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Demeter, Michelle E. "The commodification of yoga in contemporary U.S. culture." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001710.
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Mansfield, John. "Hip-hop pathology and the commodification of culture /." Title page and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arm287.pdf.
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Axelsson, Patrina. "Travel Selfie: A commodification of the tourist experience and culture?" Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22766.
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The aim of this study is to examine the development of the travel selfie phenomenon in contemporary media and culture, and its impact on tourist experiences. By discussing key issues surrounding the phenomenon, particularly commodification and social media such as Instagram, this thesis investigates the effects of the travel selfie on tourist experiences, through a qualitative study approach.By adopting dispositive analysis as a methodology, this study explores how the travel selfie phenomenon evolves from a photographic practice into a modern tourist trend and a travel commodity that has revolutionized the tourist industry. The results suggest that the travel selfie has evolved from a spontaneous photographic technique into a valuable commodity that empowers modern tourists in different parts of the world. The shared consumption of the travel selfie amongst tourists subvert dominant criticism about the selfie culture by suggesting how the travel selfie inspires and unites tourists through an ability to express themselves individually. The conclusions emphasize how the travel selfie has expanded amongst tourists and continues to transform the contemporary cultures.
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Marchione, Renata. "Participatory culture and commodification in the age of the "digital revolution"." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457041058/viewonline.
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Humphries, David. "Labourism and the commodification of work and social life." Department of Sociology - Faculty of Arts, 2004. http://ro.uow.edu.au/theses/231.
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The thesis explores concepts of alienation and commodification in relation to public and private themes of identity, in contemporary Australia. It is argued that as labour conditions have intensified and the social safety net has eroded the emphasis on private themes of identity have increased. These themes emphasise sexuality and gender, and down-grade the issue of work and labour. The Australian Labor Party helped create the conditions for postmodernist identity politics weakening their commitment to working class improvement in favour of emphasising hypercapitalism and hyperliberal gender discourses. This approach favours the inclusion of marginal groups that have been traditionally outside of labourist concerns (women, homosexuals, Aborigines) at the expense of civilising capitalism, labour alienation and commodification as the central concern for workers. In short, the abandonment of Marxism, labourism and Social democracy: and their replacement by identity issues. The backlash to a post-welfare state social democracy designed to ameliorate conditions for marginal groups, become a key feature in the election of the Howard government in 1996, with Howards battlers consisting of former Labor voters disenfranchised by political correctness. This produced an attack on welfare cheats, high taxation, and trendy concerns such as Aboriginality � and reinforced Hansonism. In this context, the Australian and American relationship and the frontier tradition is stressed as a pivotal factor in determining the role of identity in the neo-liberal political economy, with the pressures created by neo-liberalism and globalisation. Australian mythology based on Anzac symbolism and personality creates a vacuous phenomenon for genuine themes of Australian national identity to survive the homogenous nature of hyper-capitalism. The drift towards the power of American capitalism and political cosmologies can then been seen as a natural evolution of Australian political mythology. It is here that the thesis argues that hyper capitalist themes can have an implicit relationship to concepts of hyper-liberalism found in gender discourses and moreover, ironically evocative of the individualism Weber argued existed in American Protestant religious sects. Subsequently the de-construction of masculinity that has been characteristic of feminist and gay theory, that reflects a social psychological perspective rather than one based in Marxs historical materialism that places man within social history. Social theory therefore unfairly constructs the heterosexual masculine personality in relation to working class elite occupations such as coalmining or as a reflection of a corporate dominance, to create polemic avenues for marginal groups. The focus upon heterosexuality within the thesis links its relationship to the characteristics demanded by industrial capitalism such as the Fordist mode of production, and in Marxist terms, the complete enslavement and alienation that existed between social man and the capitalist mode of production. This approach emphasises the experience of wage labour, culminating with the high levels of unemployment that has risen concomitantly with de-industrialisation, globalisation and neo-liberalism. The disciplining of the unemployed in the post-welfare state exists alongside hyper-liberal themes of sexual and social identity, indicating a general shift to a social fascism, or two- tiered form of democracy that resides alongside, and is often in competition with conservative advocates for the nuclear family and heterosexuality. The development of Howards battlers reflects a conservative appropriation of the original Australian legend that was based on labourism and mateship and now exists in a nationalist paradigm evocative of frontiersmen and Anzacs rather than one based on class. A framing issue for the thesis subsequently is what role does gender and sexuality have in the function of the industrial capitalist society?
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Hershiser, Carl Mehmet. "Blood honor and money : Turkish oiled wrestling and the commodification of traditional culture /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Rome, Alexandra Serra. "Critical account of ideology in consumer culture : the commodification of a social movement." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23657.
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The study of ideology has long interested sociologists and consumer researchers alike. Much consumption research has approached ideology from various macro, meso, and micro levels of analysis. However, many studies fail to address the dialogical interplay among these three levels of analysis when examining how ideology manifests in, and interacts with, consumer identity projects. Many consumption-based studies examining ideology provide descriptive and normative accounts, affording practices of consumption emancipatory potential. In response, this research adopts a critical marketing perspective in order to draw out the macro and political implications of meso cultural production systems and micro consumption experiences and identity projects. Focusing on the contemporary American feminist movement, and on discourses around sex and sexuality, it explores how hegemonic (patriarchal) and counterhegemonic (feminist) ideologies are communicated in the marketplace, through the media, to understand their role in regard to consumers’ lived experiences and interactions with advertisements. Working within the consumer culture theory tradition, this thesis employed a variant of phenomenological interviewing that explored female emerging adults’ sexual narratives and their interpretations of sexualized ads. By generating data on a specific type of experience, inferences were drawn about how young women experience and relate to the contemporary feminist movement. In total, 14 American women, aged 20 to 31, were interviewed twice and also created media collages of what they considered ‘sexy’. Implementing a multi-step hermeneutic analysis, the data were analyzed through an iterative process, moving back and forth between the idiographic cases and theory. Through multiple iterations, micro, meso, and macro level inferences were made. This study suggests that young women foster diverse and temporary identifications with feminism in the pursuit of two, often overlapping, goals: ontological security and status. This results in a micro process of ‘ideological shifting’, which has depoliticizing effects, insofar as (anti-) feminist brands and identities were readily appropriated and discarded depending on specific contexts and situations. Thus, contrary to much work in the consumer culture theory tradition, which presents consumption as having transgressive and liberating effects, this study finds that while the young women had the power to dialogically interact with marketized (meso level) ideologies that constitute the marketplace, they failed to intercept the macro level processes of marketization and commodification and consequently did not challenge the hegemonic (patriarchal) ideology at large. In adopting a critical perspective, this study offers valuable insight into the relationship between ideology and consumer behavior. Ideology is shown to be disseminated via hegemonic processes of commodification and marketization. Because these processes occur at a macro level, counterhegemonic ideologies are hegemonized and subsequently depoliticized before even reaching the consumer on a micro level. By examining ideology across all three levels, this study finds that consumer agency is largely relegated to the realm of the marketplace, where consumers’ dialogical interactions and consumption practices do not challenge the macro ideologies or oppression at large, but merely alter their marketplace expressions.
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Earl, Emma. "Brand New Zealanders: The Commodification of Polynesian Youth Identity in bro'Town." Thesis, University of Canterbury. Journalism and Mass Communication, 2006. http://hdl.handle.net/10092/1036.
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Maori and Pacific Island youth are the 'it kids' of Aotearoa New Zealand television today, as the exceptional success of the television series bro'Town attests. Corporate sponsors clamour to associate their brands with the hit programme, from international heavyweights including Coke and Vodafone to local players such as G-Force. Likewise, celebrities from at home and abroad proclaim their support for bro'Town in guest appearances on the show. But, what is at stake when the visibility of Polynesian youth in the media is so inextricably intertwined with the commercial imperatives of major corporations and pop-culture celebrities? This paper attends to an absence of critical response regarding the role of commercial influences in the representation of Polynesian youth identity in bro'Town. In striving to be popular, contemporary television in Aotearoa New Zealand often addresses the preconceptions of its target audience. The commodification of Polynesian youth identity in bro'Town, therefore, may be interpreted as a marketing strategy to tap into a popular ideological shift towards multiculturalism in Aotearoa New Zealand without disrupting the dominant ideology of white, middle-class masculinity from which capitalism derives. Although bro'Town offers specific challenges to popular stereotypes of Polynesian youth culture, the discursive construction of Maori and Pacific youth identities in the show is still circumscribed by a consumerist ethos that demands adherence to Western capitalist culture in Aotearoa New Zealand. Bro'Town operates in complicity with pre-existing binaries between masculinity/femininity and heterosexual/homosexual and thus implicitly reinscribes the status quo for youth in Aotearoa New Zealand today. Moreover, bro'Town's multicultural ethic is largely contrary because the series fails to contest popular stereotypes about other ethnic minorities. In Brand New Zealanders, it is argued that the corporate co-option of Polynesian youth culture in bro'Town ultimately does less to pry open new discursive spaces for the development of youth identity than to operate as a vehicle for the deliberate shrinking of consumer choice.
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Nahoum, André Vereta. "Selling \"cultures\": the traffic of cultural representations from the Yawanawa." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-15012014-102023/.
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What are the tensions, alliances, negotiations, and translations underlying the traffic of cultural representations in markets? This research analyzes two economic projects maintained by the Yawanawa, an indigenous population from the southwestern Amazon: one project produces annatto seeds for an American cosmetic firm, and the other involves the public performance of cultural and, notably, spiritual practices. The indigenization of market practices and specific Euro-American categories - such as monetary exchange, environmental protection, and cultural difference - allow cultural elements to be translated into representations of enduring cultures, harmonious lifestyles and good environmental practices. The economic valuation of cultural representations is being used as a new tool in local conflicts that occur internally among leaders and groups in their quest for prestige, loyalty, and material resources, and externally with the region\'s non-native population and with national initiatives to develop profitable activities in the Amazon. Part of our global market society, the Yawanawa can also employ the demand and valuation of representations associated with their culture to individual projects on the construction of reputation and leadership, and more broadly, to the reassertion of their collective identity as a specific indigenous population with special rights. This research explores market exchange as an arena of complex sociability and conflict. It analyzes how values are created and exchanged within the market in a true cultural economy, and how individual and collective identity projects are constructed, challenged, and sometimes reproduced by the traffic of material and immaterial objects.Quais são as tensões, alianças, negociações e traduções que subjazem ao tráfico de representações culturais no mercado? Esta pesquisa analisa dois projetos de inserção no mercado dos Yawanawá, população indígena do sudoeste amazônico: um projeto para produção de sementes de urucum para uma empresa estadunidense de cosméticos, e outro que envolve a exibição pública de práticas culturais, notadamente espirituais. A indigenização de práticas de mercado e categorias específicas da cultura Euro-Americana tais como o intercâmbio monetário, a proteção ambiental e a diferença cultural permitem a tradução de elementos culturais em estilos de vida harmoniosos e boas práticas ambientais. A valorização econômica de representações culturais é utilizada internamente como um novo instrumento em conflitos locais entre líderes e grupos em sua busca por prestígio, lealdade e recursos materiais e, externamente, junto à população regional e nacional não-nativa como contraponto a outras iniciativas para o desenvolvimento de atividades lucrativas na Amazônia. Parte de nossa sociedade global de mercado, os Yawanawa também podem empregar a demanda e valorização de representações associadas à sua cultura em projetos individuais de construção de reputação e liderança, e mais amplamente, para a reafirmação de sua identidade coletiva, como uma população indígena com direitos especiais. Esta pesquisa explora a troca mercantil como uma arena de sociabilidade complexa e conflituosa. Ela analisa como valores são criados e intercambiados no mercado em uma verdadeira economia cultural, e como projetos de identidade individual e coletiva são construídos, questionados e, às vezes, reproduzidos por meio do tráfico de objetos materiais e imateriais.
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O'Neill, Carly. "The cynic's guide to shopping for morals : on the commodification of morality in consumer culture." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22296/.
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This thesis questions the idea that morality is only part of consumer culture in explicitly ethical consumption, and instead argues that morality is shaped in several layers throughout consumer culture. This thesis examines these layers by considering the question: How is morality shaped and perpetuated both explicitly and implicitly in consumer culture? It has found that consumer culture is not post-ideological but that in it, ideology and morality are obscured by a cynical disconnection between belief and action ,which is used by both consumers and producers. By disconnecting what people 'know and believe' from what they 'do', it becomes harder to recognise where ideology and morality affect consumer culture, because they are denied their role while they fulfil it. Ideology and morality are obscured further by a second disconnection within this first one; between what people 'know' and what they 'believe'. The tension this disconnection causes is addressed through myth, which adds and hides ideology and morality in consumer culture by naturalising ideology and morality in advertising. This shows that there is more to consumption than the satisfaction of needs, and there is more to the concept of needs in consumer culture than their practical satisfaction. Consumer culture is a complex sphere where good and bad co-exist, and consumers are active co-creators of ideology and morality. Their contributions however, are made within limits set by dominant voices in consumer culture, perpetuating an inequality of power in consumer culture. This thesis shows that when consumer culture is looked at as a complex social sphere, it becomes clear that atonement is an important part of consumer culture, not just in explicitly ethical consumption but in consumer culture in general, and that consumer culture is a sphere where morality is taught and learned.
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Wissing, Rachael. "Culture for Sale: An Ethnographic Study of Commodification at the Westwego Shrimp Lot of Louisiana." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1213.
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This study examines the marketing strategies employed by vendors at the Westwego shrimp lot in Westwego, Louisiana. Given the fluctuating market conditions and rising costs of seafood production, seafood vendors in the Gulf Coast region must look continuously for new ways to market their product as a cultural commodity. This thesis argues that shrimp becomes a cultural commodity at the Westwego shrimp lot, and that through marketing strategies, vendors at the Westwego shrimp lot both resist and accept certain aspects of globalization. The presence of imports, a presence that emerges in the context of globalization, poses a large threat to the industry‟s survival. Vendors both consciously and unconsciously market shrimp as food and symbol. An analysis of their efforts may contribute to understanding the process of cultural commodification.
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Dillon, Robert John. "Manufacturing the past : collective memory and the commodification of history as popular culture on British television." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444984.
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Frassinelli, Pier Paolo. "Visible god : a study in culture, drama and the mystery of commodification in the English Renaissance." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396183.
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Cottrell, Matt Dee. "The Question Concerning the Cooptation of the Sundance Film Festival: An Analysis of the Commodification of Independent Cinema." DigitalCommons@USU, 2009. https://digitalcommons.usu.edu/etd/485.
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The Sundance Film Festival has transformed from being a fringe festival to a leading showcase for independent cinema. This research shows that studios now descend upon the festival to acquire films for commercial distribution. The Sundance Film Festival seems to currently operate as a marketplace for films rather than an independent festival. This research seeks to examine how Hollywood studios have been able to infiltrate and commodify independent projects from the Sundance Film Festival and what the potential ramifications are for emerging independent filmmakers seeking to have their projects screened at the festival. In other words, have Hollywood studios coopted the Sundance Film Festival and if so, what does this process look like? This research seeks to answer these questions through an analysis of Sundance Film Festival data and interviews with festival informants.
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Al-Khalidi, Alia. "Menstruation in material and promotional culture : the commodification and mediation of female sanitary products in Britain 1880-1914." Thesis, Southampton Solent University, 2000. http://ssudl.solent.ac.uk/1192/.
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Previous analyses of the history of the innovation and commodification of menstrual hygiene products largely subscribe to the misconception that the establishment of the industry was begun in the early years of the 20th century. This research firmly relocates the decisive development of this industry to the inception of Southall's Antiseptic and Absorbant Pad in Britain in 1880. Following analysis of the imperatives of menstrual management in the mid-19th century, consideration is given to the origins of the commodification of menstruation, its vital early promotional culture and the rapid development of an established competitive commercial context within an effective industrial infrastructure. Product development and diversification are considered through to the maturation of the industry prior to the First World War. These events are considered within a historically based interdisciplinary approach employing a historical and cultural analysis to develop a fuller understanding of the issues that are explored. The industrial and cultural encoding of menstrual objects within promotional discourse is seen to reconstruct Victorian menstrual etiquette; positioning objects of menstrual management in the establishment of new hygienic protocols and brand loyalty through an emphasis on issues of social transformation, technical innovation, medical certification and discretion. The presentation and interpretation of contemporary source material facilitate a reconstruction of accepted histories and contribute to a new understanding of early menstrual communication strategies.
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Lunchaprasith, Thanya. "The commodification of culture in the Thai tourism context : a study of culinary experiences in touristic traditional markets." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7632/.
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The purpose of the thesis is to examine the relationship between tourism and the local culture expressed in culinary experiences offered in the traditional, nostalgic-themed markets that have arisen as popular attractions in the 21 st century. Central to the thesis is an examination of how the traditional cultural values are articulated in the production, promotion and consumption of culinary experiences in order to understand the value of culture when embedded in the process of commodification, as well as to understand influential socio-cultural factors. The thesis investigates the potential of traditional markets to promote food as the main attraction in the market. Field studies were conducted from December 2012–March 2014 in eight traditional markets in the central region of Thailand. Based on the ethnographic approach in studying the narratives in the markets, a variety of methods were implemented in the process of data collection. Besides observational analysis of the venue, semi-structured interviews and the self-administered questionnaires were used to collect data from actors who engage in food experiences, including management team members, food traders and visitors. Data was also collected from interviews with officers working for Tourism Authority of Thailand (TAT). Keys findings of the thesis reveal that the cultural expressions of food experience in each market is an outcome of both the interactions of worldviews expressed by actors involved in the traditional market and the socio-cultural condition of Thailand. The relationships between stakeholders’ attitudes towards food experiences and the commercial potentials and limitations of food were analysed. The analysis of the cultural value of culinary experiences demonstrates that the existing academic discussions of the authenticity of tourism are insightful in explaining the character of food experiences offered in this tourism scenario. Most importantly, authenticity in tourism experiences, being a desirable element in culinary experiences, is a reflection of the how the pre-modern aspect of Thai society is embraced in a contemporary context. In addition, the commodification of culinary culture generates multidimensional consequences on the value of traditional culture and local lives. Moreover, the performance of culinary experiences can be viewed from the perspective of how Thai society interacts with globalization. The thesis also points out that it is possible to compare the situation of the traditional markets with the marketing positioning of food in Thai tourism marketing policy.
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Rojas, Alegria Nicole Sofia. "Chamanes en la red: Mercantilización de la cultura y uso de las redes sociales para proliferar discursos entorno a lo chamánico." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652545.
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El presente trabajo de investigación evidencia la migración del mundo entorno a los chamánico a las redes sociales. Esa migración ha permitido una mercantilización de la cultura; es decir, ha hecho más fácil la venta de este mundo entorno a lo chamánico a través web. Cada uno de los personajes analizados en la investigación difunde un determinado discurso entorno a lo chamánico que se construye a través de diversos elementos como la vestimenta, los instrumentos musicales, un determinado tono de voz o gestos. Estos discursos antes podían ser difundidos en espacios físicos; sin embargo, gracias a las redes sociales ahora pueden ser anunciados de manera virtual. En la actualidad, estos ‘’chamanes’’ difunden contenido en redes sociales que evidencia un trabajo de producción, edición y conocimiento web, lo que les permite convertirse en creadores de contenido con un fin netamente mercantil.This research work shows the migration of shamanic work shows the migration of shamanic world to social networks. This migration has allowed a commodification of culture; that´s to say, it has made it easier to sell this world around the shamanic through the web. Each of the characters analyzed in the research disseminates a certain discourse around the shamanic that is constructed through various elements such as clothing, musical instruments, a certain tone of voice or gestures. These discourses could previously be broadcast in physical spaces, however, social networks can now be advertised virtually. Currently, these ´´shamans´´ disseminate content n social networks that evidences a production, editing and web knowledge, allowing them to become content creators for a purely commercial purpose.
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Bagatur, Sine. "Engendering Consumption: Commodification Of Women Through Print Media With Specific Reference To The Turkish Case." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12609131/index.pdf.
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This thesis aims to investigate women’
s double-way relation to consumption, as both consumers and commodities. The major goal of the study is to examine the historical construction of women as pimary consuming class and how this relationship of women to consumption has evolved through time. Moreover, it is claimed that display of women as visual objects of male gaze in visual iconography, ideologies of beauty and body politics on women&
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s appearances resulted in commodification of women in the modern consumer culture. Additionally, a brief analysis of Turkish print advertisements for the period 1930-1970 is attempted with a view to demonstrating how Turkish middle-class women have been incorporated into newly emerging consumer culture and how this integration process has been perceived by advertisers.
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Kehnel, Steven C. "The Commodification of Masculinity Within Men’s Magazine Advertisements: With what and how do we make the man?" Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1070480473.
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Feuer, Hart Nadav [Verfasser]. "Pre-Industrial Ecological Modernization in Agro-Food and Medicine : Directing the Commodification of Heritage Culture in Cambodia / Hart Feuer." Bonn : Universitäts- und Landesbibliothek Bonn, 2013. http://d-nb.info/1043061185/34.
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Rodrigues, Maysa Ciarlariello Cunha. "Indústria cultural em Theodor Adorno: das primeiras análises sobre a mercantilização da cultura nos anos 1930 à formulação do conceito em 1947." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-26052015-112252/.
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Este trabalho tem por objetivo investigar as análises de Theodor Adorno sobre a mercantilização da cultura a partir da década de 1930, com o intuito de compreender como o conceito de indústria cultural foi sendo esboçado na obra do autor antes de ganhar sua formulação mais conhecida em Dialética do Esclarecimento, escrita em parceira com Max Horkheimer, publicada em 1944 em versão prelimitar e em 1947, na formatação definitiva. Intenciona-se demonstrar que indústria cultural decorre de um programa de pesquisa e reflexão anterior à Dialética do Esclarecimento, voltado para a compreensão da articulação de aspectos econômicos com o âmbito psicológico e cultural que são sintetizados de forma singular no conceito. As reflexões de Adorno, por sua vez, representam uma apropriação particular de influências marxistas, freudianas e weberianas, bem como leituras de Walter Benjamin e de Max Horkheimer.This study aimed to investigate the analysis of Theodor Adorno on the commodification of culture starting from the 1930s, in order to understand how the concept of culture industry was being sketched in the author\'s work before obtaining its best known formulation as published in Dialectic of Enlightenment, written in partnership with Max Horkheimer, in 1944 in a preliminary version and in 1947, in its final formatting. Our intention is to demonstrate that culture industry originates from a program of research and reflection prior to Dialectic of Enlightenment, pursuing the understanding of the articulation between economics and psychological and cultural, that are synthesized in a unique way in the concept. Adorno\'s reflections, in turn, represents a particular appropriation of Marxist, Freudian and Weberian influences, as well as readings of Walter Benjamin and Max Horkheimer.
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Hitch, Neal V. "Between city and suburb the near urban neighborhood, technology, and the commodification of the American house, 1914-1934 /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1127144350.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xvi, 356 p.; also includes graphics (some col.). Includes bibliographical references (p. 328-356). Available online via OhioLINK's ETD Center
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Souza, Cláudio Lucena de. "Processos formativos e identitários no futebol: sujeitos (in)visíveis em jogo." Educação, 2014. http://repositorio.ufba.br/ri/handle/ri/16900.
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Trata-se de uma pesquisa desenvolvida no Programa de Pós-Graduação em Educação da Universidade Federal da Bahia e que buscou, pela lente da educação, entender os nexos entre o processo de mundialização e mercantilização da sociedade moderna e contemporânea e a formação identitária do futebol brasileiro. Para tanto, investigou as implicações do processo de racionalização e mercantilização do futebol contemporâneo na formação esportiva de jovens que participam de escolinhas públicas e privadas de futebol em Salvador-BA. O estudo reconheceu tais escolinhas como espaços de formação de identidades culturais do futebol e como locus de prática social para além de prática esportiva. Em relação ao método, a pesquisa se caracterizou como qualitativa, de abordagem dialética e adotou como procedimento metodológico para levantamento de informações: a pesquisa documental, a observação participante e a entrevista semiestruturada sob a inspiração da entrevista reflexiva. A técnica de análise das informações foi a hermenêutica-dialética. O campo empírico reuniu uma equipe de divisão de base de um clube profissional, uma escolinha de futebol com vínculo com clube profissional, uma escolinha de futebol sem vínculo com clube profissional e uma escolinha pública de futebol. Os sujeitos de diálogo foram treinadores, atletas e um ex-atleta, coordenadores técnicos e pais de atletas. Os resultados da pesquisa apontam para a prevalência da lógica racional e mercantil do futebol profissional na divisão de base do clube pesquisado, mas também fortes indícios de sua presença na escolinha pública de futebol e parcialmente na escolinha privada com vínculo com clube profissional, e ainda algumas pequenas interferências dessa lógica no trabalho dos professores da escolinha privada sem vínculo com clube profissional. Esses resultados sugerem a formação de identidades de negócio já desde as escolinhas de futebol e indicam a presença de sujeitos (in)visíveis, ambos de modo subordinado às demandas do futebol profissional.
ABSTRACT This study was developed as part of the Graduate’s Program in Education of the Federal University of Bahia. It’s objective was to understand, from an educational perspective, the links between the globalization and commodification process, of modern and contemporary society and the identity formation of Brazilian soccer. To this end, it was investigated the implications of this rationalization and commodification process of contemporary soccer for the sports education of young people attending public and private soccer schools in Salvador, Bahia. The study revealed that these schools are spaces for the development of cultural soccer identities, and that they are a focal point for social activities that go beyond the practice of sports. The study’s methodology can be characterized as qualitative, with a dialectical approach, adopting the following methodological procedure for gathering information: desk research, participant observation and semi-structured interviews inspired by the reflexive interview technique. The technical analysis of the information was of a hermeneutic-dialectic nature. The empirical field was made up of a youth division team of a professional club, a soccer school with ties to a professional club, a soccer school without ties to a professional club and a public soccer school. The respondents were coaches, athletes and one former athlete, technical coordinators and athletes’ parents. The research results point to the prevalence of a rational and mercantile logic of professional soccer in the youth division of the researched club, but also strong indications of such an approach in the public soccer school and, partly, in the private school with ties to professional club. This logic even interfered in some small measure in the work of the teachers of the private school without ties to a professional club. These results suggest that business identities start developing already in the soccer schools and indicate the presence of (in)visible subjects, both subordinate to the demands of professional soccer.
RESUMEN Se trata de una investigación desarrollada en el Programa de Posgrado en Educación de la Universidad Federal de Bahia y buscado, a través de la lente de la educación, la comprensión de los vínculos entre el proceso de globalización y la mercantilización de la sociedad moderna y contemporánea y la formación de la identidad del fútbol. Por tanto investigado las implicaciones del proceso de racionalización y la mercantilización del fútbol contemporáneo en la formación deportiva de los jóvenes que participan en las escuelas de fútbol públicas y privadas en Salvador, Bahía. El estudio reconoció esas escuelas como espacios de formación de las identidades culturales de fútbol y como un lugar de práctica social más allá de lá práctica desportiva. Sobre el método, la investigación se caracteriza como enfoque cualitativo, de abordaje dialéctica y adoptó como procedimiento metodológico para el levantamiento de información: investigación documental, la observación participante y la entrevista semi-estructurada bajo la inspiración de la entrevista reflexiva. La técnica de análisis de la información fue la hermenéutica-dialéctica. El campo empírico reunió a un equipo de la división de la base de un club profesional, una escuela de fútbol con vínculo con el club profesional, una escuela de fútbol sin vínculo con un club de fútbol profesional y una escuela pública de fútbol. Los sujetos de el diálogo eran entrenadores, atletas y uno ex-atleta, lós coordinadores técnicos y padres de los atletas. Los resultados de la investigación no sólo apuntan la prevalencia de la lógica racional y mercantil del fútbol profesional en la división base del club investigado, sino también fuertes indícios de su presencia en la escuela pública de fútbol y en parte en la escuela privada con vínculo con el club profesional, y incluso algunas pequeñas interferencias de esta lógica en el trabajo de los maestros de la escuela privada sin vínculo con el club profesional. Estos resultados sugieren la formación de la identidad de negocio ya partir de las escuelas de fútbol y indican la presencia de los sujetos (en)visibles , tanto de manera subordinada a las exigencias del fútbol profesional .
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Montano, Edward James. "DJs, clubs and vinyl the cultural commodification and operational logics of contemporary commercial dance music in Sydney /." Phd thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/19792.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007.Bibliography: p. 291-313.
Introduction -- "Back to this subculture thing": literature review and methodology -- "The crowd went berserk": dance music and club culture in Sydney and Australia -- "Once you find a groove you've got to keep it locked": the role and significance of the DJ -- "There's a great myth about that": DJ culture in Sydney -- "You're not a real DJ unless you play vinyl": technology and formats: the progression of dance music and DJ culture -- "What is underground really?": defining the structure, significance and meaning of dance culture -- "Where are they going to go next?": shifting the focus of dance music studies.
The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to rectify these imbalances, this study examines the contemporary commercial dance music scene in Sydney, Australia, incorporating an analytical framework that revolves mainly around the work of DJs and the commercial scene they operate within.--An ethnographic methodological approach underpins the majority of this thesis, with interviews forming the main source of research material. Beginning with a discussion of the existing academic literature on dance culture and dance scenes, an historical context is subsequently established through a section that traces the development of dance culture from an underground phenomenon to a mainstream leisure activity, both within and outside Australia.--The ideas, opinions and interpretations of a selection of local DJs and other music industry practitioners who work in Sydney are central to the analysis of DJ culture herein. Issues discussed include the interaction and relationship between the DJ and their crowd, the technology and formats employed by DJs, and the DJ's multiple roles as entertainer, consumer and educator. The final part of the study gives consideration to the structure of the Sydney dance scene, in regard to the frequently used, but rarely critically analysed, terms 'underground' and 'mainstream'. The thesis concludes with a discussion that challenges the structural rigidity imposed by subcultural theory and scene-based analysis, arguing instead for a greater degree of fluidity in the theoretical approaches taken towards the study of contemporary dance music scenes.
Mode of access: World Wide Web.
vi, 334 p
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Hall, Timothy W. "Surface, substance and the status quo pop cultural influences on architectural design /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085069145.
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Richman, Lisa Helene. "From Subculture to Mass Culture: The Impact of Internet Photography on the New York Club Scene." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1205860298.
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Orshan, Carly A. "An American Tale: Incarnations of the Wizard of Oz and the Negotiation of Identity, Race, and Gender, in Popular Culture." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/676.
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The purpose of this study is to address the way in which several quite varied and often commodified representations of L. Frank Baum’s The Wonderful Wizard of Oz (1900) express and reproduce shifting notions of national identity within American culture across the twentieth century and at the beginning of our own. This thesis pursues the question of national identity that the American myth perpetuates throughout the twentieth century and examines the shift in citizenship through representations found in popular culture’s re-writings of the Wizard of Oz tale. This thesis evaluates both original and contemporary adaptations of the Oz story and their deconstruction for sociohistorical representations of racial, gendered, class, and national identity. I argue, that the numerous historical and ideological comparisons from the Oz tale reflect our own world in our discussions of identity, race, class, and gender and have become significant reflections of our own imaginations and national identity.
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Lawson, Selena Michelle. "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_theses/47.
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In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
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Guthrie, Meredith Rae. "SOMEWHERE IN-BETWEEN: TWEEN QUEENS AND THE MARKETING MACHINE." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1119390228.
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Cunningham, Caitlin. "Conflicted Commons: A Local Makerspace in the Neoliberal City." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4802.
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The commodification of culture, space, and resources is incentivized by neoliberal urbanism. In response, we have seen an attempt to develop collectively organized, oppositional spaces within urban places. The tensions that arise when considering the production of commons in the development of the neoliberal city are the central focus of this paper. As I will observe, these spaces are subjected to commodification as they become increasingly de-politicized through neoliberal ideologies. In order to theorize about these contradictory elements, I observe a makerspace in Richmond, Virginia called HackRVA. Specifically, I consider HackRVA as an urban commons. Through in-depth interviews and participant observation, I consider how HackRVA engages with the neoliberal city of Richmond and how the organization and maintenance of their space and their community reflects commoning as social reproduction. I find that HackRVA’s relationship to the city is complicated as the community within the space both contests and assimilates to the creative economy.
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Bouillon, Marie-Ève. "Naissance de l’industrie photographique. Les Neurdein, éditeurs d’imaginaires (1863-1918)." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0102.
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Cette recherche traite de l'influence d'une entreprise photographique sur la représentation de sites en France dans le contexte touristique et plus généralement sur le marché de l'illustration au tournant du XXe siècle. De simples studios de photographies au Second Empire deviennent de véritables maisons d'édition de l'image ou proto-agences de photographies, qui produisent et diffusent leurs images dans de multiples contextes et sur des supports les plus divers. La photographie est ainsi conçue comme un produit, dans l'idée d'une rentabilité, et intègre une collection dont la gestion montre une actualisation permanente, en lien avec les activités changeantes de l'entreprise, en fonction des marchés. Le cas de l'entreprise Neurdein frères (1863-1917) et l'étude de son organisation, son fonctionnement et son évolution, donne la mesure d'une construction élaborée de ses "vues de France". Du travail de ses opérateurs à celui de ses représentants de commerce, l'entreprise façonne et sélectionne ses photographies et par là même conçoit une véritable politique en matière d'images à succès. Le phénomène est renforcé par la production de ces nouveaux formats illustrés que sont les cartes postales, dont le succès se fait sentir en France dans les années 1890. Menée sous l'angle d'une histoire culturelle et économique de la photographie, cette thèse adopte une triple approche : celle de l'entreprise, celle de l'objet carte postale et celle du marché de l'illustration. Les corpus, en particulier centrés sur le Mont Saint-Michel et sur la tour Eiffel, pour laquelle Neurdein frères était en charge de la concession des objets souvenirs entre 1889 et 1917, sont mis en lien et interrogés pour rendre compte de mécanismes culturels puissants. Créées pour circuler sur toutes sortes d'objets éditoriaux, du fascicule à l'assiette, de la carte postale au journal, les images commercialisées par l'entreprise Neurdein frères obéissent à certains critères de représentation et deviennent presque des normes : omniprésentes et standardisées, elles participent à la formation d'une identité touristique ou stéréotypée des sitesThis research deals with the influence of a photographic company on the representation of sites in France in the context of tourism and, more generally, on the image market at the turn of the 20th century. Simple photographic studios during the Second Empire became true publishing houses or photographic proto-agencies, which produced and distributed their images in a variety of contexts and media. Photography is thus conceived as a product, with profitability in mind, and integrates a collection which is constantly updated, in connection with the changing activities of the company according to the markets. The case of the company Neurdein frères (1863–1917) and the study of its organization, its functioning, and its evolution, conveys the elaborate construction of its "views of France". From the work of its operators to that of its sales representatives, the company shapes and selects its photographs and hence conceives a true policy regarding the success of their images. The phenomenon is reinforced by the production of new illustrated formats, notably postcards, the success of which is setting in in France in the 1890s. This thesis, based on a cultural and economic history of photography, adopts a threefold approach: that of the company, that of the postcard as an object and that of the image market. The corpora, centered in particular on the Mont Saint-Michel and the Eiffel Tower, for which Neurdein were in charge of the concession of souvenir objects between 1889 and 1917, are put into relation and questioned in order to account for powerful cultural mechanisms. Created to circulate on all kinds of editorial objects, from fascicle to plate, from postcard to newspaper, the images marketed by the company Neurdein frères obey certain criteria of representation and almost become a norm: ubiquitous and standardized, they participate in the formation of a touristic or stereotypical identity of the sites
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Kennedy, Neil Patrick Martyn. "Employing Cornish cultures for community resilience." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/12641.
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Employing Cornish Cultures for Community Resilience. Can cultural distinctiveness be used to strengthen community bonds, boost morale and equip and motivate people socially and economically? Using the witness of people in Cornwall and comparative experiences, this discussion combines a review of how cultures are commodified and portrayed with reflections on well-being and ‘emotional prosperity’. Cornwall is a relatively poor European region with a cultural identity that inspires an established ethno-cultural movement and is the symbolic basis of community awareness and aspiration, as well as the subject of contested identities and representations. At the heart of this is an array of cultures that is identified as Cornish, including a distinct post-industrial inheritance, the Cornish Language and Celtic Revivalism. Cultural difference has long been a resource for cultural industries and tourism and discussion of using culture for regeneration has accordingly concentrated almost exclusively on these sectors but an emergent ‘regional distinctiveness agenda’ is beginning to present Cornish cultures as an asset for use in branding and marketing other sectors. All of these uses ultimately involve commodification but culture potentially has a far wider role to play in fostering economic, social, cultural and environmental resilience. This research therefore uses multidisciplinary approaches to broaden the discussion to include culture’s primary emotional and social uses. It explores the possibility that enhancing these uses could help to tackle economic and social disadvantage and to build more cohesive communities. The discussion centres on four linked themes: multiple forms of capital; discourse, narrative and myth; human need, emotion and well-being; representation and intervention. Cultural, social, symbolic and human capital are related to collective status and well-being through consideration of cultural practices, repertoires and knowledge. These are explored with discussion of accompanying representations and discourses and their social, emotional and economic implications so as to allow tentative suggestions for intervention in policy and representation. A key conclusion is that culture may be used proactively to increase ‘emotional capital’.
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Aggenbach, Adré. "The effects of commodification on cultural significance: two African fortifications." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/24986.
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This study is specifically concerned with the impact of cultural tourism on the valorisation of two African fortifications; Castelo São Jorge da Mina (Elmina Castle) in Elmina, Ghana and Casteel de Goede Hoop (Castle of Good Hope) in Cape Town, South Africa. The commodification of national and world heritage, primarily within the context of cultural tourism, is the process by which tangible and intangible heritage are transformed into cultural commodities to be bought, sold and profited from in the heritage and tourism industry. The perception, however, that these commodified heritage sites are contaminated, and less authentic, is based on an outmoded discourse. The South African government has placed a fair amount of focus on redressing highly emotive colonial or dissonant heritage sites with the intent of correcting misinterpreted Eurocentric histories or present non-represented pre-colonial history. The study is structured around addressing the issue of commodification and its impact on the understanding and interpretation of heritage both as an emotive commodity and as a means of providing economic benefit to a community. The literature review locates the research in Marx's theories on commodities together with Urry's tourist gaze. It furthermore includes an analysis on valorisation, with the focus on associative value, in the context of national and world heritage. Fortifications as fortified military architecture in an African context are considered; as is the European influence on African culture and fortifications as colonial structures. Elmina Castle, as a much-researched heritage site, is explored in detail. It includes a legislative analysis; the perspectives and interpretations of the two largest stakeholders groups, the Akan-speaking Fanti population and the African American Diaspora tourists is key to the analysis of the impact of commodification. A detailed history of Europeans on the Gold Coast, the development of Elmina Castle and the impact of trans-Atlantic slavery on the consumption of heritage is studied. The commodification of the Castle of Good Hope is written within the context of the prevailing South African heritage discourse. Much has been written on the commodification of Elmina Castle, while very little has been said about the Castle of Good Hope as a commodity. The prevailing authorised commodification of the Castle of Good Hope necessitated the analysis and comparison of the Castle with the selected comparative case and the study draws comparisons between the powerful emotive significance and contestations attached to Elmina and the contrast that this poses to the Castle of God Hope as a place of heritage significance despite the fact that it has been seen to symbolise the introduction of repressive European influence and control in South Africa. The research supports the notion that cultural tourism and events have impacted on the valorisation of cultural heritage and, in particular, the associative and emotive values. However, the cultural significance of the two African fortifications as important heritage sites are not at risk.
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Fitchett, James A. "Consumption and cultural commodification : the case of the museum as commodity." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2207.
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Marketing theory has traditionally sought explanation of commodity consumption based upon psychological and economic assumptions of needs, utility and exchange value, a paradigm of understanding that is becoming increasingly problematic. An alternative perspective of commodity consumption is presented, drawing on contemporary social and cultural theory where the commodity form constitutes a cultural and social logic; a discourse of communication which consumers use to mediate and participate in daily life. Instead of defining commodities in terms of use value and economic value, the commodity is seen in terms of a specific subject-object relation experienced in late capitalism, manifest as sign value and sign exchange. Taking the case of the museum, a context that it increasingly applying the terminology of the market, consumer and commodity; a qualitative research project is undertaken to asses the credibility of the cultural theoretical approach. It is proposed that the museum functions as a site of commodification, presenting history and culture as a set of commodities for visitors consumption. Whilst sign value is a useful concept in explaining commodity consumption, it is suggested a clear distinction between use value, exchange value and sign value is unworkable in practice and that utility and exchange value can be most accurately represented as cultural conditions rather than economic ones. The study suggests that consumption should be conceptualised as a constructive, active and productive process which involves the consumer in a continual exchange, use and manipulation of signs. The role of marketing is thus most appropriately thought of as a facilitative capacity rather as a provisional or directive force that mediates consumption behaviour.
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Schoux, Casey Christina. "Postvocalic /r/ in New Orleans| Language, place, and commodification." Thesis, University of Pittsburgh, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3577179.
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From silva dimes to po-boys, r-lessness has long been a conspicuous feature of all dialects of New Orleans English. This dissertation presents a quantitative and qualitative description of current rates of r-lessness in the city. 71 speakers from 21 neighborhoods were interviewed. Rpronunciation was elicited in four contexts: interview chat, Katrina narratives, a reading passage and a word list. R-lessness was found in 39% of possible instances. Older speakers pronounce /-r/ less than younger speakers, and those with a high school education or less pronounce /-r/ far less than those with post-secondary education. Race and gender did not prove to be significant predictors of r-pronunciation. In contrast to past studies, many speakers in the current study discuss their metalinguistic awareness of /-r/ and their partial control of /-r/ variation, discussing switching between r-fulness and r-lessness in different contexts.
In New Orleans, this metalinguistic awareness is attributable in part to the devastation following Hurricane Katrina in 2005, when the near-disappearance of the city intensified an already extant nostalgia for local culture, including ways of speaking. Nostalgia and amplification by advertisers and popular media have helped recontextualize r-lessness as a variable associated with a number of social meanings, including localness and authenticity. These processes help transform r-lessness, for many speakers, from a routine feature of talk to a floating cultural variable, serving as a semiotic resource on which speakers can draw on to perform localness.
This dissertation both closes a gap in research on New Orleans speech and uses New Orleans as a case study to suggest that the social meanings of linguistic features are created and maintained in part by a constellation of interrelated social processes of late modernity. Further, I argue that individual speakers are increasingly agentively engaged with these larger processes, as part of a global transformation from more traditional, place-bound populations to more deracinated individuals who choose to align themselves with particular communities and local cultural forms, particularly those that have been commodified.
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Silva, Gisvaldo Bezerra Araújo. "Língua inglesa : um universo imperativo na constituição de sujeitos contemporâneos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/49018.
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Especialmente após a Segunda Guerra Mundial, a língua inglesa alcançou o status de língua franca mundial e vem ocupando um espaço cada vez maior na vida dos sujeitos contemporâneos, independente de suas origens ou localização geográfica. A presença maciça desse idioma no contexto brasileiro em materiais didáticos, romances, dicionários, gramáticas, roupas, produtos de beleza, músicas, videoclipes, filmes, séries de TV, livros de bolso, revistas em quadrinhos, revistas de informação, alimentos, tecnologia, ciência, modelos de comportamento e de educação formal produzidos e/ou associados aos países anglófonos – especialmente Estados Unidos e Inglaterra − possibilita que seja possível se pensar na produção de um universo da língua inglesa. Tal ferramenta conceitual refere-se à amplitude dos domínios, das práticas e dos discursos colonizados por esse idioma. Com base numa perspectiva que vê a linguagem como constituinte da realidade e a educação como um processo que não se restringe às instituições determinadas para esse fim, mas se estende a uma série de outros lugares, defendo que o universo da língua inglesa, presente em nossas vidas nas mais diversas materialidades, apresenta-se enquanto um dos elementos-chave da constituição dos sujeitos contemporâneos. Articulado numa lógica neoliberal de mercado, ele atravessa e constitui uma poderosa rede que produz determinadas formas de ser, estar, agir e pensar na contemporaneidade. Essa lógica está diretamente atrelada à transformação dos sujeitos em mercadorias, que são impelidos a consumir produtos, ideias, comportamentos, pessoas, empregos, códigos de conduta associados à ou forjados a partir dessa língua. O objetivo deste trabalho é problematizar o caráter imperativo do universo da língua inglesa na constituição dos sujeitos contemporâneos. Utilizo como ferramentas teóricas os conceitos de identidade, subjetividade, neoliberalismo, capital humano, ambivalência, governo, dispositivo, Império, comodificação do sujeito para analisar o corpus selecionado para a presente pesquisa. Este compreende videoclipes de músicas em língua inglesa, relatórios do Conselho Britânico, sites desta instituição e de cursos de inglês on-line, projetos de lei antiestrangeirismos, reportagens sobre o Movimento Inglês como Língua Única (English Only Movement), reportagens e anúncios de jornais e revistas publicados no Brasil que envolvam a língua inglesa. Os resultados desta pesquisa apontam para a abrangência e a hegemonia da língua inglesa como língua adicional. Eles confirmam que ela é uma poderosa linha de força do dispositivo neoliberal, articulada na produção de sujeitos consumistas, flexíveis, globalizados, que têm na mídia um dos principais locus de subjetivação. Esses sujeitos são comodificados e incitados a fazer investimentos constantes e infinitos em seu capital humano para se manterem atrativos e desejáveis.Especially after the Great World War II, English has been considered a worldwide lingua franca and it has increasingly been playing a major role in people‟s live irrespective of their origins or where they are. The huge use of English words and expressions in textbooks, novels, dictionaries, grammars, fashion, beauty products, songs, videos, movies, TV series, pocketbooks, comic books, magazines, food, technology, science, behavior codes, and English-speaking countries educational models − mainly from the United States and England − makes it possible to think that an English language universe is taken place right in front of us. This concept refers to the wideness of its domain, practices, and discourses colonized in and through this language. Based on a perspective that sees language as part of our sense of reality construction and Education as a process that goes beyond traditional educational sets, I advocate that English language universe, which is part of our lives through many different materialities, is one of the key elements in the constitution of contemporary subjects. Linked up with neo-liberal market value rationality, it goes through and constitutes a powerful assemblage that produces specific ways of being, acting, and thinking at the present time. This rationality is directed to molding subjects into commodities prompted to consume goods, ideas, behavior codes, people, and jobs connected with or built through English. This work aims at problematizing the imperative of English language universe in the subjects‟ constitution. I use the concepts of identity, subjectivity, neo-liberalism, human capital, ambivalence, govern, apparatus, Empire, and commodification of subjects as theoretical tools in order to analyze the corpus selected for this research. It comprehends videos from songs in English, British Council reports and captures from its website as well as on-line English language schools, bills against foreign language use in Brazil, articles on the English Only Movement, as well as magazine and newspaper articles related to the English language. Results point out to English wideness and hegemony as an additional language in Brazil. They also confirm that this language helps to enhance and maintain neo-liberal apparatus, linked up with the production consumer, flexible, globalized subjects who have the media as the one of the main locus of subjectification. These subjects are commoditized and prompted to invest in their own human capital to keep themselves attractive and desirable.
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Robinson, Glendal Paul. "A Mythic Perspective of Commodification on the World Wide Web." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4489/.
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Capitalism's success, according to Karl Marx, is based on continued development of new markets and products. As globalization shrinks the world marketplace, corporations are forced to seek both new customers and products to sell. Commodification is the process of transforming objects, ideas and even people into merchandise. The recent growth of the World Wide Web has caught the attention of the corporate world, and they are attempting to convert a free-share-based medium into a profit-based outlet. To be successful, they must change Web users' perception about the nature of the Web itself. This study asks the question: Is there mythic evidence of commodification on the World Wide Web? It examines how the World Wide Web is presented to readers of three national publications-Wired, Newsweek, and Business Week-from 1993 to 2000. It uses Barthes' two-tiered model of myths to examine the descriptors used to modify and describe the World Wide Web. The descriptors were clustered into 11 general categories, including connectivity, social, being, scene, consumption, revolution, tool, value, biology, arena, and other. Wired articles did not demonstrate a trend in categorical change from 1993 to 2000; the category of choice shifted back and forth between Revolution, Connectivity, Scene, and Being. Newsweek articles demonstrated an obvious directional shift. Connectivity is the dominant myth from 1994 to 1998, when the revolution category dominates. Similarly, Business Week follows the prevailing myth of connectivity from 1994 to 1997. From 1998 on, the competition-related categories of revolution and arena lead all categories. The study finds evidence of commodification on the World Wide Web, based on the trend in categories in Newsweek and Business Week that move from a foundational myth that presents a perception of cooperation in 1994 to one of competition in 1998 and later. The study recommends further in-depth research of the target publications, a review of articles in less-developed countries, and content analysis and ethnography online.
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Myrevik, Andreas. "Jakobstad, den lilla staden med den framgångrika folkfesten : Kulturens autenticitet och stadens platsidentitet på ett kulturellt evenemang." Thesis, Umeå universitet, Kulturgeografi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-121974.
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Jakobs dagar is a cultural event that takes place in the city of Jakobstad in Finland. The aim of this paper is to see if the place identity that Jakobstad has matches the cultural event. The used method in this paper is focus groups with the locals from Jakobstad and an intervju with the organizer of the event, which is analyzed trough an thematic analysis. Jakobstads image is pitted against the image that Jakobs dagar depicts. The results are showing that the cutural image shown during the event fits the description of what the locals is regarding as Jakobstads cultural identity.
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Bennett, Nicole Carleton University Dissertation Sociology and Anthropology. "The authorization of difference; tourism Canada, multiculturalism and the commodification of Canadian ethno-cultural difference." Ottawa, 1994.
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Dixon, Anna R. "Health and wealth dietary supplements, network marketing and the commodification of health /." Thesis, University of Hawaii at Manoa, 2003. http://proquest.umi.com/pqdweb?index=0&did=765033321&SrchMode=1&sid=2&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1233358954&clientId=23440.
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Portnoff, Linda. "Control, cultural production and consumption : theoretical perspectives, empirical dilemmas, and Swedish music industry practices." Doctoral thesis, Stockholm : Economic Research Institute, Stockholm School of Economics [Ekonomiska forskningsinstitutet vid Handelshögskolan i Stockholm] (EFI), 2007. http://www2.hhs.se/efi/summary/742.htm.
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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.
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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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Elf, Donaldson Evelina. "Visitor Perceptions of Authenticity and Commodification in Easter Island Cultural Heritage Tourism : Pride and Empowerment of the Rapanui." Thesis, Uppsala universitet, Institutionen för samhällsbyggnad och industriell teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-412194.
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This study sought to analyze tourist perceptions of cultural heritage tourism on Easter Island, more specifically, how they perceived and valued the concept of ‘authenticity’ in representations of local Rapanui culture. By analyzing and categorizing trends found in Trip Advisor reviews left for 6 tourism businesses on the island (3 traditional performance venues and 3 guided tour companies), this primary research question was further broken down to assess 1) what factors in particular render an experience valuable and authentic to the tourist, 2) how tourists perceive indigenous Rapanui’s relationship to their own culture in the context of cultural tourism, and 3) if they perceive the industry as exploiting or empowering the Rapanui people. Ultimately the study uncovered the tendency for tourists to look to the transmitters of culture themselves (i.e. local performers, guides, company owners) when assessing the value and authenticity of their cultural experience, taking into account the transmitter’s indigenous heritage, cultural pride, knowledgeability, and openness and eagerness to share their culture with visitors (evident by the perceived passion with which they performed, or the personal storytelling and friendship evident in the guide-guest relationship). In addition to constructing value and authenticity, these qualities left visitors with the impression that local Rapanui are empowered by the industry and have agency over the manner in which their culture is showcased. The tourist’s search for meaning was also an important finding, as the majority either appreciated direct explanations about island culture and history, or created their own meaning when none was provided. While the scope of this study was limited to Easter Island, it has implications that may be applied to other destinations with indigenous, cultural tourism, as it very much speaks to the value that tourists place on cultural pride and preservation, community-based grassroots tourism, a desire for meaning and explanation, and consideration for the tourist’s own impact on the destination.
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Hung, Kai-kin, and 洪啟健. "Finding the devil in the details: a study of heritage commodification as designed products using the case of HongKong's G.O.D." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50716001.
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The three terms heritage, legacy and treasure came across my mind and led me think about how strongly these three terms are correlated. Heritage is a great treasure in cultural terms. However, the terms legacy and treasure also literally suggest the commercial potential hidden in heritage, which can generate commercial benefits in monetary terms.
Brand heritage can be a great marketing tool to add value to the products. By applying heritage driven marketing campaigns, the food and beverage brands received a huge success. Notable examples include the champagne brand Dom Perignon and the whisky brand Macallan. Sharing the traditional knowledge and how they followed the traditional practice in the modern days, these stories not only show how loyal they are to the traditional practice, but further enhance the “premiumness” of the brands.
Fashion brands have also been using heritage marketing as a tool for brand building. Louis Vuitton has been using its heritage and craftsmanship in luggage making for brand building. Similarly, Hermes has been leveraging its history in scarves and fine craftsmanship as a way of heritage branding.
This dissertation examines the Hong Kong lifestyle brand G.O.D. to understand how heritage commodification contributes to its relative success not only to the business but also in its promotion of Hong Kong local heritage. In order to understand the case, the company background, the process of heritage commodification via design and marketing is carefully dissected in this dissertation.
To understand the impact of design with a twist approach on promoting Hong Kong heritage, the product design, elements selection criteria, marketing campaigns and shop design have been studied. To verify the relative success of the brand, a marketing survey has been conducted and the findings have been analyzed to understand the real market response towards the brand so as the effectiveness of promoting Hong Kong heritage via design product.published_or_final_version
Conservation
Master
Master of Science in Conservation
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Viljoen, Vida Alexandra. "Socio-spatialities of visual art in Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96804.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses. The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town.
AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is. Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.
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Conradie, Annemi. "Travelling snapshots of the Rainbow Nation : the commodification and performance of 'authentic' cultural identities in contemporary South African postcards." Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4251.
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Verri, Solange Whitaker. "História imediata da Vila Madalena: uma análise das influências em 2012 da história cultural do bairro na década de 1980." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-20032015-115953/.
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Este trabalho é o fruto da nossa pesquisa acadêmica para o doutoramento em História Social. Trata-se do estudo que abrange um período da década de 1980, e repercussão desse período na contemporaneidade de um dos bairros mais badalados da zona oeste da cidade de São Paulo, a Vila Madalena. Para tanto, focalizou-se o estudo nos efeitos da presença do grupo de jovens nos bares da Vila Madalena conhecidos por ser da vanguarda. Como desdobramento tratou-se de averiguar os efeitos das influências desse grupo no bairro da década de 1980 e as repercussões na contemporaneidade. O fio condutor escolhido como paradigma para pensar e analisar as problemáticas do bairro se baseou nas categorias de análise espetáculo e espetacularização da teoria crítica da sociedade do espetáculo, de autoria do cineasta Guy Debord. Por meio desses conceitos foi possível explicar as consequências da construção de significados da Vila Madalena, inserida na cultura de consumo da atual fase do capitalismo. Isso porque, à luz da crítica da sociedade do espetáculo, foi possível fazer leituras interpretativas com um olhar no presente e no passado. Nesse contexto, fez-se uma síntese do movimento de vanguarda da Internacional Situacionista da França, procurando-se captar os possíveis reflexos das práticas culturais por meio do uso das artes pelo grupo de esquerda de Maio de 1968, no grupo de jovens do bairro em 1980, conhecidos por serem também de vanguarda. Por meio do estudo das possíveis semelhanças entre um grupo e outro, foi possível uma aproximação com as problemáticas da Vila Madalena no presente, por meio de abordagens descritivas e teóricas, as quais permitiram leituras das interfaces da História com outros campos da Comunicação. Descreveu-se e interpretou-se a cultura de consumo moderno do entretenimento e as especificidades dos modos de socialização e de apropriação do espaço público urbano. Coletaram-se experiências de antigos moradores, de sujeitos sociais, e as interpenetrações simbólicas que do bairro se fazem. Partiu-se da hipótese de que a presença de um grupo nos bares da Vila Madalena em 1980 produziu significativas influências nas designações do bairro na contemporaneidade. A saber, como um bairro de artistas de vanguarda, de intelectuais da boemia ou de esquerda. Para reconstituição das origens das designações levantaram-se fontes de se eles eram a síntese da história de um período que ate hoje se ressignifica para dar sentido à mercantilização da história e do bairro pelos suportes midiáticos. Ou se os termos significam apenas uma das faces da história as quais correspondem às representações de um período cultural da Vila Madalena. E ainda, se as manifestações culturais de arte e de artesanato de um grupo dessa época modo refletiam as práticas culturais do movimento de estudantes vanguarda da Internacional Situacionista de 1968 na França. Como consequência a presença do grupo do passado se transformou no presente em uma espécie de marca de grife do bairro como uma mercadoria. Como eco da primeira surgiu outra hipótese. A saber, se a construção de sentidos do bairro pela publicidade tem repercussão na dinâmica acelerada da cultura da sociedade do espetáculo, provocando alterações comportamentais. Interpretou-se e analisou-se historicamente a apreensão de um período do bairro como um local-signo de consumo do espetáculo como uma mercadoriaThis work is the fruit of our academic research for its doctorate in Social History. This is the study covers a period from the late 1980 of the Cultural History of one of the most \"famous\" west area in the city of São Paulo, Vila Madalena. To this, the study focused on the effects of the presence of the youth group in Vila Madalena bars known to be vanguard. As offshoot was investigating the effects of that group influences in the late 1980 in the contemporanity. The thread chosen as paradigm for thinking and analyzing the problems of Vila Madalena was based on categories of analysis \"spectacle\" and spectacularization of the critical theory of the \"society of the spectacle\", authored by filmmaker Guy Debord. Through these concepts could explain the consequences of the construction of meanings of Vila Madalena, inserted into the \"consumer culture\" of the current phase of capitalism. This is because, in the light of criticism of the \"society of the spectacle\", it was possible to do interpretive readings with a look at the present and in the past. In this context, a synthesis of avant-garde movement of the French International Situationist, seeking to capture the possible reflections of the avant-garde group of France of 1968 in the youth group from the neighborhood in 1980, known for being cutting-edge. Through the study of the similarities between one group and another, it was possible an approach with the problems of Vila Madalena in the present, by means of descriptive and theoretical approaches, which allowed readings of history interfaces with other fields of knowledge of communication. Described himself and played the \"modern consumer culture\" of entertainment and the specificities of the modes of socialization and appropriation of the urban public space. Collected experiences of former residents, social subjects, and the symbolic interrelationships that are neighborhood. Broke the hypothesis that the pubs grup in Vila Madalena in 1980 mirrored the International Situationist cultural movement from the 1968 in France. As scrolling, the presence of the youth group in pubs in the neighborhood of the past became, in the present, in a kind of designer brand, as a commodity. As echo of the first hypothesis emerged that the construction of meaning by the advertising media has influenced the dynamics of accelerated consumer culture of the spectacle, causing behavioural. Played and analyzed historically the apprehension of a period in the neighborhood located in the contemporanity as a location-sign of consumption of the spectacle as a commodity
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Brehm, Stephanie Nicole. "“Shalom, God Bless, and Please Exit to the Right:” A Cultural Ethnography of the Holy Land Experience." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1310505582.
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Peach, Andrea. "The making of modern Scottish craft : revival and invention in 1970s Scotland." Thesis, Robert Gordon University, 2017. http://hdl.handle.net/10059/2711.
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The 1970s were a period of renaissance for the crafts in Britain, often referred to as a craft revival. The creation of national organisations and infrastructures to support craft, and define its identity, played a crucial role in this. The received craft revival narrative focuses on the Crafts Council of England and Wales, with its emphasis on raising the status of craft and promoting it as fine art, largely through the efforts the Minister for the Arts, Lord David Eccles. The narrative in Scotland was very different, and is a story that until now remains untold. Scotland had its own national agencies with responsibility for the crafts. But instead of having a focus on the arts, they were tasked with addressing Scotland’s economic decline, and saw an opportunity to develop Scottish craft as both an industry and a product. The emphasis was not on promoting craft as fine art as in England and Wales, but rather on developing craft as commodity. Borrowing from Adamson’s thesis that as a form of cultural production, ‘craft is itself a modern invention’ (Adamson 2013 p. xiii), this thesis will analyse how Scottish development organisations in the 1970s attempted to promote and invent Scottish craft as an industry and product, and how those involved in the making of Scottish craft responded to this. In order to do this, it will examine the origins of the 1970s craft revival in Britain, the legacy of the invention of modern Scottish craft, and the two development agencies tasked with its invention in the 1970s: the Highlands and Islands Development Board, and the Scottish Development Agency. This thesis makes an original contribution by telling the Scottish side of the 1970s craft revival story. It also addresses wider issues that have received little critical attention in craft history, namely the relationship between craft and commodification, and the tension between modernity and tradition in the invention of modern craft.
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FERREIRA, JÚNIOR José. "Serra Talhada x Triunfo: a disputa da memória de Lampião no médio Pajeú Pernambucano." Universidade Federal de Campina Grande, 2014. http://dspace.sti.ufcg.edu.br:8080/jspui/handle/riufcg/1361.
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O objetivo desta pesquisa foi investigar como, em Serra Talhada e em Triunfo, cidades da Mesorregião do Sertão Pernambucano, Microrregião do Pajeú, verifica-se o uso da memória lampiônica pelos produtores culturais e, no referente a esse uso, como são construídos os discursos desses atores sociais. Procedeu-se investigação bibliográfica. Foram examinadas obras diversificadas que tratam do assunto memória e mercadorização da memória. Também foram consultadas literaturas que circulam no âmbito regional, cujos autores são produtores culturais serratalhadenses e triunfenses e ex-soldados de volantes. Concernente à teoria empregada, buscou-se embasamento no discurso weberiano da ação social, mais especificamente, a que busca uma finalidade específica. Somado a essa incursão bibliográfica, também foram feitas entrevistas, tendo como instrumento de obtenção de dados o questionário semi-estruturado. Os conteúdos dos discursos dos sujeitos entrevistados foram analisados e utilizados na construção do texto que compõe esta tese. Como resultados, percebeu-se, de fato, a existência de disputa pela memória citada e, em decorrência de tal procedimento, a constatação de que, embora a intencionalidade seja a mesma, verifica-se a utilização de estratégias diferentes para se obter benefício da memória em questão. Enquanto em Serra Talhada a memória lampiônica é diretamente mercadejada, satisfazendo uma demanda turística, em Triunfo, seu uso se faz quando é agregada aos atrativos da cidade, ou seja, no espaço triunfense, a memória de Lampião funciona como elemento agregador de valor àquilo que a cidade, por si só, já oferece ao turista.
The objective of this research was to investigate how, Serra Talhada and Triunfo , the cities of Meso Hinterland Pernambucano microrregion the Pajeú, there is the use of memory lampiônica by cultural producers, and in respect of such use , how they are constructed discourses these social actors. Proceeded bibliographic research . Diversified works dealing with the subject memory and commodification of memory were examined. Literatures circulating regionally, whose authors are serratalhadenses cultural producers and triunfenses and former soldiers flywheels were also consulted. Concerning the theory employed, we sought grounding in the Weberian discourse of social action, more specifically, to search a particular purpose. Added to this literature raid, interviews were also carried out, and as a tool for obtaining data semi - structured questionnaire. The contents of the interviews subjects were analyzed and used in the construction of the text that makes up this thesis. As a result, it was realized, in fact, the existence of the dispute quoted memory and, as a result of such a procedure, the finding that, although the intention is the same, the use of different strategies it appears to give the benefit of the memory in question. While in Serra Talhada hewn lampiônica the memory is directly marketed, satisfying a demand for tourism, in Triunfo its use becomes attractive when it is aggregated to the city , or in triunfense space, memory of Lampião works as aggregator element value to what the city itself already offers the tourist