivar a pesquisa, busco retomar o processo criativo envolvido na elaboração dessas gravuras, bem como rememorar momentos de vida que colaboraram na construção de minha trajetória pessoal e profissional. Como um "contador de estórias", recorro ao desenho e a coleta de falas dos festeiros para apreender, compreender e registrar aspectos da religiosidade popular e sua rica diversidade plástica. Na história da arte geral e brasileira, destaco artistas que apresentam produção significativa na área da gravura, enfatizando a cor na técnica de xilogravura
Abstract: This research aims to develop a study and consideration of the presence of color in my production of woodcuts by the subtractive process. Consisting of a series of colored woodcuts mostly lost in the process matrix, performed between the years 2009 and 2011. The conceptual relationship between printmaking and drawing will be explored and revealed through the very theme of the works (parties of popular Catholicism) and graphics processing. In the case of visual poetics, there will be a gradual process in which, concurrently, the results obtained experimentally subsidize further investigations, and thus successively over this research to achieve the final pointers
Mestrado
Artes Visuais
Mestre em Artes Visuais
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Nicolau, Netto Michel 1978. "O discurso da diversidade = a definição da diferença a partir da world music." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280864.
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Orientador: Renato José Pinto OrtizTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A valorização contemporânea da diversidade revela um mundo atento à diferença. De fato, se um dia lutávamos pelo direito de sermos iguais, hoje, paradoxalmente, também clamamos pelo reconhecimento de nossas diferenças. Nesse sentido, vozes que discursam sobre essas diferenças hoje precisam ser ouvidas e ressoam pelo mundo ao habitarem o espaço global. Contudo, de que diferenças estamos falando? A permanência de nosso olhar no seio das relações sociais muitas vezes impede que notemos que, na verdade, as diferenças são construídas social e historicamente. Não basta que as coisas se diferenciem, mas é preciso um contexto no qual seja possível a seleção de índices suficientes de diferenciação para que essas sejam classificadas e, por consequência, hierarquizadas. Dessa forma, duas coisas se diferenciam apenas quando índices específicos são legitimados e, então, discursados. Por isso, a diferença é necessariamente uma construção discursiva que se realiza pelas próprias práticas discursivas, mas que somente podem surgir em relação a determinadas realidades concretas. No século XIX a diferença fora construída a partir da organização do exótico. É em relação a ele, em um momento no qual o discurso universal e a nação criavam a separação entre internalidades e externalidades centradas no imperialismo europeu, que a diferença fora articulada. Na contemporaneidade, contudo, o mundo perde seu centro e as relações entre externo e interno não mais podem organizar um discurso, sendo esse percebido na diversidade. O discurso da diversidade, portanto, surge na contemporaneidade como forma de ordenar o diferente a partir de bases concretas na sociedade, mas também por interrelações entre enunciados específicos. Podemos notar a operação desse discurso ao voltarmos nossos olhos para um objeto específico: World Music. Nele, a música é valorizada pela própria diferença, sendo então necessário se compreender quais os índices tornados suficientes para a diferenciação. Propomos que neste objeto os índices privilegiados são o local e a etnia. Com essa mirada, então, mais importam as forças relacionadas à determinação dos índices do que a tentativa de se perceber um mundo mais ou menos homogêneo. É dessa forma que poderemos compreender as implicações sociais e o condicionamento das vozes presentes no discurso da diversidade
Abstract: The value given to diversity in our times shows just how attentive the world is to difference. In fact, where we once fought for equal rights we now look to establish our sense of difference. In this sense, voices who speak about these differences need to be heard today and resonate throughout the world. But what differences are we talking about? The permanence of our attention within social relations often prevents us from noticing that, in fact, we're talking about differences that are socially and historically constructed, and therefore of interest to sociology. It's not enough that things are distinct, but we need a context in which it is possible to select sufficient levels of differentiation for things to be classified and consequently put in hierarchies. Thus, two things are different when specific factors are legitimized and then discoursed. Therefore, the difference is necessarily a discursive construction that takes place by their own discursive practices, but that can only arise in relation to certain realities. In the nineteenth century, difference was built from the organization of the exotic. And it's in relation to this, at a time in which the universal discourse and the nation, centrered on European imperialism, created the separation between the internalist and the externalist view, that the difference was articulated. In contemporary times, however, the world loses its centre and the relationship between internal and external can no longer organise a discourse, this being perceived in the diversity. The discourse of diversity, therefore, arises in the contemporary world as a way to order the different from concrete foundations in society, but also by interrelationships between specific enounciation. We can note the operation of this discourse by examining a specific object: World Music. In it, the music is valued by the difference, so one needs to understand what are the factors that make the differentiation sufficient. We propose that with this object the privileged factors are location and ethnicity. With this look, then, it's of importance to understand the forces related to the determination of these factors rather than the attempt to realize a more or less homogeneous world. And so we can understand the social implications and the conditioning of the voices present in the discourse of diversity
Doutorado
Sociologia
Doutor em Sociologia
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Chen, Hsiao-ping. "The Significance of Manga in the Identity-Construction of Young American Adults: A Lacanian Approach." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1292280906.
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Adams, Alissa Rachel. "The emperor is dead, long live the emperor: Paul Delaroche's portraits of Napoleon and popular print culture." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2431.
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This master's thesis seeks to dispel the myth that nineteenth century painter Paul Delaroche's art was either apolitical or politically conservative. Through an examination of Delaroche's portraits of the late Napoleon I in conjunction with contemporary napoleonic prints, one finds that Delaroche was, indeed, deeply involved with contemporary politics. A close examination of his portraits shows that this involvement manifested itself in support for both the Cult of Napoleon and for the Bonapartist party.
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Wish, Cyndi. "It's the way it shatters that matters." Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/27840.
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The following dissertation is an investigation of print, language, political rhetoric, and use of the multiple in identifying and evolving culture. It is also a description of American culture over the last century, and the figureheads in the arts, from Duchamp to G. G. Allin, who were crucial in creating the confusing entity that is contemporary American culture.
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Cruz, Pereira Irina. "Heroínas del feminismo popular: autoría de mujeres en Hollywood." Doctoral thesis, Universitat de Barcelona, 2022. http://hdl.handle.net/10803/673901.
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En 1990, Marjorie Ferguson expone su argumento sobre la «falacia del feminismo», negando que exista una correlación entre la creciente consciencia social feminista, la autoridad de las profesionales en los medios de comunicación y la representación de las mujeres en la cultura popular. La presente tesis se plantea si su argumento sigue vigente treinta años después, en un contexto marcado por la influencia del neoliberalismo sobre el movimiento feminista. Para responder estas preguntas, la tesis ofrece una reflexión en torno a las heroínas del cine hollywoodense que, de la mano de mujeres en posiciones autoriales determinantes, habitan espacios tradicionalmente percibidos como masculinos. El trabajo parte de la observación de que, en la segunda mitad de la década de 2010, personajes femeninos han ocupado roles centrales en sagas y franquicias emblemáticas de la industria hollywoodense que hasta entonces habían estado protagonizadas exclusivamente por hombres. Así, este estudio se centra en tres de estas protagonistas con el objetivo de analizar la representación de las heroínas en distintos marcos narrativos y estéticos: la protagonista de Wonder Woman (2017), Furiosa en Mad Max: Fury Road (2015) y Rey en la trilogía de secuelas de Star Wars: The Force Awakens (2015), The Last Jedi (2017) y The Rise of Skywalker (2019). En los tres casos se dan instancias autoriales de mujeres que desempeñan roles tradicionalmente asumidos por la industria de Hollywood como masculinos: la dirección (Patty Jenkins en Wonder Woman), el montaje (Margaret Sixel en Fury Road) y la producción (Kathleen Kennedy en Star Wars).
La tesis explora las múltiples representaciones populares del feminismo, así como la reacción antifeminista y la misoginia popular, para comprender el contexto en el que las películas del corpus han sido producidas y su recepción crítica —siendo consideradas por parte de la crítica como obras feministas y, al mismo tiempo, repudiadas por las voces antifeministas. A partir del trabajo de Janet Staiger (2003) sobre la autoría fílmica como acto performativo a través del que un sujeto se concibe a sí misma como autora y se posiciona en una estructura discursiva que la reconoce como tal, la tesis propone una concepción de la autoría que considera Hollywood un mundo figurado en el que los individuos son situados en jerarquías de poder, por lo que su agentividad es siempre parcial y posicionada, siendo el género un eje clave en dicho posicionamiento.
El primer estudio se centra en la película Wonder Woman (2017) y en la autoría de su directora, Patty Jenkins. El trabajo explora la histórica relación entre la heroína y el feminismo, y las condiciones específicas que permitieron su adaptación al cine en 2017. Se analiza la dirección de Patty Jenkins y la forma en la que negocia su posición como autora en una franquicia hasta entonces dominada por hombres tanto en la pantalla como en las posiciones autoriales. El estudio de Mad Max: Fury Road (2015) se centra en la narrativa distópica como espacio de resistencia feminista y elabora un análisis de la edición de Fury Road señalando que el estilo de la editora Margaret Sixel difiere de la mirada convencional masculina asociada con el género de acción. Por último, la tesis propone una reflexión en torno a la trilogía de secuelas de la franquicia Star Wars, en la que se introduce a una mujer, Rey, como protagonista. El análisis demuestra que la trilogía transgrede las convenciones narrativas de la propia saga al elegir a Rey como receptora de la «fuerza» y se centra en el caso de Kathleen Kennedy, productora de la franquicia desde 2012 y considerada la responsable de haber introducido en Star Wars una mayor diversidad de personajes y de protagonistas femeninas.In 1990 Marjorie Ferguson published «Images of Power and the Feminist Fallacy», an essay in which she challenged the assumption that there is a correlation between the raising feminist consciousness, female authorship in media and the representation of women in popular culture. This thesis explores whether Ferguson’s claim is still valid thirty years later, in a context marked by a strong influence of neoliberalism on feminist movements. The corpus analyzed in this thesis includes films with female protagonists in sagas previously led by men: Wonder Woman (2017), Mad Max: Fury Road (2015) and the Star Wars sequel trilogy (2015-2019). In all three cases, women authors occupy roles traditionally assumed to be male: directing (Patty Jenkins in Wonder Woman), editing (Margaret Sixel in Fury Road), and producing (Kathleen Kennedy in Star Wars). This thesis seeks to interrogate the varied and complex representations of feminism in popular culture, as well as the anti-feminist backlash in connection with popular misogyny, in order to address more fully the context in which these films have been produced as well as their critical reception —they were perceived by some critics as feminist works and, at the same time, repudiated by anti-feminist movements. Drawing on Janet Staiger’s (2003) work on authorship as a performative act through which a subject conceives herself as an author and is situated in a discursive structure that recognizes her as such, this thesis reads Hollywood as a figurative world in which individuals are located hierarchically and in which their agency is always partial and positioned, their gender being central to this positioning.
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Rioux, Christine. "Découverte d'une industrie culturelle, la reproduction des oeuvres d'art au Québec." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29118.
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This dissertation explores the process of reproduction of works of art in the province of Quebec. Reproduction is studied historically, considering its significance as a cultural industry and its characteristics as a mode of communication. The dissertation first engages the theoretical discourse surrounding the novelty of technologies of reproduction of art works at the turn of the century and further pursues an exploration of reproduction within the framework of postmodernity. The phenomenon is studied with special attention to the movement of art works into private spaces.In considering the history of reproduction with regard to works of art in Quebec, four distinct periods have been established: 1936-1950, the novelty of techniques of reproduction; 1950-1970, the era of education; 1970-1980, the discovery of national identity through reproductions of Quebec artists; and 1980-1989: the consolidation of a new market; 1989-1990: the economical boom of the market and the structures get organized.
The portrayal of this new cultural industry is traced and its different characteristics considered. Selection of works, styles, marketability and motives for purchase are presented problematically. Thus, in the last chapter, a theory for art reproductions as a silent mode of communication in the private space is explored.
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Miller, Elizabeth. "Manipulating the Hype: contemporary art's response to media cliches." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10099.
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Manipulating the Hype addresses art’s reaction to the barrage of signs produced by the media. The paper researches contemporary art’s response to clichéd media stereotypes and elucidates artists’ multifaceted perspective on overtly obvious yet widely embraced paradigms marketed by the media. Contemporary art’s strategic reconfiguration of media stereotypes is a valuable introspection upon the superficiality and impracticability of advertising and entertainment industry constructs. By reconsidering the mediated image, art has the ability to inspire reevaluation of cultural values. The thesis additionally attempts to ascertain the reinterpretation of media stereotypes as a common thread linking principal art movements and historically significant artworks from around the world since 1960. How does contemporary art respond to the extensive cultural influence of the media? Is a reaction to mass media a thematic commonality linking contemporary artists in the age of globalization? Manipulating the Hype is a dual outcome investigation comprised of written thesis and studio practice. The written thesis combines experience from a lengthy professional practice with historical and theoretical research. The visual thesis consists of twelve photographic works taken at on the Big Island of Hawaii. The images juxtapose artificial icons of power from popular culture with the natural force of the active lava flow. The process of research discloses how the advertising and entertainment industries capitalize upon innate human desires through the manipulative proliferation of archetypal imagery. Furthermore, the thesis establishes the widespread retort to media clichés as a palpable commonality in studio practices worldwide. The findings in the research make evident that although contemporary art does not have sufficient influence to reform the media, it can heighten public awareness of media tactics.
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Hobson, Janell. "Venus in the dark : blackness and beauty in popular culture /." New York : Routledge, 2005. http://catalogue.bnf.fr/ark:/12148/cb40055102p.
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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Maciel, Neila Dourado Gonçalves. "O universo poético-mítico de Raimundo de Oliveira." Programa de Pós- Graduação em Artes Visuais da UFBA, 2009. http://www.repositorio.ufba.br/ri/handle/ri/9845.
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Esta dissertação tem como objetivo central adentrar no universo poético-mítico da produção do artista plástico baiano Raimundo de Oliveira, nascido em Feira de Santana em 1930 e, morto em Salvador em 1966. No intuito de compreender seu processo criativo, analisar como se deu a construção de seu repertório de signos tão singulares e tão significativos a partir de uma resignificação da cultura popular, estabelecendo possíveis relações com outros artistas e com as manifestações festivas e religiosas que o artista vivenciou. A pesquisa está divida em três capítulos, nos quais se procurou balancear o contexto histórico da formação da identidade nacional entre os séculos XIX e XX, calcada na cultura popular, o surgimento do modernismo com seus ideais de ruptura, os quais no contexto brasileiro foram acrescidos da busca pelo caráter nacional, seguido por uma contextualização desse modernismo na Bahia, analisando as principais características que ligam os primeiros artistas modernos baianos, incluindo Raimundo de Oliveira, à valorização das manifestações populares assim como, a análise mais aprofundada das relações percebidas na sua poética. Para isso, foram apresentados vários pontos referentes à religiosidade vivenciada pelo artista destacando a hipótese de que o mesmo transfere para suas telas o desejo de permanecer num espaço místico e sagrado,evidência que pode explicar sua fixação pela temática religiosa. Foi escolhido o método iconográfico – iconológico de Erwin Panofsky para tentar construir a leitura do seu universo criativo, ou seja, todas as seções da pesquisa foram construídas para colaborarem no conhecimento dos fatores externos à obra de Raimundo, para enfim, entender as possíveis relações construídas a partir de tudo o que diz respeito aos elementos formais e, ao conteúdo de sua obra. O trabalho é finalizado com uma análise de duas pinturas, as quais narram a cena bíblica da Última Ceia, tentando com isso exemplificar as relações apontadas durante todo o estudo. Em seus resultados, o trabalho não buscou ser conclusivo, mas propositivo de caminhos a serem aprofundados e ampliados a partir das novas questões suscitadas.
Salvador
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Giesbrecht, Érica 1976. "O Passado Negro : a incorporação da memória negra da cidade de Campinas através das performances de legados musicais." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284470.
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Orientadores: Lenita Waldige Mendes Nogueira, Rita de Cássia Lahoz MorelliTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A crescente proliferação de grupos performáticos, que, através de manifestações culturais, divulgam "passados", convencionalmente chamados de "tradições culturais", tem rendido estudos e debates no campo da etnomusicologia em todo o mundo. Partindo da etnografia de grupos de cultura popular afro-brasileira sediados na cidade de Campinas - São Paulo, proponho uma reflexão sobre as dinâmicas que particularizam tal processo ali. No auge da economia cafeeira do Brasil no século XIX, a cidade foi um pólo produtivo, concentrando um grande contingente de escravizados a quem se atribui atualmente a criação de diversos estilos musicais. Entretanto os atores da conjuntura atual não descendem necessariamente daqueles escravizados, não pertencem a uma comunidade isolada ou a grupos familiares demarcados. Performando um legado musical atribuído àqueles escravos, esses grupos - dentre os quais acompanhei o Urucungos, Puítas e Quijêngues, a Casa de Cultura Nação Tainã, o Jongo Dito Ribeiro, e o grupo Maracatucá - nos colocam uma questão: por que grupos "não tradicionais" se interessam pelos chamados repertórios tradicionais, escolhendo, pesquisando e recriando suas performances? Sem eliminar outras possíveis respostas, defendo que as performances desses grupos engendram a intencional incorporação desse "passado negro" através de sua música, devolvendo aos corpos de seus participantes o controle sobre si mesmos. Usamos esta expressão, "passado negro", quando não queremos reconhecer acontecimentos de nosso passado que nos causam desconforto no tempo presente. Ambiguamente essa expressão também sintetiza tudo o que se relaciona à memória dos escravos da Campinas do século XIX. Renegado por uma cidade que ostenta um cenário urbano modernizado e essencialmente branco, esse passado aflora nos cabelos, nos tecidos, na cultura, na dança e na memória reconstruída de transeuntes negros que, por meio da performance, (re)enegrecem. Apropriar-se deste legado cultural através da performance significa remexer nas cinzas do esquecimento; é opor-se aos processos de exclusão do presente juntando-se a uma história e uma memória maior e desenterrando um passado trágico para que jamais seja esquecido
Abstract: The increasing propagation of cultural groups dedicated to the performance of the so called "cultural traditions", has yielded studies and debates in the field of ethnomusicology worldwide. From the ethnography of popular cultural groups based in Campinas - São Paulo, I propose a reflection on the dynamics that distinguish their processes. At the height of the Brazilian coffee economy in the nineteenth century, the city was a production center, gathering a large number of slaves to whom the creation of many musical styles is credited. Meanwhile the agents of the present groups do not necessarily descended from those slaves nor belong to any culturally isolated traditional community. Performing a musical legacy credited to those slaves, these groups - Urucungos, Puítas e Quijêngues, Casa de Cultura Tainã, Jongo Dito Ribeiro and Maracatucá - bring up a question: why would "nontraditional" groups be interested in the so-called traditional repertoires, selecting, researching and recreating their performances? Considering other possible answers, I argue that the performances of these groups engender the intentional incorporation of a "black memory" through their music, thus leading their participants to regain control over their bodies. We use this expression, "black memory", when we don't want to recognize past events that could embarrass us if disclosed. Ambiguously this term also encompasses everything that relates to the memory of the slaves from Campinas in the nineteenth century. Denied by an essentially white city that holds a modernized urban scenery, this memory flourishes from the hairs, clothes, culture, dance and memory of black citizens who redress the black skin through their performances. Empowered by this cultural legacy they revolve the ashes of oblivion, and oppose to the exclusion processes by joining a larger history and memory, thus disclosing a tragic past that shall never be forgotten
Doutorado
Fundamentos Teoricos
Doutor em Música
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Soares, Maurílio Guimarães. "Representações simbólicas em percurso efêmero: o Corpus Christi em cor e areia." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6120.
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Através da pesquisa de campo realizada nas festas de Corpus Christi da cidade de Matão/SP nos anos 2011 e 2012, são abordados os temas festa, imagem, cultura e sagrado. Especificamente focada na confecção dos tapetes, são observados e analisados seus processos e representações em aspectos individuais e coletivos. São inúmeros seus significados e interpretações se o percebemos em sua forma viva de seu lastro histórico até os dias atuais. Saliento a importância do registro desta manifestação cultural, pois através dele do estudo de suas imagens e significações buscamos um maior entendimento de como este evento acontece e de como é percebida e interiorizada pelo seu públicoThrough field research feasts of Corpus Christi city Matão / SP in the years 2011 and 2012 are discussed themes 'party', 'image', 'culture' and 'sacred'. Specifically in the manufacture of carpets, are observed and analyzed their processes and representations in individual and collective aspects. Countless their meanings and interpretations are realized in the form of its ballast living history to the present day. I note the importance of this cultural event registration, for through it - the study of images and their meanings - seek a greater understanding of how this event happens and how it is perceived and internalized by its audience
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Georgelas, Althea. "Media to Medium: Representations of Violence, War & Women in Pop Culture." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1822.
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My work is inspired by the mass Media and how it affects the world around me. I am interested in how violence, war and women are represented in popular culture and how this has trickled down into social behavior. I also wonder how much entertainment media reflects deep social ideals. I define mass media as the viral proliferation of ideas using television, cinema, video gaming and the Internet. I am concerned about the social and psychological affects of violent media and how it impacts the lives of women and girls. This is of particular interest to me because I am a woman who has grown up in a media-saturated culture. Many aspects of my life and my identity have been shaped through media influence. I frequently use source material collected from the Internet. My method is to choose a specific word or phrase, and then use search engines to retrieve the associated media. By doing this I am assured that, on any given day, the images and videos returned to me are those most disseminated in mass media for that particular subject. Once I have collected this media I regularly use it to create digital collages, multi channel sound compositions and animated video. There are two threads within this process that intersect as I am working through an idea. At times I manipulate media and synthesize new material to represent my own personal vantage point. This allows me to directly comment on popular media and how it affects my life. The other thread in my practice is the subversion of media to challenge its meaning. These two approaches enable me to comment on media using a format of art-making that is similar to mass media itself. By using appropriated images and sound from popular media I am adopting a language that is understood by media makers and consumers alike. Working in this vein allows me to insert my own voice into the ongoing media-driven dialogue and thus help shape its collective consciousness. At the root of this exploration is a deeply unsettling concern for how mass media shapes social behavior in a way that reduces the individual voice and strips its power to resist. Mass media influences culture but it can also represent collective thought and action. There is a relationship that exists between media and how people act in the real world. Media and consumer are caught in a kind of feedback loop and I question how the individual identity fares. How do women survive in a culture where the blending of entertainment and violence so often targets makes them a target? How has violent popular media affected my life and those around me? How can people secure a truly representative voice against the media that oppresses them? I want my art to push these boundaries so that marginalized voices can be heard.
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Brunet, Miguel Bonumá. "Juventude popular na busca de alternativas : caminhos entre a sobrevivência e a arte." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/132874.
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A pesquisa aqui apresentada tem como tema central a compreensão dos processos alternativos de inserção social e de construção de identidades entre jovens de classes populares. Busca compreender em que medida a arte e o trabalho se articulam, se aproximam ou se opõem na vida dos jovens possibilitando a afirmação de identidades plurais – pessoais, coletivas e sociais. Para isso, apreende trajetórias de vida de jovens que escolheram a arte como caminho para estar no mundo, para afirmar sua identidade e construir para si um reconhecimento. Foram entrevistados 17 jovens moradores de Porto Alegre e Viamão. As trajetórias destes jovens apontam para diferentes caminhos trilhados durante o período da juventude, as condições sob as quais estes fazem sua arte, os sentidos que a arte e o trabalho têm para eles e a busca destes jovens por caminhos alternativos às condições que encontram em suas trajetórias de vida.The research presented here is focused on the understanding of alternative processes of social inclusion and construction of identities among working class youth. Seeks to understand how art and work are linked, approached or opposed in the lives of young people, enabling the affirmation of plural identities – personal, collective and social. For this, seizes life trajectories of young people who have chosen art as a way to be in the world, to affirm their identity and build for themselves a recognition. Were interviewed 17 young residents of Porto Alegre and Viamão. The trajectories of these young people point to different paths taken during the period of youth , the conditions under which they make their art, the meanings that art and work have for them and the pursuit of these young people for alternative ways to the conditions they find in their life trajectories.