Thesis (doctoral)--Freie Universität, Berlin. / Includes bibliographical references.

Работа посвящена актуальной и мало разработанной теме, касающейся советской культуры 1950-1960-х годов, в свете которой исследуется явление «стиляжничества». Избранная проблематика раскрывается на основе многих философских,_социологических, культурологических трудов, которые позволяют выявить состояние советской культуры избранного периода и показать в ней роль «субкультуры» стиляжничества. В диссертации исследуются социокультурные корни этого явления и выявляются особенности "образа стиляги" в реалиях советской культуры, а также его воплощение в документальных и художественных текстах. В работе содержится проект интерактивного «Музея стиляги», представляющего повседневную советскую культуру, в условиях которой сформировался этот образ. / The work is devoted to a topical and little-developed topic related to the Soviet culture of the 1950s-1960s, in the light of which the phenomenon of "styling" is investigated. The selected problematic is revealed on the basis of many philosophical, sociological, cultural studies, which make it possible to reveal the state of Soviet culture of the chosen period and show the role of the "subculture" of styling in it. The dissertation examines the socio-cultural roots of this phenomenon and reveals the features of the "image of the dandy" in the realities of Soviet culture, as well as its embodiment in documentary and literary texts. The work presents a project of the interactive "Museum of Styles", representing everyday Soviet culture, in the conditions of which this image was formed.

Master of Arts / Department of English / Dean G. Hall / Salman Rushdie's 1999 novel The Ground Beneath Her Feet is ostensibly a rock 'n' roll novel, largely set in the 1960s, that traces the commercial rise of Indian rock star protagonists Vina Apsara and Ormus Cama. As their fame and wealth rise to global status and their stage show comes to entail a logistical complexity of military proportions, it becomes increasingly difficult to discern the couple's earlier countercultural ideals within their new established culture status. I argue that despite the change from countercultural to establishment-based values in the novel's protagonists, Rushdie does make a case in The Ground Beneath Her Feet for the possibility of countercultural efficacy against the commodifying culture of global capitalism (which I refer to as the "Frame"). His recipe for combating the exclusive hierarchies produced by the Frame is a combination of the non-totalizing politics of postmodernism and the subversive potential of uncommodified rock music. I pay close attention to establishing the historical templates--John Lennon of the Beatles and Brian Wilson of the Beach Boys--of the novel's protagonists in an effort to understand the sort of countercultural alternative Rushdie is proposing. I likewise focus on the novel's depiction of the Beach Boys' Smile album, which as a still commercially unreleased record, reinforces Rushdie's imperative in The Ground Beneath Her Feet for an uncommodifying counterculture and works in tandem with his portrayals of the artistic plights of several minor characters in the novel as well.

Submitted in fulfilment of the requirements for the Masters Degree in Technology: Fashion Design, Durban University of Technology, 2013. / This study aims to investigate the effect anti-establishment branding has on teenage consumer behaviour within the action sports market, as well as the various factors which influence teenagers when purchasing clothing. The study challenges the notion that teenage consumers respond to, and are influenced by the unconventional marketing campaigns of action sports brands. The results of this study indicate that the action sports market initially captivated the attention of the youth by offering teenagers a sense of acceptance through rebellion. Unfortunately, as the movement grew in popularity the exclusivity of the movement decreased and the clothing associated with it became viewed as too ‘mainstream’ by the wearers. Although the anti-establishment movement is striving for individuality and shies away from conformity, the study found that there appears to be a misconception in the notion that all ‘brands’ are susceptible to ‘trends’ which are driven by ‘designers’. Therefore, there can never be a pure ‘anti-establishment brand’ as the concept of a brand rejects the purpose of anti- establishment rebellion. / National Research Foundation

O trabalho busca estabelecer um panorama das várias manifestações do então emergente discurso ambientalista em meio à cultura arquitetônica dos anos 1960 e 1970, bem como identificar suas principais características, recorrências e contradições. Para tanto, limitou-se a análise de veículos e meios de difusão de ideias arquitetônicas ao contexto anglófono e em especial àquele relacionado à efervescente contracultura verificada nos Estados Unidos da América no período recortado. O período escolhido se justifica pela condição de protagonismo que eventualmente assumiu o discurso ambiental neste momento em diversos círculos profissionais, acadêmicos e culturais relacionados à arquitetura. Tal panorama é complementado pelo desenvolvimento de um itinerário interpretativo dessas várias manifestações discursivas a partir de recortes e fragmentos das obras de Buckminster Fuller, Ian McHarg e Murray Bookchin, entre outros autores, através das quais pudemos evidenciar determinadas recorrências e contradições. Finalmente, a partir de tal itinerário, pode-se promover uma discussão a respeito da maneira como ideias como \"natureza\", \"ambiente\", \"tecnologia\" e \"cultura\" foram mobilizadas nos diferentes discursos com diferentes fins. Tal itinerário é precedido de uma revisitação crítica a alguns episódios e personagens célebres da contracultura ambientalista norteamericana. Neste sentido, o trabalho contribui ao estudo das relações entre a cultura arquitetônica, o ambientalismo e a contracultura, bem como estabelece interfaces entre a história da arquitetura, os estudos de paisagem e a história ambiental. / This work aims to present a panoramic picture of the various manifestations of then emerging environmental discourse among architectural culture from the 1960s and 1970s, as well as identify a its main characteristics, frequent elements and contradictions. In order to achieve such goal, the analysis of the architectural ideas spreading media was limited to the anglophone context, and particularly to the American one. The chosen timespan is justified by the fact that environmentalism assumed a protagonist role in social discourses around those times, among architectural related professional, scholarly and cultural circles. Such panoramic view is completed by the development of an interpretative itinerary on those various discursive manifestations made of and through excerpts and fragments of Buckminster Fuller\'s, Ian McHarg\'s and Murray Bookchin\'s works, among other authors, from which we could make evident some recurrences and contradictions. Finally, departing from such itinerary, a discussion on the ways that ideas like \"nature\", \"environment\", \"technology\" and \"culture\" were used on different discourses with different aims could be achieved. Such itinerary is preceded by a critical reunion with some of the most eminent episodes and characters from environmental counterculture in the United States. In this sense, this work contributes to the study of the relationships of architectural culture, environmentalism and counterculture, as well as it establishes interfaces between architectural history, landscape studies and environmental history.

A argumentação da presente tese parte do New Journalism como plataforma para discussões sobre a linguagem jornalística. A Contracultura enquanto fenômeno político serve de enquadramento histórico sobre o qual se trabalha a noção de uma política antidisciplinar como recurso de enfrentamento às inscrições da imprensa sobre o plano da reprodução das ideologias hegemônicas. / The following thesis is an argumentation about the New Journalism as a plataform for the discutions envolving the ordinary journalistic language. The Counterculture is taken as a politic event featuring the historic plan wich is discussed by the anti-disciplinary protest. This notion is taken as a estrategy to resist against the passive hegemonic ideological reproduction.

O presente trabalho tem por objetivo analisar o filme Im Not There (Não estou lá, EUA, 2007), dirigido pelo norte-americano Todd Haynes. A análise terá como seu principal objetivo detectar o tema central da obra, que retrata a vida e carreira de Bob Dylan através de seis personagens bastante distintos. Para isso, serão observados mais minuciosamente três personagens da película, os mais ligados ao universo musical, a saber, o menino que se apresenta como Woody Guthrie, Jack Rollins e Jude Quinn. Os outros três personagens (Robbie Clark, Arthur Rimbaud e Billy the Kid) serão discutidos à medida que suscitam temas relevantes para a compreensão da obra. Tal análise permite concluir que o tema central de Im Not There é a indústria cultural. A partir disso, é possível então ver de que maneira essa questão é abordada pelo filme e como ela serve de ponto de partida para uma discussão mais ampla, sobre o panorama social e político da década de 1960 nos Estados Unidos. Por fim, será debatida a importância de um filme contemporâneo ter como mote os anos 60 e como o próprio Im Not There, enquanto objeto de cultura, se relaciona com a discussão que ele próprio propõe sobre a indústria cultural / The aim of the present work is to analyze the movie Im Not There (USA, 2007), by the American director Todd Haynes. The analysis will have as its main goal pinpointing the central theme of the movie, which portrays the life and career of Bob Dylan through six very distinct characters. Therefore, three characters will be thoroughly observed, the ones more closely connected to the musical universe, namely the boy who presents himself as Woody Guthrie, Jack Rollins and Jude Quinn. The other three characters (Robbie Clark, Arthur Rimbaud and Billy the Kid) will be discussed insofar as they raise relevant issues for understanding the film. This analysis leads to the conclusion that the main topic in Im Not There is the culture industry. It is thus possible to see in which way the movie deals with this issue and how the theme works as a starting point for a broader discussion concerning the social and political panorama of the 1960s in the United States. Finally, it is necessary to debate the importance of a contemporary movie having as its topic the 1960s and how Im Not There itself, as a cultural object, relates to the discussion it proposes regarding the culture industry

Este trabalho apresenta de maneira analítica, um panorama sobre a atuação do compositor e arranjador Rogério Duprat junto ao grupo Os Mutantes. Sobretudo, imprimindo uma visão prática sobre as atividades do compositor vanguardista através do grupo de rock brasileiro, enquanto possível desdobramento e continuação das proposições estéticas vanguardistas manifestas pelo próprio compositor, desde seu envolvimento com o Movimento de Música Nova do início da década de 1960, transcendendo sua participação no chamado Movimento Tropicalista e o cenário musical brasileiro de fins da mesma década. As observações feitas neste trabalho evidenciam as posições do compositor, pelo abandono das dicotomias erudito x popular, na integração de elementos musicais inusitados na obra do conjunto, diante de seu desejo de diálogo com os valores contraculturais que se apresentaram na época, através da guitarra elétrica e o rock / This study presents an analytical overview of the role of composer and arranger Rogério Duprat with the band Os Mutantes. Above all, it prints a practical insight into the activities of the vanguardist composer through the Brazilian rock group, and enables an unfolding and possible continuation of the avant-garde aesthetic propositions expressed by the composer himself, from his involvement with the Música Nova Movement in the early 1960\'s, transcending his participation in the Tropicália Movement and the Brazilian music scene at the end of the same decade. The notes made in this study show the composer\'s position by the abandonment of the classical vs. popular dichotomy in the integration of unusual musical elements in the work assembly before his longing to dialogue with countercultural values that were present at the time, through electric guitar and rock.

A presente pesquisa visa compreender e analisar criticamente o discurso de sustentabilidade e as práticas constitutivas da permacultura, debatendo tanto o potencial que elas podem oferecer à construção de um utopismo dialético norteado por uma nova práxis ambiental, como as contradições geradas a partir de sua inserção em uma sociedade capitalista, orientada pelo lucro e pela tendência geral em transformar todas as coisas em mercadorias. Pensada originalmente na década de 1970 pelos australianos Bill Mollison e David Holmgren, a permacultura diz respeito à criação de assentamentos humanos sustentáveis e resilientes, feita com base em princípios e técnicas específicos. A partir da década de 1990 paralelamente à ascensão e à globalização do neoliberalismo tem sido verificado um novo boom na eclosão e disseminação de experiências comunitaristas alternativas e sustentáveis, muitas das quais baseadas na permacultura, o que é sintomático do atual estágio da geografia histórica do capitalismo, apontando de um lado para a crise estrutural e multifacetada experimentada nos dias de hoje, e, de outro, para a urgência em se buscar formas distintas de sociabilizar-se e de relacionar-se com a natureza. Sustenta-se que estas experiências configuram a etapa mais recente de um fenômeno cujas origens podem ser rastreadas na segunda metade do século XIX e que aqui se denomina contraculturas espaciais, ou seja, microexperimentos de organização e produção socioespacial, geralmente de caráter comunitarista, que nascem como tentativas de subversão à ordem dominante, onde o nível privado e a esfera do cotidiano ganham primazia e tornam-se o lócus privilegiado no qual são experimentadas e desenvolvidas técnicas, práticas e solidariedades distintas daquelas que conformam a lógica homogeneizante, individualista e alienante encabeçada pela produção capitalista do espaço. Essas espacializações alternativas são expressões essencialmente modernas e urbanas que costumam surgir com mais força e visibilidade em momentos de crise de reprodução do sistema. Tendo por base a combinação entre pesquisa bibliográfica, documental e entrevistas com seus fomentadores, bem como a realização de trabalhos de campo junto a experiências de permacultura localizadas na Argentina, no Brasil e no Chile, buscar-se-á aqui, a partir do exame crítico do sistema produtivo permacultural, discutir as possibilidades e os limites apresentados pelas contemporâneas contraculturas espaciais à construção de uma sociedade mais igualitária e ecológica. / The present investigation aims to critically understand and analyze the speech of sustainability and the constitutive practices of the permaculture, debating the potential that they offer to the construction of a dialectical utopianism orientated by a new environmental praxis; as well as the contradictions produced from its insertion in a capitalist society geared to profit and to the general tendency in turning all the things into goods. Originally thought in the decade of 1970 by the Australians Bill Mollison and David Holmgren, the permaculture concerns the creation of sustainable and resilient human settlements, based on specific principles and techniques. From the decade of 1990 in parallel with the consolidation of neoliberalism a new boom in the outbreak and dissemination of alternative and sustainable communal experiences has been observed, many of them based on permaculture, which turns out to be symptomatic of the current state of the historical geography of the capitalism. This concept points, on the one hand, to the structural and multifaceted crisis experienced nowadays; and, on the other hand, to the urgency of searching for different forms of socialize and interact with nature. It has been argued that these experiences constitute the most recent stage of a phenomenon whose origins can be traced to the second half of the nineteenth century. Here they are referred to as spatial countercultures, or, in other words, micro-experiments of socio-spatial organization and production generally of communal character. Such micro-experiments are usually born as attempts to subvert the dominant order, where the private and everyday life spheres acquire primacy and become a privileged locus where they are experienced and developed techniques, practices and solidarities; different from those that conform the homogenizing, individualistic and alienating logic represented by the capitalism production of space. Notably, these alternatives are essentially modern and urban expressions that usually arise with more strength and visibility at moments where the system faces crisis in its reproduction. Based on a combination between literature and documentary research, interviews with their developers, and fieldworks to permaculture experiences located in Argentina, Brazil and Chile; this investigation aims to critically address the permaculture system of production, discussing the possibilities and limitations that this type of spatial contemporary countercultures offer for the construction of a more egalitarian and ecological society.

Depois de apresentar as origens históricas da contracultura, no Brasil e nos Estados Unidos, e contextualizar um pouco das relações entre os integrantes destes movimentos e o uso de drogas, sobretudo maconha e ácido lisérgico, esse trabalho traça, através principalmente da análise de trajetórias individuais que se cruzam de uma forma ou de outra, uma história social da chegada do LSD ao Brasil. O trabalho investiga, com profundidade, o primeiro processo judicial por tráfico e porte da substância, iniciado em janeiro de 1970, em São Paulo, estudando a trajetória dos principais réus, a repercussão midiática, os relatos feitos a posteriori e as formas de ação da polícia e da justiça, em um momento em que não só a ditadura militar vivia sua fase mais violenta, após o AI-5, como também vigorava a lei de drogas mais dura que o país já teve. Analisando os autos de dito processo, e também uma ampla variedade de outras fontes, orais e documentais, apresenta-se como se desenrolou o começo da repressão ao LSD no Brasil, e recupera-se também como foi a chegada da substância ao país, que se deu pela via medicinal na virada dos anos 1950 para os 1960. / After presenting the historical origins of the counterculture in Brazil and in the United States, and also after contextualizing some of the relations between the members of these movements and the use of drugs, especially marijuana and lysergic acid, this work traces, mainly through the analysis of individual trajectories which intersect in one way or another, a social history of the arrival of LSD in Brazil. This thesis investigates in depth the first judicial process for trafficking and possession of the substance, begun in January 1970, in São Paulo, studying the trajectory of the main defendants, the media repercussion, the reports made a posteriori and the forms of action of the police and the justice system, at a time when not only the military dictatorship was experiencing its most violent phase, after the \"AI-5\", but the hardest drug law in the country\'s history was also in force.By analyzing the files of this process, as well as a wide variety of other sources, both oral and documentary, the beginning of the repression of LSD in Brazil is described, as well as the medical origins of the substance\'s arrival in the country.