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Artículos de revistas sobre el tema "Pop Arts / Pop Culture"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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1

Dye, Wanda. "Pop Regionalism". Architectural Research Quarterly 13, n.º 2 (junio de 2009): 112–26. http://dx.doi.org/10.1017/s1359135509990200.

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‘As it stands, the concept of popular culture is virtually useless, a melting pot of confused and contradictory meanings capable of misdirecting inquiry up any number of theoretical blind alleys’ […] popular culture is in effect an empty conceptual category, one which can be filled in a wide variety of often conflicting ways, depending on the context of use.Tony Bennett [quoted] and John Storey in Cultural Theory and Popular Culture

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2

Whitney, Elizabeth y With poetry by Jamie Sorenson. "Pop Culture Princess". Text and Performance Quarterly 26, n.º 2 (abril de 2006): 199–207. http://dx.doi.org/10.1080/10462930500517873.

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3

Markowitz, Sally y Cecile Whiting. "A Taste for Pop: Pop Art, Gender, and Consumer Culture". Journal of Aesthetics and Art Criticism 57, n.º 1 (1999): 73. http://dx.doi.org/10.2307/432066.

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4

DEMIDOVA, OLGA y VLADISLAV REZEN’KOV. "CONTEMPORARY POP CULTURE: PHENOMENOLOGY, AXIOLOGY, AESTHETICS". Studia Humanitatis 12, n.º 1 (junio de 2019): 24–29. http://dx.doi.org/10.15393/j12.art.2019.3363.

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The article discusses pop culture as a modern phenomenon, the authors analyz-ing the notion of pop culture, its connection with «the mass», the axiological sys-tem of the young technological age generation as well as with the technical pro-gress as the basis of the epoch under discussion. Besides, comparing mass culture works (artefacts) with and juxtaposing them to those of classical culture, the au-thors explore pop culture structure and its connection with mass production conditioning the consumer society standards. Among of the foci of attention are the role of cinema in the formation, development, and functioning of pop culture and cinema product as its apex. One of the problems under consideration is that of pop culture as the sphere of different cultures interrelationships causing the least number of conflicts and thus acting as an instrument of the (seeming) cul-tural convergence of the peoples.

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5

Foray, Caroline Keisha. "Afrofuturisme et féminisme : culture pop, culture de résistance". Revue Possibles 47, n.º 2 (1 de diciembre de 2023): 17–24. http://dx.doi.org/10.62212/revuepossibles.v47i2.726.

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Cet article explore la futurité noire à travers l’Afrofuturisme. En contestant le droit futur d’exister et les conditions d’existence pour les communautés noires, l’article propose des réflexions sur le pouvoir de l’imagination et de la résistance par les arts. Ancré dans les théories critiques et féministes noires, l’article aborde la subversion, la réappropriation et la resignification à travers l’œuvre de Janelle Monáe.

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6

Khalaf, Rami. "Pop Culture Arab World!: Media, Arts, and Lifestyle". Journal of Popular Culture 39, n.º 2 (abril de 2006): 330–31. http://dx.doi.org/10.1111/j.1540-5931.2006.00243.x.

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7

Kurmanbayeva, Zarina y Zulfiya Kasimova. "FEATURES OF INTERMEDIALITY IN THE PREPARATION OF A POP ARTIST". Central Asian Journal of Art Studies 8, n.º 4 (5 de enero de 2024): 209–20. http://dx.doi.org/10.47940/cajas.v8i4.757.

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Abstract. The article examines the main functions of intermediality in the preparation of a pop performer in the context of modern trends in the development of popular music in Kazakhstan. The concept of “intermediality” in popular culture, which correlates with the synthesis of arts, is analyzed in terms of its use in Soviet, Russian and Western European science. Through comparative research, the differences in this concept in different national cultures are revealed. The intermedial approach, which is directly related to the issue of improving the process of training pop vocalists in higher educational institutions of culture and art and is relevant in connection with the requirements of the era of cultural globalization, is presented as an important part in the formation of educational programs in pop art. Thus, in order to prepare a pop performer who is competitive in the context of global processes of pop culture development, it is necessary to include disciplines related to plastic arts as an integral part of the educational program, and acting skills must be associated with the development of the student’s emotionality. Because a modern pop performer, with the help of vocals and choreography, must demonstrate the mastery of artistry - perform (vocally, choreographically, acting) a role. At the same time, the importance of vocal presentation of the material cannot be excluded, but only needs to be enriched and deepened with the help of other types of performing arts, as well as technical visual elements and electronic musical technologies. Since the term in question is not yet used in Kazakhstan, especially in the aspect of popular music, the scientific development of the problems of finding new forms of training pop stage artists in accordance with global demands also becomes significant and needs in-depth study. For this purpose, both art historical and pedagogical research methods are involved, that is, musical theoretical and performance analysis, as well as pedagogical experiment, which is important for establishing the idea of the need to create an innovative approach to training popular musicians.

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8

Stoitchkova, Tatiana. "Similar Links Between Advertising, Pop, and the Arts". Postmodernism Problems 10, n.º 2 (28 de agosto de 2020): 165–76. http://dx.doi.org/10.46324/pmp2002165.

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This paper explores the views of different ideas regarding popular culture and uses them as a framework to compare other ideas regarding images, messages, and emotional approaches in advertising. In addition to identifying areas of interactions between popular culture, advertising, and pop arts, the research exposes some observations in advertising professionals' working theories. We also argue that dialogue among different fields and practitioners provides an opportunity to enhance advertising theory and practice in postmodern culture. To analyze the functioning of advertising in today’s postmodern conditions as part of the process of social and aesthetic transformations in society, with an emphasis on the links among/between popular culture, arts, and advertising.

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9

Attfield, Nicholas. "From punk into pop (via hardcore): Re-reading the Sub Pop manifesto". Punk & Post-Punk 00, n.º 00 (19 de febrero de 2021): 1–17. http://dx.doi.org/10.1386/punk_00086_1.

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Bruce Pavitt’s music fanzine Sub Pop, the first issue of which appeared in 1980, is often presented as a simple case of independent culture versus the reviled mainstream, with little reference to the actual written and graphic content of its pages. This article challenges and complicates that view with an account of Pavitt’s usage of language and specific genre terms – in particular, his tendency to rebrand punk as (indie) ‘pop’. This he reinforces with all manner of written and visual references to 1950s pre-corporate means of production and consumption. In so doing, I argue, he projects what numerous theorists have defined as a ‘genre culture’ based around pop. Pavitt also tries, however, to absorb the immediate indie legacy of hardcore within his genre culture. As the second part of the article demonstrates, this generates stark tensions within his fanzine reviews and other copy – not least when his opening Sub Pop manifesto rejects the toxic masculinity of corporate rock but simultaneously celebrates hardcore’s own carefully policed American, anti-British, anti-theatrical masculinity. Such tensions, I suggest in closing, found their way into Pavitt’s most famous creation, where they were partly, if still messily, resolved: this was the Seattle indie record label, also called Sub Pop, and its signal genre of grunge.

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10

Nandakumar, Aparna. "K-pop fandom as ‘sub-visible culture’: Digital work and enjoyment in the precarious present". Studies in South Asian Film & Media 15, n.º 1 (1 de junio de 2023): 27–42. http://dx.doi.org/10.1386/safm_00068_1.

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In this article, I attempt to understand the global K-pop fandom among young women, from the perspective of non-metropolitan locations like the state of Kerala in southern India. I examine the ‘sub-visible’ nature of K-pop fandom and situate it in relation to existing discourses surrounding visibility in youth subcultures and fan cultures, both in India and the West. I argue that the key to understanding this fandom is in the cultural process of feminization that it produces – a feminization of male K-pop idols through the ‘free labour’ (to use a concept by Tiziana Terranova) that K-pop fans engage in on digital spaces – labour that has the structure of work and the function of enjoyment and enthusiasm. Drawing on existing discourses on the ‘feminine’, I analyse the peculiar mode of feminization in K-pop fandom as a response to the precarity and vulnerability experienced by young people in the contemporary world.

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11

Bluestein, Gene. "Folk and Pop in American Culture". Journal of American Culture 13, n.º 2 (junio de 1990): 21–28. http://dx.doi.org/10.1111/j.1542-734x.1990.1302_21.x.

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12

MARKOWITZ, SALLY. "Book Reviews: Cécile Whiting, A Taste for Pop: Pop Art, Gender, and Consumer Culture". Journal of Aesthetics and Art Criticism 57, n.º 1 (1 de diciembre de 1999): 73–74. http://dx.doi.org/10.1111/1540_6245.jaac57.1.0073.

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13

Yulisetiani, Septi. "Baneswa: Innovation of Introductory Media of Javanese Culture for Children Based on Pop-Up Book". Jurnal Javanologi 5, n.º 2 (21 de febrero de 2023): 1088. http://dx.doi.org/10.20961/javanologi.v5i2.67961.

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Javanese culture is very diverse, and local wisdom is important to be preserved. Children are the next generation of the nation who need to know their culture. Implementation of the introduction of culture can be done through learning arts and culture in elementary schools. The introduction of culture to children can be done with certain media that are interesting for children. One of them is in the form of a Pop Up book which is developed according to children's development. This study discusses the development of the Baneswa Pop Up Book which is used as a medium for learning the introduction of Javanese culture through folklore, wayang art, traditional dances, batik diversity, batik writing skills, macapat songs, and Javanese letters. Media development is carried out in several stages, including Analyze, Design, Development, Implementation, and Evaluation. The Baneswa Pop Up Book was developed as a cultural learning medium for children. The design is developed with images that are equipped with an audio-visual QR Code whose use is collaborated with mobile devices. The development of a Pop Up Book that is integrated with technological developments has become an innovation of cultural recognition media. The children gave a good response. They are enthusiastic about learning and getting to know the culture.

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14

Chen, Yilin. "The pop culture expressed inK24: Shakespeare in chaos". Studies in Theatre and Performance 36, n.º 2 (6 de febrero de 2016): 103–17. http://dx.doi.org/10.1080/14682761.2015.1129488.

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15

Neill, Lindsay y Lavanya Basnet. "Pop art meets pop culture: A semiotic reading of Bephen Bahana’s The Curry Bunch". Australasian Journal of Popular Culture 11, n.º 1 (1 de diciembre de 2022): 115–31. http://dx.doi.org/10.1386/ajpc_00054_1.

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Inspired by Barthes’s analysis of a Paris Match cover image, our paper semiotically explores two oil-on-canvas images by New Zealand-born Indian artist Bephen Bahana. Within our exploration, we use constructs of denotation, connotation, myth and archetype to illuminate those images. Our research aim was to find the meaning behind the two portraits’ visual aesthetics. In doing so, we reveal Bahana’s images to be a visual shorthand signifying Indian history and the ways in which American media influence impacts notions of identity. Specifically, our insights reveal the ways in which many contemporary Indian people might ‘see themselves’. While our work concentrates upon Indian imagery, myth and archetype, those considerations have pan-cultural connections. In these ways, our paper links pop art to popular culture and, in doing so, raises questions about how the canon and hierarchy of art have come to reflect and reinforce wider sociocultural norms. Our paper offers a voice of resistance, in much the same style as Bahana’s images.

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16

Kim, Suk-Young. "Disastrously Creative: K-pop, Virtual Nation, and the Rebirth of Culture Technology". TDR/The Drama Review 64, n.º 1 (marzo de 2020): 22–35. http://dx.doi.org/10.1162/dram_a_00894.

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Sustained by the triangulated forces of the K-pop industry, South Korean national policy, and the ever-morphing discourse on culture and technology in the postindustrial era, industry leader SM Entertainment's “new culture technology” invites critical scrutiny of neoliberal labor practices in the K-pop industry, the South Korean inflection of the creative economy, and the unique pursuit of cyborgized celebrity culture that emerged as a collaboration between private entertainment companies and the South Korean state.

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17

Cahyo, Septian Dwi. "Postmodern Aspects of Electronic and Multimedia Music". Jurnal Kajian Seni 6, n.º 1 (25 de marzo de 2020): 16. http://dx.doi.org/10.22146/jksks.55035.

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Modernism spirit in the music of doing something new, create innovation and so on now facing an obstacle because material progression in new music become smaller and smaller. Based on this phenomenon, now composers nd other ways to develop their musical landscapes such as breaking the boundaries between music and other arts form until involving Postmodern aesthetic tendencies in their works. Many composers now breaking the boundaries of Modernism myth such as breaking binary opposition between high and pop culture, past and present and make it as another strategy to make music and also to give an alternative solution to the “hibernation” of material progression in new music. These phenomena are clearly appear in electronic and multimedia music where composers using many existing audio quotations from pop culture, using pop art element, and also using an existing audio quotation as a parody.

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18

Snaevarr, Stefán. "Philosophy and the Interpretation of Pop Culture". Journal of Aesthetic Education 42, n.º 4 (1 de diciembre de 2008): 111–15. http://dx.doi.org/10.2307/25160307.

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19

Holmes, Su. "“Reality Goes Pop!”". Television & New Media 5, n.º 2 (mayo de 2004): 147–72. http://dx.doi.org/10.1177/1527476403255833.

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20

Lepecki, André. "Substance-resonance: Mårten Spångberg’s La Substance, but in English". TDR/The Drama Review 58, n.º 4 (diciembre de 2014): 158–62. http://dx.doi.org/10.1162/dram_a_00408.

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Swedish choreographer, curator, writer, and performer Mårten Spångberg’s four-hour-plus piece raises issues around the intricate relationships between choreography, dance, affect, objects, critical theory, pop culture, and visual arts.

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21

Ikegami, Hiroko. "Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa". ARTMargins 7, n.º 2 (junio de 2018): 42–71. http://dx.doi.org/10.1162/artm_a_00208.

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This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.

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22

RICE, JONAH LEE. "SpongeBob SquarePants: Pop Culture Tsunami or More?" Journal of Popular Culture 42, n.º 6 (diciembre de 2009): 1092–114. http://dx.doi.org/10.1111/j.1540-5931.2009.00724.x.

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23

Reblin, Iuri Andréas. "A contribuição de Rubem Alves para o estudo da teologia na arte sequencial: anotações de um fragmento de mosaico misturadas com biografia". REFLEXUS - Revista Semestral de Teologia e Ciências das Religiões 8, n.º 12 (13 de mayo de 2015): 155. http://dx.doi.org/10.20890/reflexus.v8i12.236.

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Resumo: O estudo apresenta duas ideias cruciais de Rubem Alves para o estudo teológico dos bens artístico-culturais da cultura pop: as estórias como invocações da vida e a teologia como atividade inerente ao ser humano. A primeira ideia remete à centralidade da narrativa no processo de constituição do mundo humano e na manutenção e contínua reinvenção deste, influindo na própria identidade do ser humano, em sua interpretação do mundo e das relações, na partilha de um universo simbólico-cultural, enfim, em sua própria biografia. A segunda ideia remete à atividade teológica enquanto faculdade inerente ao ser humano. Nessa perspectiva, Rubem Alves amplia a compreensão de teologia – usualmente entendida como estudo (acadêmico) sobre a divindade, para a dimensão humana existencial profunda da busca por sentido. Ao final, o texto reitera a importância do pensamento de Rubem Alves para a teologia e seu papel particular nos estudos dos bens artístico-culturais da cultura pop. Palavras-chave: Rubem Alves. Estudos Culturais. Teologia do Cotidiano. Arte Sequencial. Cultura Pop. Abstract: The study presents Rubem Alves’ two central ideas for the theological study of artistic cultural goods of pop culture: stories as invocation of life and theology as an inherent activity of human being. The first idea refers to the centrality of storytelling in the creation process of the human symbolic world, its maintenance and its continuous reinvention, influencing in human’s identity, their interpretation of the world and the relations in it, the sharing of a symbolic cultural universe, finally, his own biography. The second idea refers to the theological activity while a faculty inherent to the human being. In this perspective, Rubem Alves expands his understanding of theology – usually understood as (academic) study on the deity, to a deeper existential human dimension of the seek for meaning. At the end, the text reiterates the importance of Rubem Alves’ thought to theology and his particular role in the study of artistic cultural goods of pop culture. Keywords: Rubem Alves. Cultural Studies. Theology of Daily Life. Sequential Art. Pop Culture.

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24

Tong, Darlene. "Contemporary art and fashion: from Pop to Populist". Art Libraries Journal 14, n.º 4 (1989): 17–21. http://dx.doi.org/10.1017/s0307472200006477.

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During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.

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25

Frith, Simon. "Euro pop". Cultural Studies 3, n.º 2 (mayo de 1989): 166–72. http://dx.doi.org/10.1080/09502388900490111.

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26

Vesey, Alyxandra. "“A Way to Sell Your Records”: Pop Stardom and the Politics of Drag Professionalization on RuPaul’s Drag Race". Television & New Media 18, n.º 7 (1 de diciembre de 2016): 589–604. http://dx.doi.org/10.1177/1527476416680889.

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RuPaul’s Drag Race (Logo TV, 2009–present) tethers drag culture to pop stardom by structuring challenges around host RuPaul’s recording career and eliminations around lip sync contests that promote guest judges’ music. By its fourth season, it began substantially rewarding contestants for using pop music to showcase their own branding and musical skills. By analyzing the program and its surrounding industry discourse, this article identifies a Season 4 infomercial challenge promoting RuPaul’s catalogue as a turning point in the program’s relationship to pop music due to its winner’s ascent as a recording artist. As a result, many white and light-skinned cast members were far better able to mount their own recording careers after appearing on the program than their counterparts of color. Thus, this article argues that Drag Race uses the recording industry as a site for contestants’ professionalization that reinforces pop music’s and reality programming’s entrenched neoliberalism and post-racial politics.

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27

Rand, Erica. "The Gendered Object. Pat KirkhamA Taste for Pop: Pop Art, Gender, and Consumer Culture. Cécile Whiting". Signs: Journal of Women in Culture and Society 25, n.º 1 (octubre de 1999): 288–90. http://dx.doi.org/10.1086/495435.

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28

Sihra, Lyra. "Using Pop Culture and Visual Arts in Palliative Care Education (407)". Journal of Pain and Symptom Management 43, n.º 2 (febrero de 2012): 370–71. http://dx.doi.org/10.1016/j.jpainsymman.2011.12.097.

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29

McMichael, Polly. "Pop Culture Russia! Media, Arts, and Lifestyle by Birgit Beumers (review)". Slavonic and East European Review 85, n.º 4 (octubre de 2007): 786–87. http://dx.doi.org/10.1353/see.2007.0014.

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30

Wyver, John. "The Filmic Fugue of Ken Russell's Pop Goes the Easel". Journal of British Cinema and Television 12, n.º 4 (octubre de 2015): 438–51. http://dx.doi.org/10.3366/jbctv.2015.0279.

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First broadcast as an episode of BBC Television's Monitor in 1962, Ken Russell's documentary film Pop Goes the Easel profiles four young artists: Pauline Boty, Peter Phillips, Derek Boshier and Peter Blake. With an exuberant and varied approach to filming, Pop Goes the Easel is a rich and revealing document of early Pop Art in London. This article situates the film within the context of television's engagement with the visual arts in the medium's first 25 years. It is argued that part of its significance within the tradition of the visual arts on television is its resistance to the determinations of an explanatory voice and that its achievement combines and develops approaches of photojournalism, documentary and art cinema from the mid and late 1950s. It is further proposed that Pop Goes the Easel is especially noteworthy for its finely tuned balancing of tensions between discourses traditionally understood as oppositional: the stasis of artworks versus the linear narrative of film; the indexical qualities of documentary versus the inventions of fiction; the mass-produced elements and images of popular culture versus the individual authorship and authority of high art; the abstracted rationality of critical discourse versus explosions of embodied sensuality; and the determinations and closure of a singular meaning versus polysemic openness.

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31

Song, Yang y Yuhan Feng. "Doing participatory fandom through trans‑scripting". Media Language and Discourse in Cultural China 13, n.º 1 (29 de marzo de 2022): 28–57. http://dx.doi.org/10.1075/cld.21003.son.

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Abstract This article examines trans-scripting in transnational, multilingual fandom on Sina Weibo, the largest Chinese microblogging site. Taking one of the most popular Korean pop music (K-pop) bands named BTS as a case study, 741 instances of trans-scripting were manually selected from a total of 18,243 comments under the official Weibo account of the largest BTS fan club in China. Combining online observation and corpus-based analysis, our study draws on the notions of engaged audience and affinity space to reveal how multiple patterns of trans-scripting are heavily mobilized by K-pop fans in translingual idol naming, the transcultural maintenance of fan-idol kinship, and the intertextual confirmation of shared media consumption experiences. We argue that trans-scripting is an under-explored linguistic strategy used by transnational pop-culture fans, providing an analytical lens for research on fan identity and fan-communal membership. Theoretically, trans-scripting can serve as a useful lens to analyze networked multilingual fandom.

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32

Neumann, Iver B. "Pop goes religion". European Journal of Cultural Studies 9, n.º 1 (febrero de 2006): 81–100. http://dx.doi.org/10.1177/1367549406060809.

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33

Corn, Wanda M. "From Luminism to Pop". American Art 19, n.º 3 (septiembre de 2005): 60–81. http://dx.doi.org/10.1086/500232.

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Chamberlain, Colby. "An Addendum to Pop". American Art 37, n.º 3 (1 de septiembre de 2023): 29–33. http://dx.doi.org/10.1086/727545.

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35

Foletti, Ivan, Zuzana Frantová y Adrien Palladino. "Premodern Popular Culture: Between Democratization and Marginalization". Eikon / Imago 11 (1 de marzo de 2022): 1–8. http://dx.doi.org/10.5209/eiko.80906.

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Leader article of Pre-Modern “Pop Cultures”? Images and Objects Around the Mediterranean (350-1918 CE). The aim of this monography is to analyze, from the most significant images and objects, to the traditions that have accompanied us to this day.

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36

Bilgi, Irem. "Lowbrow Art Movement as a Subculture Art and its Effects on Visual Design". New Trends and Issues Proceedings on Humanities and Social Sciences 4, n.º 11 (28 de diciembre de 2017): 232–39. http://dx.doi.org/10.18844/prosoc.v4i11.2879.

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Beginning in Los Angeles, California, in the 1970s, and also known as pop surrealism, the Lowbrow art movement was born as a part of punk music, comic books, street and skateboard cultures and is seen in all fields of art. This study is the reflection of the Lowbrow art movement on visual design fields such as illustration graphic design and typography, animation and designer toys. Lowbrow artists were difficult to be adopted in the arts and design fields in the first years of the movement, because they did not have a diploma in fine arts and came from the street culture. But in recent years, Lowbrow artists have proved themselves and have begun to produce art and design works that are exhibited in different fields. The aim of this study is to emphasise the importance of Lowbrow art, which is seen as a subculture today. Keywords: Lowbrow, pop surrealism, street art, illustration, designer toy, subculture, visual design.

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37

Ostajewska, Marta. "„Nie ma już tam tam” – Urban Indians i współczesna sztuka rdzenna, wokół tożsamości i autentyczności w amerykańskiej popkulturze". Literaturoznawstwo 1, n.º 13 (30 de abril de 2020): 19–31. http://dx.doi.org/10.25312/2451-1595.13/2019__02mo.

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“There is no there there” – Urban Indians and The New Contemporary in Indigenous American Art – around Identity and Authenticity in American Pop Culture Native American artists and writers are constantly reimagining their narratives, and addressing context, community, and intersection with others. Based on few examples: Tommy Orange (Cheyenne / Arapaho), James Luna (Payómkawichum / Ipi), Wendy Red Star (Apsáalooke (Crow)) and Steven Paul Judd (Choctaw / Kiowa) author of article examines how their art undermines the conventional view on a stereotypical image of Native Arts and how their strategies are opening a new view on Urban Indians. How does artistic work around their own identity is transforming a social perception of indigenous minorities. Kewords: Urban Indians, the New Contemporary, Indigenous American Art, American Pop Culture, Identity, Authenticity

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38

Kitnick, Alex. "Pop on the Move". ARTMargins 6, n.º 3 (octubre de 2017): 82–91. http://dx.doi.org/10.1162/artm_r_00190.

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In International Pop, the curators Darsie Alexander and Bartholomew Ryan propose a new reading of Pop that establishes a set of relationships marked by difference. Theirs is a world riven by disconnection over flow, in which migrations and networks are frequently translated, blocked, or interrupted. While the US mass media provided source material for many artists it was often reworked to other ends. While many narratives of Pop have stressed distance and irony here we witnessed a new version of the moment that made a virtue out of intimacy, politics, and desire.

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Lubich, Frederich A., Bill Niven y Thomas Jung. "Alles nur Pop? Anmerkungen zur popularen und Pop-Literatur seit 1990". German Studies Review 27, n.º 3 (octubre de 2004): 677. http://dx.doi.org/10.2307/4141042.

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40

Lewis, Bart L. y Norman Lavers. "Pop Culture into Art: The Novels of Manuel Puig". South Central Review 7, n.º 1 (1990): 114. http://dx.doi.org/10.2307/3189234.

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41

Kurmanbayeva, Zarina y Zulfiya Kassimova. "Intermediality Problems in the Context of Study of Pop Vocal Performance". Central Asian Journal of Art Studies 6, n.º 4 (20 de diciembre de 2021): 91–103. http://dx.doi.org/10.47940/cajas.v6i4.457.

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The article is concerned with the study of modern pop culture, which incorporates elements of various types of arts and characterized by wide versatility. On this point, for the first time ever bring forth the problem of integrating the concept of "intermediality" with the study of the performing arts of a popular mass trend. When considering the meaning of the concept of "intermediality" was revealed the versatility of its interpretation from the standpoint of studying the aspects of synthesization in literature, in painting, philosophy, philology, etc. At the same time, it is noted that in the post-Soviet and Western science, the concept of "intermediality" has different interpretations, and in this paper, it is associated with the designation of the concept of "interaction of arts", but more broadly, it involves the interaction of languages of different types of arts in the whole system.

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42

Shattuc, Jane. ""Contra" Brecht: R. W. Fassbinder and Pop Culture in the Sixties". Cinema Journal 33, n.º 1 (1993): 35. http://dx.doi.org/10.2307/1225633.

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43

Dodds, Sherril y Janet Adshead-Lansdale. "Gesture, Pop Culture, and Intertextuality in the Work of Lea Anderson". New Theatre Quarterly 13, n.º 50 (mayo de 1997): 155–60. http://dx.doi.org/10.1017/s0266464x00011015.

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Lea Anderson is one of the leading choreographers to have emerged over the past decade, her most characteristic work having been with the all-female group she co-founded, the Cholmondeleys, and its all-male counterpart, the Featherstonehaughs. This article explores the distinctively intertextual elements in Lea Anderson's work – elements which, the authors suggest, make it at once accessible, distinctive, and distinctively postmodern. Sherril Dodds addressed the relationships between postmodernism and popular culture in Anderson's work, with particular focus on the television image and the dance image, in her MA dissertation for the Department of Dance Studies at the University of Surrey, where she is currently a research student. Her co-author, Janet Adshead-Lansdale, is Head of Department at Surrey, and has also edited Dance Analysis: Theory and Practice (1988) and co-edited Dance History: an Introduction (1994).

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44

Grixti, Joe. "Pop goes the canon". European Journal of Cultural Studies 12, n.º 4 (19 de octubre de 2009): 447–67. http://dx.doi.org/10.1177/1367549409342512.

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45

FARRELL, JENNIFER KELSO. "The Evil Behind the Mask: Grendel's Pop Culture Evolution". Journal of Popular Culture 41, n.º 6 (diciembre de 2008): 934–49. http://dx.doi.org/10.1111/j.1540-5931.2008.00558.x.

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46

Lott, Eric. "The Aesthetic Ante: Pleasure, Pop Culture, and the Middle Passage". Callaloo 17, n.º 2 (1994): 545. http://dx.doi.org/10.2307/2931777.

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47

Wright, Robert. "‘I'd sell you suicide’: pop music and moral panic in the age of Marilyn Manson". Popular Music 19, n.º 3 (octubre de 2000): 365–85. http://dx.doi.org/10.1017/s0261143000000222.

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Music makes mutations audible. (Attali 1977)In his opening remarks as host of the 1998 Grammy Award Show, sitcom actor, substance abuser and convicted drunk driver Kelsey Grammer promised that Marilyn Manson's ‘skinny white ass’ would not be appearing on the show. It was a truly extraordinary moment. Referring explicitly to his own teenage daughter, Spencer, Grammer couched this slur in the form of an inside joke for the baby boomer parents of children with seemingly inexplicable musical tastes. In so doing, he affirmed not only the intractable conservatism of the Academy of Recording Arts and Sciences but also the arrogant hegemony of his own generation within mainstream musical culture. The show proceeded to reward Bob Dylan with Album of the Year, James Taylor with Best Pop Album and Elton John with Best Male Pop Vocal Performance, while lavishing unbridled approbation upon the newest crop of corporate hit-makers, including Babyface, LeAnn Rimes, Hanson and the ubiquitous Spice Girls. Mitch Miller could not have orchestrated a more thoroughgoing tribute to the pop music status quo in America.

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Layyina, Hilwa, Suharini Erni y Isdaryanti Barokah. "Development of Local Culture-Based Pop-Up Book Media to Improve Students' Reading Literacy in Elementary Schools". International Journal of Research and Review 10, n.º 2 (11 de febrero de 2023): 196–202. http://dx.doi.org/10.52403/ijrr.20230225.

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This study aims to develop local culture-based pop-up book media to improve the reading literacy of grade V students in elementary school. This type of research is development or Research and Development (RD) using a design model from Borg Gall. Data collection is carried out by observation, interviews, questionnaires, tests and documentation. The research was conducted at SD Muhammadiyah 1 Kudus. The data analysis technique used is a quantitative data analysis technique. The results showed that the practicality of the media obtained an average percentage of practicality of 97% of the "very practical" category and the results of the T test on the pre-test and post-test of reading literacy achieved a Sig.(2-tailed) score of 0.000. The score showed that there was a difference in the average of pre-test and post-test results in the reading literacy of the students of this study. Then the results of the N-Gain pre-test and post-test reading literacy obtained a score of 0.567 with the category "Medium". The N-Gain score identified an increase in students' reading literacy towards a better one. So it can be concluded that the Local Culture-based Pop Up Book media is effective for improving students' reading literacy. Keywords: [Media Pop Up Book, Local Culture, Reading Literacy]

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Schulz, Dorothea E. "Music Videos and the Effeminate Vices of Urban Culture in Mali". Africa 71, n.º 3 (agosto de 2001): 345–72. http://dx.doi.org/10.3366/afr.2001.71.3.345.

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AbstractThis article focuses on a number of highly successful female pop singers in Mali whose video music clips and music shows make up a major share of urban people's daily broadcast consumption. The article explores the reasons for the astonishing success of the singers by locating the consumption and interpretation of their songs in Malian popular and scholarly discourses on cultural authenticity and moral decline. Some Malian scholars emphasise that women's pop songs reflect the corruption and mixing of traditional oral genres characterised by historical knowledge, textual complexity and regional specificity. Their criticism is echoed by a number of older people in town and countryside. It is reminiscent of a tendency among urban consumers to express their fascination with and fears of life in town in the icon of the seductive, dangerous and immoral town woman. To many women of the urban middle classes, in contrast, the pop singers embody a desirable solution of women's daily dilemma: a Malian morality dressed up in the fashionable outfit of a ‘modern’ urban woman. Middle-class women respond enthusiastically to this art form because it praises them for upholding ‘traditional’ values in the face of adversity while absolving them of complicity in undermining such values.

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Snaevarr, Stefán. "Philosophy and the Interpretation of Pop Culture (review)". Journal of Aesthetic Education 42, n.º 4 (2008): 111–15. http://dx.doi.org/10.1353/jae.0.0021.

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