In mid- to late-1960s America and Britain, against the backdrop of escalating socio-political disappointment, countercultural ideologies and fantasies of a musical youth dovetailed with improvements in recording technologies to generate new sonic languages of limning in sound utopian pastoral spaces to which recordists and listeners could escape, virtually. Seeking alternative spaces that their alternative identities could more comfortably inhabit became a central project of many progressive groups and individuals, often, but not always, hailing from middle-class white society. The cultural and musical trends did eventually have a global sway. Coeval advances in sound recording and reproduction technologies made musical recordings a major avenue through which the sought spaces were limned and even materialized sonically, but other media, especially album cover art and film in conjunction with musical soundtracks, provided additional avenues for pastoral spatial projects of this generation and afford us ancillary resources for better understanding these projects. While the specific utopian spatial projects and the underlying ideologies of musicians working in various branches of country rock, soft rock, progressive country, progressive bluegrass, art rock, Afrocentric avant-garde jazz, and proto-New Age music were not always exactly the same, there were considerable overlaps in the societal sources of their disaffections, the wellsprings of their inspiration, and in the textural sonic languages they developed in the recording studio. Unlike music with overtly spatial projects, the sonic aspects of music that subtly captures a hyper-real sense of the natural have remained underconsidered and their contribution to the aesthetic and psychological impact of music has slipped by under the radar of most listeners' conscious attention. This dissertation, then, is an attempt to analyze the subtle acoustic and musical communicative codes devised by musicians and recordists that do inform later music. Through close listening and textual analysis, this dissertation identifies the different levels at which spatial allusions are encoded into a musical product. Ethnographic interviews help distinguish between deliberate manipulations of studio technology and responses based in tacit understandings thereof. An overall cross disciplinary approach, borrowing especially from acoustics and psychoacoustics, aided me substantially with the analyses. / text

Thesis (Ph.D.)--Ohio University, November, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references (leaves 360-381).

Esta dissertação apresenta uma análise das representações da marginalidade na obra cinematográfica de Pedro Almodóvar, com base na Sociologia do Desvio de Goffman, Becker e Elias, atualizada pela teoria de covering de Yoshino. A intenção do trabalho é problematizar a produção audiovisual do início da carreira do diretor manchego, de forma a comprovar que os filmes Pepi, Luci e Bom e outras garotas de montão (1980), Labirinto de Paixões (1982), Maus hábitos (1983) e O que eu fiz para merecer isto? (1984) documentam seu engajamento na dinâmica contracultural desenvolvida na Espanha da época. Almodóvar representa a marginalidade em seus filmes do período, configurando o que alguns críticos denominam como estética do mau gosto, de tal forma que as obras produzidas registram a luta pela liberdade democrática após anos de regime ditatorial. Pensar na cinematografia de Almodóvar a partir do ponto de vista da sociologia do desvio é refletir sobre as políticas de visibilidade de identidades culturais minoritárias. O trabalho do diretor apresenta menos inovações formais, pois parte de estruturas narrativas clássicas, mesmo quando mistura os gêneros; mas inova quando revela a marginalidade, cotidianiza-a, potencializando o processo de sua assimilação. / This research presents an analysis of the portrayal of deviance in Pedro Almodóvars early movies, based upon the Sociology of Deviance by Goffman, Becker and Elias, reviewed through Yoshinos covering theory. The purpose of the work is to review the movies produced by Almodóvar in the early 80s, in order to prove that features like Pepi, Luci, Bom and other girls on the heap (1980), Labyrinth of Passion (1982), Bad habits (1983) and What have I done to deserve this? (1984) register his commitment in the countercultural dynamics developed in Spain at the time. Almodóvar portrays deviants in his movies of the period, configuring what some critics name aesthetics of bad taste, in such a way that the films produced register the fight for democratic freedom after years of dictatorship. To think about Almodóvars cinematography from the point of view of the sociology of deviance is to reflect about the visibility of cultural minorities identities. The work of the director presents less formal innovations, as he uses classical narrative structures, even when mixing genres; but innovates when reveals deviance, from a day-by-day perspective, empowering the process of its assimilation.

Esta dissertação apresenta uma análise das representações da marginalidade na obra cinematográfica de Pedro Almodóvar, com base na Sociologia do Desvio de Goffman, Becker e Elias, atualizada pela teoria de covering de Yoshino. A intenção do trabalho é problematizar a produção audiovisual do início da carreira do diretor manchego, de forma a comprovar que os filmes Pepi, Luci e Bom e outras garotas de montão (1980), Labirinto de Paixões (1982), Maus hábitos (1983) e O que eu fiz para merecer isto? (1984) documentam seu engajamento na dinâmica contracultural desenvolvida na Espanha da época. Almodóvar representa a marginalidade em seus filmes do período, configurando o que alguns críticos denominam como estética do mau gosto, de tal forma que as obras produzidas registram a luta pela liberdade democrática após anos de regime ditatorial. Pensar na cinematografia de Almodóvar a partir do ponto de vista da sociologia do desvio é refletir sobre as políticas de visibilidade de identidades culturais minoritárias. O trabalho do diretor apresenta menos inovações formais, pois parte de estruturas narrativas clássicas, mesmo quando mistura os gêneros; mas inova quando revela a marginalidade, cotidianiza-a, potencializando o processo de sua assimilação. / This research presents an analysis of the portrayal of deviance in Pedro Almodóvars early movies, based upon the Sociology of Deviance by Goffman, Becker and Elias, reviewed through Yoshinos covering theory. The purpose of the work is to review the movies produced by Almodóvar in the early 80s, in order to prove that features like Pepi, Luci, Bom and other girls on the heap (1980), Labyrinth of Passion (1982), Bad habits (1983) and What have I done to deserve this? (1984) register his commitment in the countercultural dynamics developed in Spain at the time. Almodóvar portrays deviants in his movies of the period, configuring what some critics name aesthetics of bad taste, in such a way that the films produced register the fight for democratic freedom after years of dictatorship. To think about Almodóvars cinematography from the point of view of the sociology of deviance is to reflect about the visibility of cultural minorities identities. The work of the director presents less formal innovations, as he uses classical narrative structures, even when mixing genres; but innovates when reveals deviance, from a day-by-day perspective, empowering the process of its assimilation.

This dissertation documents a time between 1960 and 1983 in Midtown when a complex set of social, political, and cultural forces merged to challenge the dominance of elite groups of businessmen and arts patrons who had dominated growth and development there since the early 1920s. I argue that interaction among these disparate groups affected the character of Midtown, making the community a more vibrant, inclusive, and interesting place to live and do business. After experiencing softer and less militant approaches to resistance, members of the Atlanta Arts Alliance adopted fresh approaches to the meaning of “Art,” and ways that creativity became more representative of the multicultural Atlanta community. Many members shifted away from positions of cultural exclusivity into a realm that appealed to a more diverse population.

This book is about two families in Seattle acting out their dysfunction through a virtual world created by the families’ wrongheaded patriarchs. It attempts to explore digital world-building in the 21st century as an indefatigable expression of our cultural and personal desire to possess and produce the other, or our inability to imagine anything truly new even as we are capable of creating new forms with which to imagine and manifest that which we imagine. Note: this is an early draft of the book.

The book of Revelation reflects a story of the past that speaks to the present. The Apocalypse presents a discourse that highlights a variety of Christians in Asia Minor who must decide whether they will remain faithful in their allegiance to Jesus Christ or demonstrate unfaithfulness to Christ and his kingdom by conforming to the majority culture by engaging in practices of the broader society that stand in contradiction to their faith. When faced with such a dilemma, various people, including Christians, respond in a variety of ways. For some, their responses bring glory to God while others bring disgrace to the name of the God they say they serve. Writers often discuss Christ’s confrontation and judgment of the Roman Empire. Few, if any, address Jesus’s confrontations with the seven churches of Asia Minor. This study combines Norman Fairclough’s theory of Critical Discourse Analysis and Jay Lemke’s theory of intertextuality to demonstrate that Rev 1-3, the incorporation of concepts and ideas appearing in other resources, the further development of the Apocalypse, and the historical context in which John composed the work present the kingdom of God as an alternative empire to which he belongs and commits himself as a citizen in resisting the power, practices, and allure of Rome. Though the assemblies to which he writes experience a variety of social, political, and religious circumstances, the messages to the churches come together to reveal that Christians, no matter their power or position in society, have a mandate to live as citizens of Christ’s kingdom who maintain a countercultural stance for the sake of the gospel. John depicts Christ as king of this alternative empire, who confronts each of his communities regarding their allegiance to him, demonstrated by their non-conformity to the practices of the broader culture regarding how they function in the various power structures in which they live. He then uses the later visions of the Apocalypse to depict Christ’s vindication of those who maintain a countercultural posture in relation to the Roman Empire and highlights the advantages and blessings of non-conformity, while noting the disadvantages and curses of conformity. Throughout the history of the Christian faith, various segments of the church have faced opposition from the surrounding culture. Christians today maintain the same mandate as the early church to resist the allure of the worldly powers that surround them and remain loyal to Jesus. In addition to providing an analysis of John’s writing for early Christians, this dissertation also presents a model for Christians—no matter their time or place in history—to follow regarding how they interact with the world around them. / Thesis / Doctor of Philosophy (PhD)

no / Raymond Pettibon's work sits uncomfortably in the world of comics or cartoons. Instead of jokes or punch-lines, his work promotes an intense form of narrative and exhibits a unique ‘illustrative-comic style’ (O'Connor, The Believer [online], 1995). His work emerged from and reflects upon underground pop culture (rock music, TV, films), and it is the dark side of humanity that his work explores. Pettibon says that he actually prefers writing to drawing and the importance of ‘texts’ can be seen in Raymond Pettibon: A Reader (1998, Philadelphia Museum of Art), a collection in which the written inspirations for his psycho-graphic style is clear. This paper examines how the disturbing subject of Charles Manson oozes into the consciousness of writers, artists and musicians, using Pettibon's work as a powerful case study of this weird phenomenon. Manson has haunted the art of our time; he typifies the way in which, as Pettibon acknowledges, ‘There are certain figures, without even my meaning to do it, that become subjects’ (O'Connor, The Believer [online], 1995). In his cartoons, Pettibon depicts Charles Manson in a variety of ways. This reflects the various multiple readings of Manson and his story evident since his trial and conviction in the late 1960s. Pettibon's links with the American music underground brought him in contact with Manson as a symbol. The media obsession with celebrity – especially ‘bad’ celebrities – is a powerful force which Pettibon addresses. In 1989, Pettibon even made a low-budget movie about Manson and his followers. It is a fascinating intersection of graphic art, music and murder which this paper opens up.

[pt] A década de 1960 é lembrada a partir das mobilizações juvenis ao redor do mundo. Mobilizações essas bastante heterogêneas, indo de extremos como lutas armadas contra ditaduras militares a pregações de paz, amor e fim do moralismo retrógrado que permeava sobre as sociedades capitalistas ocidentais. Operando com a noção de contracultura, esse último grupo buscou criticar questões políticas, sociais e, sobretudo, culturais se afastando das imposições do establishment e formando novas premissas culturais. O rock estava ali, influenciando e conscientizando a juventude e, sobretudo, provocando mudanças em sua maneira de viver e se comportar. Este trabalho consiste nas análises e apontamentos das influências do rock psicodélico norte-americano e inglês na contracultura nacional. Para tal, fez-se uso de alguns periódicos que retratavam e veiculavam a ebulição psicodélica da época e, desta forma, entender as assimilações dessas proposições e por quais filtros elas se deram pela sociedade. / [en] The 1960s is remembered from youth mobilizations around the world. But these mobilizations were very heterogeneous, ranging from extremes like armed struggles against military dictatorships to preaching peace, love and the end of morality that pervaded retrograde on the western capitalist societies. Working on the idea of counterculture, this last group sought criticizing political, social, and especially cultural impositions moving away from the establishment and forming new cultural assumptions. The rock music was there, raising awareness and influencing youth and, especially, causing changes in their way of living and behaving. The intentions of this work consist of noting and analyzing the influences of American and English psychedelic rock on national counterculture. In this manner, some journals that portrayed and conveyed the 60s psychedelic culture increase was used to, thus, understand the assimilation of those propositions by society.