Thèses : « Cultural imperialism »

1

Aylward, Louise. "Imperialist subtexts? : cultural assumptions and linguistic imperialism in Hong Kong ELT textbooks /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272686.

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Joula, Sara A. "Cultural imperialism and satellite television in Iran." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/10052.

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The increasing flow of international and Western cultural and information input into Iran, via satellite technologies, has affected the traditional, cultural and religious heritage of the country. Considering the political, cultural and economic realities of Iran and the history of its media, this research intends to examine the uneven flow of information and entertainment of global media via satellite in Iran within the context of the international communication and cultural imperialism theory. This study attempts to revise the cultural imperialism theory through a case study and identifies its limitations and the areas that could be developed within its infrastructure such that it will be applicable to the current situation and contemporary arguments of the media flow. It reviews the cultural imperialism theory in the light of the active audience's perspective and analyses the mixed and contradictory dynamics of reconstruction, adoption and resistance of international media. This research analyses the emergence of Persian language satellite television news and entertainment in Iran. A mixture of political, cultural and economic pressures dominates the editorial conduct of those expatriate and Persian language satellite channels. Political pressures, however, seem to be playing the most apparent role in that process. This study critically analyses the activities of Jaam-e-Jam and VOA Persian language satellite channels and examines the factors that affect the editorial policies and practice of the studied channels. It addresses these issues by studying the evolution, style of ownership, organisational structure, and content as well as editorial and managerial power hierarchy of those channels. In order to asses the attitudes, and encoded messages of these stations, a combination of content and discourse analysis is used. This research also empirically examines the audience's response in a detailed focus group investigation to see how they perceive and interpret the encoded messages.

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Mavromichali, Iphigenia. "Cultural imperialism and United States television programming in Greece /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6201.

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Willman, Gabriel. "From Pre-Islam to Mandate States: Examining Cultural Imperialism and Cultural Bleed in the Levant." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/966.

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To a large degree, historical analyses of the Levantine region tend to focus primarily upon martial interaction and state formation. However, perhaps of equitable impact is the chronology of those interactions which are cultural in nature. The long-term formative effect of cultural imperialism and cultural bleed can easily be as influential as the direct alterations imposed by martial invasion. While this study does not attempt to establish comparative causal weight or catalytic impact between these types of interactions, it does contend that the cultural evolution of the Levant has been significantly influenced by external interaction for a period of time extending beyond the Levantine Islamic Expansion. This study presents a chronological examination of the region from the pre-Expansion Period through the Mandate Period, focused upon relevant cultural structures. Specifically, emphasis is placed upon religious, ethnic, and nationalistic identity development, sociolinguistic shifts, and institutional changes within the societal structure. The primary conclusion of this study is that significant evidence exists to support a long-term historical narrative of externally influenced Levantine cultural evolution, inclusive of both adaptive and reactive interactions. B.A. Bachelors Arts and Humanities History

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Joscelyn, Morgan T. "British Imperialism Of The Ottoman Empire Gender, Nationalism, And Cultural Changes." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/914.

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British imperialism of the Ottoman Empire is analyzed in terms of power and influence. Changes in gender roles, nationalism, and culture are all examined through the lens of imperialism. The discourse flows thematically and discusses brief histories of both Britain and the Ottoman Empire. The construction of the Imperial Museum created a unified image of the nation through the collection of material items. As a result of European imperialism, the Ottoman Empire developed a sense of national culture.

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Ouahes, Idir. "Imperialism and cultural institutions : the formation of French Syria and Lebanon." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/29874.

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French rule over Syria and Lebanon was premised on a vision of a special French protectorate established by centuries of cultural activity; archaeological, educational and charitable. This vision translated into a meaning of the mandate as colonial protectorate, integrated into the French Empire. Initial French methods of organising and supervising cultural activity sought to embrace this vision and to implement it in the exploitation of antiquities, the management and promotion of cultural heritage, the organisation of education and control of the public opinion among literate classes. However, in-depth examination of the first five years of the League of Nations-assigned mandate reveals that French expectations of a protectorate were quickly dashed by consistent and widespread contestation of their mandatary methods within cultural institutions, not simply among Arabists but so too among minority groups initially expected to be loyal clients. The violence of imposing the mandate de facto, starting with a landing of French troops in the Lebanese and Syrian Mediterranean coast in 1919 and followed by extension to Syria “proper” in 1920 was followed by consistent violent revolt and rejection of the very idea of a mandate over local peoples. Examining the cultural institutions’ role reveals less violent yet similarly consistent contestation of French meanings ascribed to the mandate by challenging their methods of executing it. Tracing the mandate administrators’ and surveillance and diplomatic apparatus’ point of view, this analysis shows the significant pressure put on French expectations through contestation of such policies as the exportation of antiquities, the expansion of French instruction over Arabic learning, the censorship of the press. This did not quite unite the infamously tapestry-like stakeholders within and without Syria on a nationalist or even anti-imperialist framework. Yet there was a unity in contesting mandatary methods precieved to be transforming the meaning of a League of Nations mandate. The political and de jure discourses emerging after the tragedy of World War I fostered expectations of European tutelages that prepared local peoples for autonomy and independence. Yet, even among the most Francophile of stakeholders, the unfolding of the first years of mandate rule brought forth de facto, entirely different events and methods. In conjunction with the ongoing violent refusal to accept even the premise of a French mandate, this contestation, partly occurring through cultural institutions, contributed to a fundamental reduction of French expectations in the formative five years. An in-depth horizontal and synchronic analysis of the shifts in discourses, attitudes and activities unfolding in French and locally-organised cultural institutions such as schools, museums and newspapers thus signals the need for mandate studies to give greater consideration to shifts in international and local meanings, methods and capacities rather than treating it as a single unit of analysis.

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Ogbe-Ogunsuyi, Austin. "The politics of the transnational television: beyond the cultural imperialism question." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1994. http://digitalcommons.auctr.edu/dissertations/3314.

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Providing an improved basis for articulating the nature of transnational television and its potentials for improving relations among nations, is the central focus of this study. We are motivated to research this subject because we believe the existing perspectives on it need to be revised in line with present day reality. Our point of departure is the thorny issue of "cultural imperialism." In re-evaluating this issue, some fundamental questions are raised to determine whether past perspectives fit present day realities. Using the elite theory of power in various societies, aided by Johan Galtung's model of a global communication in "four worlds," we see a pattern of global television that suggests commonalities in underlying reasons for their establishment in various countries. In both developed and developing countries. We acknowledge with the support of a literature and data existence of a global systemic domination by the technology rich nations over the technology poor ones. But there are also substantial evidence to prove that some of the poorer nations exercise some degree of autonomy. That makes more difficult to try to explain "cultural imperialism" simply as a relationship that sees developed and developing nations as simply a dominant/subordinate association. Through a strategy of originating intent we are able to show that the elite in various societies acquire television mainly to satisfy either their political, economic or social interests.

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Silva, Lucas Carpinelli Nogueira da. "Fascínio e repulsa por sereias de metal: determinantes acústicas, psíquicas e biográfico-culturais - ou, necessidade e contigência - na musicologia de Hermann von Helmholtz." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-03052017-085304/.

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Entre 1855 e 1862 o físico e fisiologista Hermann von Helmholtz dedicou-se primariamente a questões relativas à física e fisiologia acústicas, e à aplicação dos resultados obtidos à epistemologia da música e à estética musical. Ainda que tais investigações tenham sido desenvolvidas por período restrito, seus principais frutos cuja apresentação mais completa se encontra na obra de 1863 Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (que traduziríamos por A doutrina das sensações tonais como uma base fisiológica para a teoria da música) tiveram impacto imediato e duradouro sobre a musicologia ocidental. Em um primeiro momento, o presente trabalho objetiva analisar os antecedentes filosófico-científicos que orientaram tal empreitada, bem como a metodologia empregada na mesma; isso a fim de podermos, em um segundo momento, abordar criticamente a forma como Helmholtz aplica seus resultados ao âmbito da estética musical. Afinal, ao fixar deterministicamente causas físicas e fisiológicas para noções eurocêntricas de musicalidade, não estaria Helmholtz operando certa naturalização dos sistemas de organização tonal imperantes em sua conjuntura histórico-cultural em detrimento de sistemas oriundos de outros períodos e culturas, amiúde dotados de critérios distintos de ordenação sonora? O trabalho proposto ganha em complexidade na medida em que a musicologia de Helmholtz, particularmente em sua dimensão epistemológica, não se mostra inteiramente insensível a riscos dessa espécie. Assim, figura entre nossos objetivos avaliarmos em que medida tal musicologia, de grande rigor científico, é capaz de coexistir com sistemas musicais que escapem às diretrizes estéticas que busca naturalizar. Seríamos mesmo racionalmente compelidos a adotar, como parece tacitamente sugerir a obra de Helmholtz, uma espécie de hierarquia valorativa no que toca aos sistemas musicais de diferentes períodos e culturas? Dentre tais sistemas, seriam alguns verdadeiramente mais aptos que os demais em plasmar uma suposta musicalidade universal? Acreditamos que, por meio de investigação renovada do nó epistêmico presente na percepção musical na qual se veem entretecidas considerações de natureza física, fisiológica, psicológica e filosófica , algumas distinções possam ser esboçadas entre fatores determinantes necessários (físicos e fisiológicos e, portanto, transculturais) e contingentes (biográfico-culturais) da mesma, e o problema devidamente atacado. In the second half of the nineteenth century, German physicist and physiologist Hermann von Helmholtz devoted himself to the investigation of questions pertaining to physical and physiological acoustics, and to the application of the results of said research to the epistemology of music and musical aesthetics. While such endeavors represent a relatively brief part of his career, the chief innovations they brought forth the most thorough presentation of which may be found in On the Sensations of Tone as a Physiological Basis for the Theory of Music (originally published in 1863) have had a lasting impact on the whole of Western musicology. An analysis of the philosophical and scientific foundations and methodological principles his investigations rested upon occupies the opening chapters of the present work. Subsequent chapters present, in addition, a critical assessment of the scientists problematic attempt to extend the reach of his results to the sphere of musical aesthetics. The following two questions are central to our efforts: by establishing material and physiological traits as an ultimate, deterministic ground for the criteria for sound classification and ordering prevalent in nineteenth-century European art music, was Helmholtz not arguing for the naturalization of the musical systems prevalent in his own historical and cultural juncture? And, should this indeed be the case, would such a naturalization not be accomplished to the detriment of musical systems employed in other cultures and/or historical periods, often based on distinct modes of classification and ordering? Ultimately, then, the central aim of the present work is to evaluate and discuss to what an extent the rigorous scientific component of a musicology such as Helmholtzs is able to coexist with musical systems that obey aesthetic principles other than the ones said musicology espouses. Are we indeed rationally compelled to adopt a value-based hierarchy in regards to the systems of different cultures and/or historical periods, as the scientists work appears to suggest? Are certain musical systems indeed more apt than others to actualize human musicality? We believe an investigation of the epistemic knot which characterizes musical perception a phenomenon in which physical, physiological, psychological and philosophical strands are intricately intertwined may allow us to advance a few preliminary distinctions between its necessary (physical and physiological, which is to say transcultural) and its contingent (cultural and biographical) determinants, and thus properly attack the problem.

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Hyde, Martin. "An investigation of professional discourse on culture in international English language teaching." Thesis, University of Kent, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250337.

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Yim, Dong-Uk. "Changing patterns of cultural imperialism, from simple to diverse : a Korean case." Thesis, University of Leicester, 1989. http://hdl.handle.net/2381/34615.

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Leimdorfer, Karen. "Cultural imperialism or cultural encounters : foreign influence through Protestant missions in Cuba, 1898-1959 : a Quaker case study." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414613.

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au, t. tansley@murdoch edu, and Tangea Tansley. "Writing from the Shadowlands: How Cross-Cultural Literature Negotiates the Legacy of Edward Said." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20041221.112154.

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This thesis examines the impact of Edward Saids influential work Orientalism and its legacy in respect of contemporary reading and writing across cultures. It also questions the legitimacy of Saids retrospective stereotyping of early examples of cross-cultural representation in literature as uncompromisingly orientalist. It is well known that the release of Edward Saids Orientalism in 1978 was responsible for the rise of a range of cultural and critical theories from multiculturalism to postcolonialism. It was a study that not only polarized critics and forced scholars to re-examine orientalist archives, but persuaded creative writers to re-think their ethnographic positions when it came to the literary representations of cultures other than their own. Without detracting from the enormous impact of Said, this thesis isolates gaps and silences in Said that need correcting. Furthermore, there is an element of intransigence, an uncompromising refusal to fine-tune what is essentially a binary discourse of the West and its other in Saids work, that encourages the continued interrogation of power relations but which, because of its very boldness, paradoxically disallows the extent to which the conflict of cultures indeed produced new, hybrid social and cultural formations. In an attempt to challenge the severity of Saids claim that every European, in what he could say about the Orient, was consequently a racist, an imperialist, and almost totally ethnocentric, the thesis examines a number of different discursive contexts in which such a presumption is challenged. Thus while the second chapter discusses the traditional profession-based orientalism of nineteenth-century E. G. Browne, the third considers the anti-imperialism of colonial administrator Leonard Woolf. The fourth chapter provides a reflection on the difficulties of diasporic orientalism through the works of Michael Ondaatje while chapter five demonstrates the effects of the dialogism used by Amitav Ghosh as a defence against orientalism. The thesis concludes with an examination of contemporary writing by Andrea Levy that appositely illustrates the legacy of Saids influence. While the restrictive parameters of Saids work make it difficult to mount a thorough-going critique of Said, this thesis shows that, indeed, it is within the restraints of these parameters and in the very discourse that Said employs that he traps himself. This study claims that even Said is susceptible to orientalist criticism in that he is as much an orientalist as those at whom he directs his polemic.

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Hoare, Jonathan Giles. "Imperialism & 'alternative' film culture : the Empire Marketing Board film unit : 1926-1933." Thesis, Kingston University, 2010. http://eprints.kingston.ac.uk/21827/.

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This thesis explores the early years of the British documentary movement as it formed within the Empire Marketing Board between 1926 and 1933. I begin by offering new insights into this formation by focusing on key institutions that have been under-researched in existing literature. The movement started with government money and resources, in a position formalised by the EMB's use of the Imperial Institute, a Victorian institution with an established history of public education, exhibition and research. Within this official institutional framework the EMB's filmmakers enjoyed an extraordinary level of creative freedom. They were simultaneously embedded within the'alternative' film culture that had developed from the independent screenings of the London Film Society (1925-1939). The Society offered coverage of the art and history of film for the first time in Britain, alongside showcasing a wealth of contemporaneous experimental and avant-Barde fiction and non-fiction work. Drawing on a variety of primary archival sources (some of which have not been previously explored) in the first three chapters I examine how the EMB's film unit developed in a relationship between the Board, the Imperial Institute and the Film Society. This position defined the work they produced, and the style and the content of their films for the EMB. The filmmakers were part of an Imperial discourse that aimed to promote Britain and the British Empire, however they were also engaging with, and contributing to, an international movement of filmmakers and intellectuals who were using documentary film to look closely at contemporary society from new perspectives. The fourth and fifth chapters offer fresh insights into filmmaking at the EMB, with a personal study based on new research into the life and work of Basil Wright. Although he was a central figure at the EMB, his role has remained under-researched. The material I present here offers a new account of the early formation of the documentary movement at the EMB and the original resources that the Board and its filmmakers drew upon.

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Okonkwo, Anthony. "The Evolution of Gender Relations in Igbo Nation and the Discourse of Cultural Imperialism." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23671.

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This paper conducts a comparative case study of how gender discourse in Igbo society has evolved from pre-colonial, colonial to post-colonial periods, more so, how this evolution contributes to the debate on cultural imperialism. It claims that an historical understanding of gender relations in Igbo society could provides an understanding of national cultural imperialism from a political perspective. With the assumptions of cultural imperialism, it reviews how the effect of colonialism contributes to the evolution of gender discourse in Igbo society. According to some earlier researches, gender equality in Igbo society has been on a constant slide from what was obtainable in the pre-colonial era. This trend as it is analyzed, collaborates the assumptions of national cultural imperialism; thereby disentangling the congested concept of cultural imperialism.

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Brodie, James Douglas. "Alien presences : digital technology and imperialism." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35910/1/35910_Brodie_1998.pdf.

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I am a visual artist, a printmaker, and I have been using computer imaging processes in my studio work since 1987. This paper is a supporting document for my submission of creative work which involves incorporating digital imaging into traditional fine arts processes such as printmaking, drawing and collage. The the thoretical basis for my studio production is a combination of cultural studies and postcolonialism. The images I produce re visual summations or examinations of the position of the other in terms of mainstream culture. My creative work interrogates three interrelated themes involving technology and cultural transformation. The first theme is an examination of how visual artists regard technology per se, and the incorporation of digital processes in the production of static images by visual artists working in the Eurocentric tradition in the fine arts of painting and printmaking. The second theme examines the position occupied by specific creative individuals in mainstream culture whose practice places them on the margins of that culture. These individuals occupy the position of the outsider or the other in terms of mainstream cultures. The third theme investigates the phenomenon of technofear in contemporary society, which results from the integration of digital processes in the development of globalised mainstream or imperial metanarratives and their relationship to peripheral individuals and cultures.

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Griffin, George. "Ernst Jäckh and the search for German cultural hegemony in the Ottoman Empire." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245518955.

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Oelofsen, Marianna Christina. "The dynamics of difference: oppression, cross-cultural liberation and the problems of imperialism and paternalism." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002846.

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This dissertation defends an account of oppression and supports a specific means of engaging with oppression cross-culturally. The project examines whether it is defensible to interfere in other cultures at all. Both the cultural relativist and the neo-imperialist approaches are argued to be an inadequate response to the question of whether it is defensible to interfere in other cultures, as both these approaches neglect the autonomy of the agents concerned. This project has two related goals. It first advances an answer to the question ‘what is oppression?’ An account of oppression is developed which will enable oppression to be identified cross-culturally. In order to start constructing an approach which will be adequate to respond to the question of interference, it is necessary to consider a means of identifying oppression crossculturally. The second objective is to examine the possibility of non-imperialistic and nonpaternalistic cross-cultural liberation projects. The first aim (advancing an account of oppression), is executed through arguing for an ethical framework which will be helpful in this context, and arguing for an account of oppression derived from this framework. The second aim (examining the possibility of non-imperialistic and non-paternalistic liberation), is carried out in two parts. The first part responds to two standard objections from cultural relativism, which would accuse a universal account such as mine of imperialism and paternalism. The first objection claims that a universalist account neglects historical and cultural difference, while the second objection claims that it neglects autonomy. In responding to these objections, it is noted that while my responses prove, theoretically, that a universal account of oppression need not lead to imperialism or paternalism, there is a danger that the account could become imperialistic and paternalistic in its application. With the intention of dealing with this problem, I advance a methodology of cross-cultural understanding which would reduce the likelihood of imperialism and paternalism in liberation projects. This notion of cross-cultural understanding is the most important contribution of this project. The objective is not to give practical judgments on when a specific liberation project is in fact paternalistic or imperialistic, but rather to propose guidelines which would need to be applied to each particular instance.

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Lam, Sui-kwong Sunny, and 林萃光. "The impact of translated Japanese comics on Hong Kong cinematic production: cultural imperialism or localredeployment?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B29902289.

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Reilly, Brendan Michael Declan. "Tiki to Mickey: The Anglo - American Influence On New Zealand Commercial Music Radio 1931-2008." Thesis, University of Canterbury. School of Social and Political Sciences, 2011. http://hdl.handle.net/10092/5248.

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Emerging consensus tends to suggest there is overwhelming American dominance of New Zealand radio in music. This study sets out to investigate such claims by looking at music, and incorporating a study of technology, announcing and programming as well. There is evidence emerging that instead of overwhelming dominance, there is a mixture of American as well as British influence. Foreign influence in the radio scene has been apparent since the time it became a popular addition to the New Zealand household in the 1920’s. Over the following decades, the radio industry has turned to the dominant Anglo-American players for guidance and inspiration. Now with a maturing local industry that is becoming more confident in its own skin, this reliance on foreign industry is coming under question regarding its effect on indigenous culture. The cultural cringe is slowly disappearing, but what is replacing it has been the centre of cultural debate. Utilising methods of content analysis and interviews, we set out to question which theory best describes the new landscape that the radio industry finds itself in, and how this is affecting the production of content received by the listening public. Working within a framework of cultural imperialism and hybridity, the findings indicate a complex mixture of the local and the global that could not be explained by simplistic notions of hybridity.

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Jaugietis, Ingrid, and n/a. "Cultural imperialism and mass media development in the South Pacific Island States : Fiji - a case study." University of Canberra. Communication, Media & Tourism, 1993. http://erl.canberra.edu.au./public/adt-AUC20060801.161408.

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With the onset of the independence of the Pacific Island States, the role of the mass media and their developmental processes began to be examined. This was of particular interest due to the obvious lack of a sufficient native media infrastructure to meet the demands of an indigenous population who were being introduced to a new world sphere and system. The main problem of mass media development in the Pacific lies in the fact that the nations in this area are still relatively behind in the basic structures of media participation. They lack technological knowledge of the various forms of media, the basic training and skills, and, moreover, the monetary means to address such deficiencies in the media. The outcome of this circumstance has been that Pacific media have become increasingly dependent upon the Western, industrialized nations such as the USA, Australia and New Zealand. Such dependence on these foreign nations has given rise to the question of 'cultural imperialism'. The aforementioned countries have a large influence in the Pacific through the unequal relaying of communication and cultural products and in the ownership of mass media agencies. This history of foreign based, imported culture has manifested itself in increased urbanization, social disruption, and greater commodity dependence and consumerism in the Pacific. This study will therefore be an attempt to analyse the media development processes of the Pacific by using Fiji as a case study. The critical analysis will come from Wallerstein's World System perspective. Further, it will be shown how Fiji's historical, involvement in the 'capitalist world economy', and her history of racism in the political and communication aspects of her society have helped shape her present media system. The underlying premise of the argument, will be that these factors have not been beneficial to achieving mass media development based on self-sufficiency, nor on harmony between the ethnic groups of Fiji.

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Diaz, Christina. "'Modernization' or cultural imperialism and dependency through media aid? : a case study of television in Sudan." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276352.

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The establishment of television in one of the world's "least developed" countries, the Sudan, was almost entirely a West German venture. The lion's share of the necessary equipment, training and "expert" personnel for the national channel, the Sudan Television Service (STV), and the Gezira Rural Educational Television (RTV) was provided by the Federal Republic of Germany's technical aid, which also played a major role in the maintenance of both services over a long period (nearly two decades in the case of STV). The decision to undertake a case study of these two 'aid' projects was initially prompted by the shortage of studies examining the impact of "media aid" (usually supplied as parts of technical aid programmes) on the 'aid'-receiving countries. The following questions essentially remained unanswered: Put in very simple terms, could media aid be shown to keep the promises of the 'aid' -suppliers, namely that media aid in general, and television in particular, would contribute to the well-being of the receiving country and its population? Or was it more likely - as some authors insisted - to increase or consolidate various forms of dependence and act as a cultural imperialist agent7 Were such 'aid'-projects entirely altruistic ventures, as tended to be claimed by their suppliers, or could they, rather, be shown to be primarily self-interested? Could television, and rural educational television in particular, be shown to be conducive to promoting "modernization", as not only the 'aid'-supplying countries but also Unesco-publications had long claimed, and what exactly was meant by "modernization"? This thesis will attempt to provide answers to these questions by reference to STV and RTV as German 'aid' projects. Both were explicitly put in the service of "modernization" not only by the 'aid' administration but also by the respective Sudanese governments.

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Sumich, Jason. "Tribesmen or hustlers? : tourism, cultural imperialism and the creation of a new social class in Zanzibar." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/3617.

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Lam, Sui-kwong Sunny. "The impact of translated Japanese comics on Hong Kong cinematic production : cultural imperialism or local redeployment? /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18598389.

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Barboza, Avery R. "The Irish Republican Army: An Examination of Imperialism, Terror, and Just War Theory." DigitalCommons@CalPoly, 2020. https://digitalcommons.calpoly.edu/theses/2157.

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Analysis of the Irish Republican Army (IRA) and their actions in the 1970s and 1980s offer insight into their use of just war theory in their conflict with the British government and ultra-loyalist Protestant forces in Northern Ireland. The historiography of Irish history is defined by its phases of nationalism, revisionism, and anti-revisionism that cloud the historical narrative of imperialism and insurgency in the North. Applying just war theory to this history offers a more nuanced understanding of the conflict of the Troubles and the I.R.A.’s usage of this framework in their ideology that guided their terrorism in the latter half of the twentieth century. The murders of influential members of British society and the I.R.A.’s statements on these events further posit just war theory as a guiding force of this group. In 1980-1981 the I.R.A. staged hunger strikes in the H Block of Long Kesh Prison and the writings of their leader Bobby Sands continued their use of just war theory in their efforts to be granted Special Category Status. This work concludes that the I.R.A. utilized just war theory throughout this period and that it was a guiding force of their ideology. It contributes a more nuanced analysis of just war theory and its applications to the I.R.A.’s struggles against the British. Ultimately, it demonstrates how this theory was used by this insurgent movement to claim legitimacy, defend their actions, and frame their anti-imperialist movement as a necessary means to combatting British forces.

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Wilcox, Andrew. "Orientalism and imperialism : Protestant missionary narratives of the 'other' in nineteenth and early twentieth century Kurdistan." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16754.

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Through an examination of the letters, reports and published writings of the missionaries of two distinctive Protestant missions active in the Kurdish region during the nineteenth century, this thesis explores the Orientalist and imperialist qualities of missionary knowledge production. It demonstrates the diversity of Protestant missionary thought on the subject of the Orient and the individual nature of missionary knowledge production during this period. Equally importantly the study allows for a critical examination of the Orientalist critique in the context of missionary activity and a contextualised assessment of missionary complicity with imperialism. The findings of the study show that the Orientalism of the Anglican ‘Assyrian Mission’ and that of the American Presbyterian ‘West Persia Mission’ share common characteristics but, importantly, diverge diametrically in the meanings ascribed to the differences perceived to separate ‘Oriental’ from ‘Occidental’. This diversity in the representative style of the two missions can be linked to their opposed objectives in relation to proselytisation and thus suggests that their knowledge production was not solely determined by Orientalist discourse but also influenced by other discursive factors. Given Edward Said’s recognition of the diversity of the phenomenon of Orientalism it is therefore of great value to attempt to map some of this vast and divergent terrain of ideas. My thesis thus suggests that a meaningful division can be made within the Orientalist discourse between expressions of an Orientalism of essential difference and that of an Orientalism of circumstantial difference. Concerning imperialism, the study argues that, although these missionaries can be considered imperialists in an unwitting and indirect sense, care needs to be taken in the application of this label. My argument is that association with and contribution to textual attitudes which promote ideas of ontological or cultural superiority are a very different activity to conscious engagement in projects of imperial expansion; and that this needs to be recognised. Furthermore the standard model of a political metropolitan center determining the fate of its activities in the periphery is reversed in the case of these missionaries, where religious concerns drove engagement against political interests.

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Martin, Nicola. "The cultural paradigms of British imperialism in the militarisation of Scotland and North America, c.1745-1775." Thesis, University of Stirling, 2018. http://hdl.handle.net/1893/28516.

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This dissertation examines militarisation in Scotland and North America from the Jacobite Uprising of 1745-46 to the outbreak of the American Revolutionary War in 1775. Employing a biographical, case study approach, it investigates the cultural paradigms guiding the actions and understandings of British Army officers as they waged war, pacified hostile peoples, and attempted to assimilate 'other' population groups within the British Empire. In doing so, it demonstrates the impact of the Jacobite Uprising on British imperialism in North America and the role of militarisation in affecting the imperial attitudes of military officers during a transformative period of imperial expansion, areas underexplored in the current historiography. It argues that militarisation caused several paradigm shifts that fundamentally altered how officers viewed imperial populations and implemented empire in geographical fringes. Changes in attitude led to the development of a markedly different understanding of imperial loyalty and identity. Civilising savages became less important as officers moved away from the assimilation of 'other' populations towards their accommodation within the empire. Concurrently, the status of colonial settlers as Britons was contested due to their perceived disloyalty during and after the French and Indian War. 'Othering' colonial settlers, officers questioned the sustainability of an 'empire of negotiation' and began advocating for imperial reform, including closer regulation of the thirteen colonies. And, as the colonies appeared to edge closer to rebellion, those officers drew upon prior experiences in Scotland and North America to urge the military pacification of a hostile population group to ensure imperial security. Militarisation, therefore, provides important insights into how cultural imperialism was implemented in Scotland and how it was transferred and adapted to North America. Further, it demonstrates the longer-term interactions and understandings that influenced transformations in eighteenth-century imperial policy.

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Oliveira, Rodrigo Marcelo de. "Imperialismo cultural e produção jornalística brasileira: estrangeirismos na revista Superinteressante de 2000 a 2019." Master's thesis, Instituto Superior de Ciências Sociais e Políticas, 2021. http://hdl.handle.net/10400.5/21516.

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Dissertação de Mestrado em Comunicação Social Este trabalho se propõe a compreender a relação entre as mudanças lexicais do Português Brasileiro, por meio da incorporação de estrangeirismos inseridos na língua falada no Brasil a partir das revoluções tecnológica e linguística em curso no mundo, e a influência dessas novas palavras na escrita dos jornalistas da Superinteressante, uma revista de divulgação científica com ampla cobertura do universo tecnológico. Uma pesquisa lexical efetuada em 40 edições da revista, dos primeiros 20 anos do século XXI, retornou mais de 12 mil incidências de estrangeirismos, sendo que três quartos desses vocábulos são do Inglês, evidenciando que o imperialismo cultural norte-americano, que se apresenta como um fator relevante a ter em conta em matéria de emancipação política, social, econômica e cultural brasileira, continua vigorando nesta nova era tecnológica. A ampla utilização de estrangeirismos evidencia que não há um gatekeeping linguístico ou qualquer política de controle ideológico sobre o emprego de novas terminologias incorporadas ou não ao léxico dos leitores da Superinteressante. Devido ao fato de que as palavras importadas de outros idiomas agregam novos conceitos e, eventualmente, unidades lexicais anteriores ao empréstimo têm seu sentido modificado pela entrada de um novo termo estrangeiro na língua, as alterações no significado das expressões do Português Brasileiro justificam a escolha dos jornalistas pelos estrangeirismos, evitando afetar a compreensão do texto ao usar um vocábulo distante do léxico do leitor. This work aims to understand the relationship between lexical changes in Brazilian Portuguese, through the incorporation of loanwords inserted in the language spoken in Brazil from the technological and linguistic revolutions underway in the world, and the influence of these new words in the writing of journalists from Superinteressante, a scientific dissemination magazine with wide coverage of the technological universe. A lexical research carried out in 40 issues of the magazine, from the first 20 years of the 21st century, returned more than 12 thousand incidences of loanwords, with three quarters of these words being English. This shows that North American cultural imperialism presents itself as a relevant factor in matters of political, social, economic and cultural emancipation of Brazil remains in force in this new technological age. The widespread use of foreign language shows that there is no linguistic gatekeeping or any policy of ideological control over the use of new terminologies incorporated or not to the lexicon of Superinteressante's readers. Due to the fact that words imported from other languages add new concepts and, eventually, lexical units prior to the loan have their meaning modified by the entry of a new foreign term in the language, changes in the meaning of Brazilian Portuguese expressions justify the choice of journalists for loanwords. As a consequence, they avoid affecting the comprehension of the text when using a word distant from the reader's lexicon. N/A

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Horton, Justin Garrett. "The Second Lost Cause: Post-National Confederate Imperialism in the Americas." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2025.

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At the close of the American Civil War some southerners unwilling to remain in a reconstructed South, elected to immigrate to areas of Central and South America to reestablish a Southern antebellum lifestyle. The influences of Manifest Destiny, expansionism, filibustering, and southern nationalism in the antebellum era directly influenced post-bellum expatriates to attempt colonization in Mexico, Venezuela, Chile, Peru, and Brazil. A comparison between the antebellum language of expansionists, southern nationalists, and the language of the expatriates will elucidate the connection to the pre-Civil War expansionist mindset that southern émigrés drew upon when attempting colonization in foreign lands.

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Minami, Kaylilani. "Eh, You Māhū? An Analysis of American Cultural Imperialism in Hawai’i through the Lens of Gender and Sexuality." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1611.

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"Eh, You Māhū? An Analysis of American Cultural Imperialism in Hawai’i through the Lens of Gender and Sexuality" explores the impact of American settler colonialism on Native Hawaiian culture. This thesis magnifies the gender liminal identity of māhū to understand the intricacies of gender and sexuality as it relates to cultural formation. Broadly, this thesis is a historical analysis of the impact Western colonization has on indigenous cultures. Specifically, this analysis starts from the introduction of haole foreigners to Hawai’i in 1778 and extends to the present-day American occupation of the Hawaiian nation. By analyzing the ways American cultural imperialism is a systemic process rather than a single historical event, this work shows how Hawaiian culture has evolved to accommodate this process over time. This thesis understands why traditional Native Hawaiian culture provided a space for māhūs to be celebrated, while contemporary Hawaiian society has varying degrees of visibility for māhūs.

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Malhotra, Ashok. "Making of British India fictions, 1772-1823." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4504.

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This thesis investigates British fictional representations of India in novels, plays and poetry from 1772 to 1823. Rather than simply correlating literary portrayals to shifting colonial context and binary power relationships, the project relates representations to the impact of India on British popular culture, and print capitalism’s role in defining and promulgating national identity and proto-global awareness. The study contends that the internal historical development of the literary modes – the stage play, the novel and verse – as well as consumer expectations, were hugely influential in shaping fictional portrayals of the subcontinent. In addition, it argues that the literary representations of India were contingent upon authors’ gender, class and their lived or lack of lived experience in the subcontinent. The project seeks to use literary texts as case studies to explore the growing commoditisation of culture, the developing literary marketplace and an emerging sense of national identity. The thesis proposes that the aforementioned discourses and anxieties are embodied within the very literary forms of British India narratives. In addition, it seeks to determine shifts in how Britain’s relationship with the subcontinent was imagined and how events in colonial India were perceived by the general public. Furthermore, the project utilises literary texts as sites to explore the discursive and epistemological strategies that Britons engaged in to either justify or confront their country’s role as a colonising nation.

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Perniciaro, Leon. "Shifting Understandings of Imperialism: A Collision of Cultures in Starship Troopers and Ender's Game." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1338.

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In this paper, I consider how Robert Heinlein's Starship Troopers (1959) and Orson Scott Card's Ender's Game (1985) allegorically treat U.S. Cold War fears of invasion by the Soviet Union. Given the texts' historical relationship to the Vietnam War and their use of very similar science fiction tropes (namely, invasion by communistic, insect-like aliens), I argue that Orson Scott Card reimagines the binary Cold War conflict, softening the rhetoric of Starship Troopers and allowing for a more qualified understanding of the relationship between the U.S.S.R. and the U.S. Through this analysis, I also consider how science fiction is a useful tool of cultural criticism in that it posits future worlds so as to reflect contemporary social concerns.

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Ibrahim, Mohamed Sayed. "The relationship between the question of cultural imperialism in the Third World and the import of popular media programmes." Thesis, University of Leicester, 1991. http://hdl.handle.net/2381/34591.

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This study, as the title suggests, attempts to shed some light on the Cultural Imperialism debate, paying special reference to the question of the increasing tendency in many parts of the Third World to import popular drama programmes, particularly from the United States. This increasing tendency is, in fact, one of the main factors which has led to renewed interest in this debate on an international level. The study focuses on Egypt as a study case, which represents most of the characteristics of the situation in the Third World. The study attempts to provide empirical evidence to the Cultural debate by using two approaches: The first, to obtain a detailed picture of the extent and nature of the world of drama production, foreign as well as local, portrayed on Egyptian prime-time television and radio. The second, to obtain a similar picture of the conditions which have led to the increase in the level of foreign drama import in Egypt the reaction of the audience to such programmes, how they perceive the world of the drama they watch, how they perceive the world around them and how the media relate to them generally, i.e. their values, attitudes, pattern of consumption etc. and what use if any do they make of media programmes in general and foreign production, in particular. The data, on both levels, has been collected through the application of quantitative as well as qualitative methods. While a sample of the audience was studied through the use of Survey and Discussion Group methods, a sample of drama programmes was analyzed through the use of Content as well as Structural Analysis methods. The object of this exercise is to show both the similarity and difference between local and foreign drama production. It also aims to show whether or not messages purveyed through these programmes are congruent with the cultural outlook of the audience. In so doing, this could possibly help to assess the role played by imported media programmes with regard to the question of "destruction" or otherwise of the indigenous cultures of the Third World and their role in developing and maintaining new values and ideas among the audience. In other words, it could provide the empirical basis necessary when arguing for or against the call for cultural dissociation of the Third World from the World Cultural market.

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Biparva, Mohsen. "Masks of authenticity : visual representation of the self, self-stereotyping, and the question of visibility in the age of neo-imperialism." Thesis, University of London, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549606.

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McCain, Stewart N. "The langauge question under Napoleon." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:610a14d5-a7fc-4842-996a-ab3bc7e6b334.

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From the campaign waged by Revolutionaries like Barère and the Abbé Grégoire against those regional languages they referred to pejoratively as 'patois', to the educational policies of Jules Ferry a century later, successive governments of France engaged in a broadly successful struggle to force the French to speak French. Inverting the logic of cultural nationalists like Herder, who claimed a shared language as the legitimate basis of national polities, French legislators sought to impose French as a common language on a linguistically diverse population that had already been constituted as a state. Recent historical work has shown the particular significance of such projects during the Napoleonic period. Historians have begun considering how far the Napoleonic regime was characterized by cultural imperialism. While the ideological nature of such projects- the 'view from the centre', so to speak- is now well understood by historians, this thesis is concerned with the practice of Napoleonic imperialism in one sphere of action: language. By focusing on the practice of linguistic imperialism under Napoleon this thesis makes an important contribution to understandings of the cultural politics of the period as well as Napoleonic state-building policies more generally.

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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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Pierce, Alexandria 1949. "Imperialist intent - colonial response : the art collection and cultural milieu of Lord Strathcona in nineteenth-century Montreal." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84197.

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This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona's collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona's activities, Anthony Giddens's structuration theory is introduced to account for how personal agency remains operative within this dominant ideology. Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian's concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan's work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle. This thesis makes use of primary source materials to compare Strathcona's collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914--1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.

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Daza, Stephanie Lynn. "Local responses to globalizaton policy, curricula, and student cultural productions at a Colombian public university /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148644072.

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Lipke, Alan Thomas. "The Strange Life And Stranger Afterlife Of King Dick including His Adventures in Haiti and Hollywood With Observations On The Construction Of Race, Class, Nationality, Gender, Slang Etymology And Religion." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4530.

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Richard "King Dick" or "Big Dick" Crafus, Cephas, or Seaver(s) first attracted attention by his size, strength and the authority he exercised as leader of U.S. African American Prisoners of War in Britain during the War of 1812. After the War he was celebrated as a boxing pioneer, ceremonial King of Boston's black community and almost certainly auxiliary law officer. Very little has been known about his life, and much of that obscured by his black working-class status; his true standing within his own community remains mysterious. Yet paradoxically he's been made much of, in academic writing and fiction alike right up to the present day. Although his life resisted the reduction of himself and his people to irrelevance and invisibility, I argue that his most prominent role has been as a palimpsest, a used canvas or marked screen onto which scholars and fiction-writers alike, as intellectual workers, have projected their images of the place of Blacks, blackness and racialized Others in the Americas and the Americanized world, including Haiti and Arabia. This thesis attempts to reconstruct his life and interpret his myriad reconstructions, to illuminate both dominant white and less-accessible minority discourses. The particular characteristics inscribed into Big Dick's figure have helped define class and caste structures, public morality and the use of public space, and the working of the U.S. capitalist and cultural imperium in the marketplace of discourses.

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Petkova, Preslava. "Food Television and the processes of globalization." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23734.

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This paper presents the initiative to research on Food Television and the processes ofglobalization. The research gap in the selected subject area is identified after an in-depthliterature review and watching the culinary documentary ‘Ugly Delicious’. According toscholars globalization processes are influenced by the use of Media, as different channelsare transmitting values shared by globalization. Over the years, globalization has developedsub-process such as cultural globalization, a term which refers to the merge of cultures andthe formation of a global one. The identified research gap is to translate how globalizationhas been communicated in a culinary documentary. The title of the research is, therefore“Food Television and the processes of globalization: How does ‘Ugly Delicious’ userepresentations to portray cultural globalization?”, as it addresses the most pertinentresearch gap. Using visual data, such as video, requires a qualitative approach in which thecontent can be coded and later linked to theoretical knowledge. The role of the researcheris to find examples or patterns that represent cultural globalization within the frame of thetwo seasons of the documentary. The method which shapes this qualitative research is theGrounded Theory approach. A coding sheet will be generated to present the process andthe logic of generating codes.

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Lober, Brooke, and Brooke Lober. "Conflict and Alliance in the Struggle: Feminist Anti-Imperialism, Palestine Solidarity, and the Jewish Feminist Movement of the Late 20th Century." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621754.

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This dissertation is focused on research into and consideration of the relationship between a nascent form of Jewish feminism that arose in the United States in the 1970s and 1980s, and the post-1967 Palestine solidarity movement-both of which took shape in the overlap of feminist and anti-imperialist movements of the late 20th century. While restoring an archive of social movement culture, this study reveals the impact of Zionism and anti-Zionism on US feminisms, with attention to the "Question of Palestine" as a site of division and alliance for feminist movements. Utilizing theories and methods from cultural studies, ethnic studies, feminist studies, and related interdisciplinary formations, I consider ideologies and practices of late 20th century feminist movements as they address gender, sexuality, race, ethnicity, and nation through and against identity politics. With focus on the lesbian-led, politically leftist, grassroots sector of U.S. Jewish feminism and related feminist formations, I ask how the discourse of identity has been mobilized in contradictory ways, re-mapping feminist alliances and conflicts about race, nation, and colonialism.

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Griffin, George William III. "Ernst Jäckh and the Search for German Cultural Hegemony in the Ottoman Empire." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245518955.

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Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16016/1/Anna_Potter_Thesis.pdf.

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When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.

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Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16016/.

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When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.

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André, da Rocha Andreza [Verfasser], and Christer [Akademischer Betreuer] Petersen. "The Birth of Brazilianism : the stereotypical representation of Brazil in the context of cultural imperialism and media concentration [[Elektronische Ressource]] / Andreza André da Rocha. Betreuer: Christer Petersen." Cottbus : Universitätsbibliothek der BTU Cottbus, 2013. http://d-nb.info/1031666990/34.

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de, Carvalho Marcelo Gonc̜alves. "Consumer culture imperialism." Diss., [La Jolla] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/fullcit?p1477954.

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Thesis (M.A.)--University of California, San Diego, 2010. Title from first page of PDF file (viewed July 13, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (leaves 211-219).

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Barnewolt, Claire M. ""Let the Castillo be his Monument!": Imperialism, Nationalism, and Indian Commemoration at the Castillo de San Marcos National Monument in St. Augustine, Florida." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5418.

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The Castillo de San Marcos is the oldest stone fortification on the North American mainland, a unique site that integrates Florida’s Spanish colonial past with American Indian narratives. A complete history of this fortification from its origins to its management under the National Park Service has not yet been written. During the Spanish colonial era, the Indian mission system complemented the defensive work of the fort until imperial skirmishes led to the demise of the Florida Indian. During the nineteenth century, Indian prisoners put a new American Empire on display while the fort transformed into a tourist destination. The Castillo became an American site, and eventually a National Monument, where visitors lionized Spanish explorers and often overlooked other players in fort history. This thesis looks at the threads of Spanish and Indian history at the fort and how they have or have not been interpreted into the twenty-first century.

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Cha, Sung Taik. "How U.S. Audiences View Korean Films: A Case Study of Oldboy." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001502.

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Karsten, Ida. "“We are saying no to homosexuality!”- A Critical Discourse Analysis of the Dialogue Between Zambia and the US Ambassador Regarding LGBT+ Rights Advocacy in a Postcolonial Context." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20991.

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This thesis analyses a dialogue between the US ambassador to Zambia and two Zambian officials, regarding LGBT+ rights, following the sentencing of a same-sex couple by the Zambian high court. The theoretical framework utilizes postcolonial theory and a few of its concepts, namely cultural imperialism, and colonial discourses. To analyse the material, critical discourse analysis was conducted to examine if colonial discourse is present in the dialogue, and if so, how the discourses are used to reproduce or challenge the uneven power relationship between the West and Zambia. The thesis could conclude that discourses of cultural imperialism as well as colonial discourses were indeed present in the dialogue. The US ambassador reproduced the uneven power structure and the Zambian officials both reproduced as well as challenged it. The findings aim to contribute to the field of global LGBT+ advocacy, especially when conducted in a postcolonial context.

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Keilen, Brian. "Echoes of Invasion: Cultural Anxieties and Video Games." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1342217874.

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Syversen, Zara, and Emma Nilsson. "Kulturell globalisering i tidningsbranschen : En studie om visuell design på kvinnomagasins omslag i olika kulturer." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28189.

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Vilken roll har den kulturella globaliseringen på visuell design i tidningsbranschen? Medier är i konstant rörelse och världen har blivit ett öppet kulturellt utrymme där olika kulturer kan förmedlas via medier. Företag globaliserar sin verksamhet vilket gör att kulturella produkter som Coca-Cola och Nike är välkända runt om i världen. Samtidigt diskuteras de konsekvenser som globaliseringen av kulturella produkter kan ha på världen och om detta leder till homogenisering eller hybridisering av kultur. Kvinnomagasinet Cosmopolitan är ett globalt varumärke som existerar i över 100 länder. Den fråga som uppstår är om en stark kulturell produkt som Cosmopolitan har satt en standard för andra kvinnomagasins estetiska uttryck i andra länder. Vilka likheter och skillnader finns det i den visuella designen mellan det amerikanska kvinnomagasinet och populära kvinnomagasin i andra länder? I denna studie analyserades den visuella designen på populära kvinnomagasins omslag i Brasilien, Förenade Arabemiraten, Indien, Thailand, Tjeckien och USA under året 2012 och urvalet av länder baserades på religiös tillhörighet i de olika länderna. Eftersom religion är intimt förknippat med kultur var detta ett effektivt sätt i ett försök att få material som representerade olika kulturer i världen. Genom att använda både en kvantitativ och kvalitativ innehållsanalys kunde flera olika delar av materialet analyseras på olika nivåer. Resultatet av vår undersökning visade att det finns en variation av både likheter och skillnader i den visuella designen på kvinnomagasinens omslag. Med hjälp av teorier i kultur och globalisering gick det att se att både homogenisering och hybridisering av kultur är aktuellt inom tidningsbranschen, då det verkar finnas en viss standardisering av visuell design, samtidigt som det finns en blandning av kulturella referenser. Studien visar att kulturell globalisering kan påverka den visuella designen på kulturella produkter på olika sätt och öppnar upp för intressant vidare forskning inom ämnen som kulturell globalisering, homogenisering och hybridisering av kultur samt hur kulturella estetiska uttryck kan ta form i olika kulturer. What role does cultural globalization have regarding visual design in the magazine industry? The media is in constant motion and the world has become a more open cultural space where different cultures can be communicated through media. Companies globalize their business, which makes cultural products like Coca-Cola and Nike well known all around the world. There are discussions about the implications that globalization of cultural products will have on the world and if this might lead to homogenization or hybridization of culture. The women's magazine Cosmopolitan is a global brand that exists in over a 100 countries. The question that arises is whether a strong cultural product that Cosmopolitan is setting a standard forwomen’s magazines in other countries regarding their aesthetic expressions. What kind of similarities and differences are there in the visual design of the American women's magazine and popular women's magazines in other countries? This study analyzed the visual design on covers of popular women’s magazines in Brazil, United Arab Emirates, India, Thailand, the CzechRepublic and the United States over the year 2012. The selection of countries was based on religious affiliation in the different countries and since religion is closely related to culture, this was an effective way in an attempt to access material that represented different cultures in the world. By using both a quantitative and qualitative content analysis, several different parts of the material could be analyzed on different levels. The results of our study showed that there are a variety of both similarities and differences in the visual design of women's magazines covers. Using theories about culture and globalization made it possible to see that both homogenization and hybridization of culture is current in the magazine industry. There seems to be some kind of standardization of visual design but at the same time, there is also a mix of cultural references on the covers. The study shows that cultural globalization can affect the visual design of cultural products in different ways and opens up for interesting topics in further research, such as cultural globalization, homogenization and hybridization of culture and how cultural aesthetic expressions takes shape in various cultures.

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Thèses sur le sujet « Cultural imperialism »

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