Depuis les années 1950, le rock perdure en se diversifiant. Courant musical mais aussi mouvement culturel à part entière, il est hétérogène et complexe. On ne saurait le réduire à un objet culturel exclusivement anglo-saxon. En effet, les scènes rock locales et nationales se multiplient. Le succès international que connaissent certaines d’entre elles nous amène à émettre deux constats : 1) La langue anglaise et la culture anglo-saxonne ne sont plus forcément les références esthétiques du rock, qui intègre ainsi de nouvelles influences. Ces dernières sont ainsi issues des nouvelles identités nationales qui s’affichent sur la scène musicale mondiale. 2) Néanmoins, l’esthétique centrale du rock reste toujours identifiable au sein de l’oeuvre de ces groupes et artistes.La présente étude se propose d’analyser l’articulation entre esthétique rock et culture nationale dans l’iconographie des scènes nationales Allemande et Finlandaise qui connaissent un succès mondial inédit. Pour cela, nous nous inscrivons dans une démarche méthodologique d’ordre socio-sémiotique. Cette articulation s’observe dans les représentations mais aussi la construction musicale. Elle trouve son origine dans un contexte socio-culturel et dans l’évolution d’une industrie musicale en pleine mutation. C’est ce que nous proposons également d’analyser. À l’issue de ce travail, nous aboutissons aux conclusions suivantes : 1) Les évolutions de la culture mondialisée et des industries culturelles vers le multiculturalisme ont favorisé l’émergence et la visibilité des scènes locales et régionales (Appadurai, 2001. Macé, 2005) . La structuration de l’industrie musicale,marquée par la notion d’authenticité (Moore, 2002) et l’existence des marchés de niche (Currien et Moreau, 2006) tiennent aussi un rôle dans ce phénomène. Par ailleurs, la constitution de la scène rock britannique montre que ce phénomène n’est pas récent, et qu’il est même essentiel dans l’histoire du rock. 2) L’évolution et la diversification de l’esthétique rock (Metal, musiques extrêmes), fruit de l’acculturation, créent un climat propice à la construction de nouvelles identités au sein du genre. Nous mettons ainsi en évidence l’existence de stratégies identitaire permettant l’expression du national : ancrage dans le local, innovation esthétique, ou spécialisation dans un sous-genre du rock. / Since the 1950’s, rock importantly diversified itself. It became a complex and heterogeneous cultural object. It is now hard to typify the genre as a strictly American or English production. Local and national scenes are effectively developping. Some of them even know international success and bring me to point two facts : 1) English language and culture are no longer the exclusive cultural references of rock production. New national identities now integrate it. 2) Nonetheless, rock aesthetic is still highly recognizable.The aim of this study is to analyse the articulation between rock aesthetic and national culture in the iconography of Finnish and German bands. I adopt a socio-semiotic methodology for analysis. This articulation is remarkable in imagery but also in music. It find its origins in a global social and cultural context, and also in the mutations of the musical industry.After this work, we can produce the following conclusions : 1) Firstly we can conclude that the evolutions of cultural industries and globalised culture toward multiculturalism favoured the developpment and the visibility of national rock scenes. Structuration of the musical economy played also an importantpart. Moroever, the phenomenon is not new. Effectively, the British rock scene is an early example of it since the 1960’s. 2) Then, the evolution and the diversification of rock aesthetic as a result of acculturation create good conditions for the emergence of new identities in rock music. We notice the use of different strategies to express the national in music, such as specialisation into a genre, musical innovation or inscription of music in the local cultural environment.

The following study examined identity construction and community formation within the comic book fan community on the social media website, Twitter It had three objectives It investigated how comic book fans constructed their respective identities on Twitter, explored how fans came to identify with the comic book community and why it formed, and aimed to discover how the community was maintained and expanded The study applied an ethnographic method that relied on the analysis of dialogue Ten comic book fans (five males, five females) that frequently used Twitter to communicate with other fans were video interviewed It was found that comic book fans constructed their identities using their Twitter biography and profile picture and they all believed they were communicating their true and genuine selves The biography, profile picture, and tweets reinforced the rhetoric of what it meant to be a comic book fan It was this visual and written rhetoric that enabled comic book fans to identify with one another and bring the community into being Without this rhetoric, there is no community The community maintained itself through the continued reinforcement of this rhetoric It expanded itself by bringing comic book fans from different backgrounds, locations, and nationalities together online around a shared interest The study also found that the relationships formed within the community could develop into real friendships, the same caliber of friendship that individuals would normally have with those they knew and met in real life.

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Through questionnaires answered by the institutions and through searches on their various websites, an image is developing that shows that subcultures are not always given room in the cultural heritage sphere. Even though the Gothenburg sound plays a big part within the metal world, and despite the fact that it has given Gothenburg international recognition within the metal community, it remains more or less invisible in Gothenburg’s institutionalized world, both as a subculture and as a cultural heritage. With this essay, we are trying to create a perspective where an eventual explanation for this absence can be given, and where we can raise and problematize these questions. We are trying to illustrate the dominance of the mainstream society compared to subcultures, but also the institutions influence in what qualifies as a cultural heritage. We want to gain an understanding if the Gothenburg sound can be seen as a cultural heritage and if the genre should be made more visible within the institutions. In the end though, the question remain whether it would benefit the subculture to be made visible in the mainstream arena as they through such an uplifting also risk to lose their subcultural identity.

This dissertation argues that Henry James deliberately and ingeniously wrote The Ambassadors (1903) as a double-plotted novel. The traditional plot which follows Lambert Strether to Paris provides cover for the detailed story of Strether’s experiences in Paris as a homosexual man seeking his identity. James conveys the Other Plot by means of code, the primary signifiers of which are references to the well-established homosexual subcultures of London and Paris. In-depth historical research on diverse aspects of homosexual life in the nineteenth century are presented in order to demonstrate how James addresses an audience sympathetic to same-sex love without raising condemnation from moral and literary critics.

Made available in DSpace on 2016-04-28T20:37:38Z (GMT). No. of bitstreams: 1 Emerson Pingarilho Martins.pdf: 24622601 bytes, checksum: 80b6fee67687f864f29b6332d142dafe (MD5) Previous issue date: 2011-06-06 / Visual dissertation as objective to draw the lines of strength that permeate the subjectivity registered in cultural phenomena that influence my own visual work, photographic researches that register acts from completely different places, but that have a shared line considering all paintings and drawings presented here. Afro-brazilian rituals, vodu, african hunters, artists and people coming from the subcultures. Multiplicity in brute and random elements, graphics, the recombination of what is directly found in nature and the streets of the metropolis as ac-tive expression. The term Urban Shamanism refers to the aesthetics, to the visual and actions registered on the photographs. Actions meaning to affirm an aesthetics, of aiming to live and create a visual style that can be understood as a poetic line like they are showed up on the documented photographs. The act of drawing was like to land in an enigmatic field that by the time has became the essence of my blood through the ink witch I ve been feed, in the simplicity of the feeling s flow / Dissertação visual poética sobre as linhas de força que permeiam a subjetividade que influênciaram meu trabalho visual, pesquisas fotográficas registrando atitudes em rituais afro-brasileiros, vodus, caçadores africanos, artistas e pessoas de rua. Multiplicidade em elementos aleatórios brutos e toscos, o grafismo, a padronagem desdobrada em camuflagem, a atitude estética, recombinação do que é diretamente achado na natureza e nas ruas de uma metrópole como expressão ativada. O termo Xamanismo Urbano remete a estética, ao visual e as ações que as fotografias registram. Ações no sentido de afirmar uma estética, de querer viver e criar um estilo visual que seja o lastro poético tal qual registrado nas fotografias documentadas. Uma pesquisa de cartografia lançando os olhos em figuras recombinadas e resistentes para criar uma obra flexível em processo

This dissertation uses social movement theory to analyze the emergence, activities and development of subcultures and small groups. The manuscript is comprised of an Introduction followed by three journal articles and one book chapter.  The introduction discusses: 1) the concept of theoretical extension whereby a theory developed for one purpose is adapted to another; 2) it identifies the social movement theories used to analyze subcultures and small groups; 3) it describes the data used in the analyses included here. The data for this work derives from two distinct research projects conducted by the author between 2002 and 2012 and relies on multiple sources of qualitative data. Data collection techniques used include fieldwork, archival research, and secondary data. Paper I uses resource mobilization (RM) theory to analyze the origin, development, and function of White Power music in relation to the broader White Power Movement (WPM). The research identifies three roles played by White Power music: (1) recruit new adherents, (2) frame issues and ideology for the construction of collective identity, (3) obtain financial resources. Paper II gives an overview of the subculture of Freestyle BMX, discussing its origins and developments—both internationally as a wider subcultural phenomenon, and locally, through a three-year ethnographic case study of a subcultural BMX scene known as “Pro Town USA.” Paper III conceptualizes BMX as a social movement using RM theory to identify and explain three different forms of commercialization within this lifestyle sport in “Pro Town.” The work sheds light on the complex process of commercialization within lifestyle sports by identifying three distinct forms of commercialization: paraphernalia, movement, and mass market, and analyses different impacts that each had on the on the development of the local scene.  Findings reveal that lifestyle-sport insiders actively collaborate in each form of commercialization, especially movement commercialization which has the potential to build alternative lifestyle-sport institutions and resist adverse commercial influences. Paper IV refines the small group theory of collaborative circles by: (1) further clarifying its concepts and relationships, (2) integrating the concepts of flow and idioculture, and (3) introducing a more nuanced concept of resources from RM. The paper concludes by demonstrating that circle development was aided by specific locational, human, moral, and material resources as well as by complementary social-psychological characteristics of its members.

Abstract In this thesis, various meanings of representations of homeland and nation were explored from a view of symbolic anthropology and social constructionism. The main research material consists of interviews of 16 Norwegians and 21 Finns, including musicians and other active members of Black Metal and Folk Metal subcultures. The interviews were conducted in 2010–2012. In these subcultures, the most important symbols of homeland and nation were associated with the past and nature. Symbols were given meanings in different ways, also politically, although disagreements regarding politics at a subcultural cubcultural context. Political goals were, for example, resistance to immigration, nature conservation and promoting the home region. Although these subcultures positioned themselves as counterculture, they reproduced national meanings of the mainstream cultures. Members of the subcultures often identified themselves with 19th century National Romantics. According to them, National Romantic ideas had become suspect or forbidden in Finland and Norway after the Second World War. However, the views of the informants were radically different from each other and even some commonly shared ideas were strongly criticized in the subcultures. Based on the interview materials, level of commitment varied in the subcultures. For some informants, black metal was a comprehensive way of life. For others, it meant just good music or a chance to promote folklore. The most extreme statements came from Finnish Black Metal musicians and fans. Some of them even supported National Socialism. On the other hand, Finnish Folk Metal musicians were opposed to more extreme ideas. In general, Norwegian informants emphasized National Romanticism more than Finnish informants. / Tiivistelmä Tutkimuksessa tarkasteltiin symbolisen antropologian ja sosiaalisen konstruktionismin näkökulmasta kotimaan ja kansakunnan representaatioiden moninaisia merkityksiä black metal- ja folk metal -alakulttuureissa. Tärkeimmän aineiston muodostavat 16 norjalaisen ja 21 suomalaisen muusikon tai muuten alakulttuureissa toimivan henkilön haastattelut, jotka toteutettiin vuosina 2010–2012. Keskeiset alakulttuureissa käytetyt kotimaan ja kansakunnan symbolit liittyvät esikristilliseen muinaisuuteen ja luontoon. Symboleita merkityksellistetään eri tavoin, myös poliittisesti, vaikka politiikan yhdistämistä alakulttuuriin myös vastustetaan. Poliittisia päämääriä olivat muun muassa maahanmuuton vastustaminen, luonnonsuojelu ja kotiseudun tunnetuksi tekeminen. Tutkimuksessa kävi ilmi, että vaikka alakulttuurit asemoivat itsensä vastakulttuuriksi, niissä uusinnetaan valtakulttuurissa tuotettuja kansallisuuden merkityksiä. Monet haastatellut samaistuivat 1800-luvun kansallisromantikkojen ajatuksiin, joiden he kokivat muuttuneet arveluttaviksi ja kielletyiksi toisen maailmansodan jälkeisessä Suomessa ja Norjassa. Kuitenkin haastateltujen näkemyksissä oli suuria eroja, ja monet myös esittivät ankaraa kritiikkiä alakulttuureissa jaettuja käsityksiä kohtaan. Aineiston perusteella haastatellut ovat sitoutuneet alakulttuureihinsa hyvin eri tavoin. Toisille etenkin black metal edustaa kokonaisvaltaista elämäntapaa ja ideologiaa. Toisille metallimusiikki on pelkästään hyvää musiikkia tai keino tehdä kansanperinnettä tunnetuksi. Äärimmäisimpiä mielipiteitä esittivät suomalaiset blackmetalistit, joista osa tunnustautui kansallissosialismin kannattajiksi. Suomalaiset folkmetalistit osoittautuivat ääriajattelun vastustajiksi. Norjalaiset haastatellut korostivat kansallisromantiikan merkitystä enemmän kuin suomalaiset.

I och med den aktuella och växande problematiken kring bostadsbristen i Stockholmsregionen, så skapades samverkansprojektet Grön Bostad Stockholm, vars syfte är att främja hållbar stadsutveckling. Projektet består av många mål, individer och aktörer som handlar och fungerar gemensamt för ett visst syfte. För att projektet ska kunna fortlöpa effektivt och kunna bidra till en hållbar stadsutveckling, är det därför viktigt att undersöka samverkan i projektet. Det huvudsakliga syftet är att undersöka samverkan och lärandet i sociala sammanhang mellan aktörerna i projektet, vilket avser att identifiera styrkor och svagheter för att slutligen föreslå förbättringar gällande samverkan och lärandet i sociala sammanhang. Metoden för datainsamling var kvalitativ och bestod av intervjuer, formulär och observationer. I resultatet och analysen framgår det hur samverkan och lärandet i sociala sammanhang fungerar i projektet, vilket främst sker via projektgruppsmöten. Vidare visade även resultatet att det fanns både styrkor och svagheter gällande samverkan och lärandet i sociala sammanhang i projektet. Slutligen fördes även resonemang kring förbättringsförslag vad avser samverkan och lärandet i sociala sammanhang med utgångspunkt i grupprocesser. Slutsatsen i denna studie är att samverkan och lärande i sociala sammanhang framförallt sker på projektgruppsmöten och leder till att projektet kan fortlöpa mer effektivt. Vidare har styrkor och svagheter identifierats, och för att projektet ska kunna fortlöpa är det därför viktigt att förbättra samverkan och lärandet ytterligare. Detta kan göras med hjälp av olika arbetssätt och strategier som ger individerna möjlighet att främja demokrati, engagemang, erfarenhetsutbyten och kunskapsutbyten i projektet. / With the current and growing problem of housing shortage in the Stockholm region, the project Green Livelihood Stockholm was created, which aims to promote sustainable urban development. The project consists of many goals, individuals and actors who act and work together for particular purposes. In order for the project to proceed efficiently and to contribute to sustainable urban development, it is important to investigate the collaboration in the project. The main purpose is to investigate the collaboration and mutual learning between the actors and the individuals in the project, which aims to identify strengths and weaknesses in order to propose improvements in collaboration and mutual learning. The qualitative method used consisted of interviews, forms and observations. The results and analysis show how collaboration and mutual learning works in the project, which is mainly through project group meetings. Furthermore, the result also showed that there were both strengths and weaknesses regarding collaboration and mutual learning. Lastly, there were arguments about improvement proposals regarding collaboration and mutual learning based on group processes. The conclusion in this study is that collaboration and mutual learning occurs in the project where it leads to the project being able to proceed more efficiently. Strength as well as weaknesses have been identified, for the project to proceed, it is therefore important to improve the collaboration and mutual learning in the project. This can be done using different methods and techniques that allow individuals to promote democracy, commitment, exchange of experiences and knowledge exchanges in the project.