Submitted by admin tede (tede@pucgoias.edu.br) on 2018-08-23T14:10:23Z No. of bitstreams: 1 Bruno Nunes Kamogawa.pdf: 1222570 bytes, checksum: d16fcae6bdc91c3ae11648e9727138c7 (MD5) / Made available in DSpace on 2018-08-23T14:10:23Z (GMT). No. of bitstreams: 1 Bruno Nunes Kamogawa.pdf: 1222570 bytes, checksum: d16fcae6bdc91c3ae11648e9727138c7 (MD5) Previous issue date: 2018-05-14 / This thesis aims to analyze the role of cinema as a tool for the diffusion of ideologies, especially linked to the hegemony of American culture. This premise is reinforced by the post-9/11 terrorist attacks, which have reinforced and revitalized the ideology of Orientalism, widespread in Hollywood productions in which the superiority of the West is constantly focused on the inferiority of the East. / Esta tese tem como principal objetivo analisar o papel do cinema como ferramenta de difusão de ideologias, em especial vinculadas a hegemonia da cultura norte-americana. Tal premissa é reforçada após os atentados terrorista pós 11 de setembro, os quais reforçaram e revitalizaram a ideologia do Orientalismo, difundida em produções de Hollywood nas quais a superioridade do Ocidente é constantemente enfocada diante da inferioridade do Oriente.

Since 1992, the number of short-term mission (STM) travelers has exponentially increased for more than a decade. The purpose of STMs is to spread religious messages to local residents. In order to spread the word of God, STM travelers attempt to interact with local residents. They want to communicate with local residents in the host community and build a relationship with them. Therefore, for STM travelers their relationship with local residnets really matters. Many tourism scholars have argued that hosts-tourists interaction heavily influences both tourists and hosts. In spite of the increased popularity and the importance of host-tourist interaction in the context of STMs, STMs have received relatively little attention from the tourism research field. Accordingly, the purpose of this study is to understand short-term mission travelers' interaction with local residents within four existing theories: the theory of leisure and tourist motivation, the theory of cultural hegemony, the gift-exchange theory, and the integrative theory of cross-cultural adaptation. To reach this research aim, this study used a qualitative research design rooted in the constructivist paradigm. A total of 43 STM travelers participated in the interview of this study. Considering the concept of the cultural distance between the participant's home culture and the host culture, American and Korean STM travelers who visited Cambodia or Thailand were recruited. Also, to understand the process of participant's relationship-building and cross-cultural adaptation, both pre- and post-interviews with 26 participants were conducted. The results showed that STM travelers sought personal and interpersonal rewards from the trip, which supports the theory of leisure motivation. Also, this type of travel had similarities with alternative, mass, and volunteer tourism in terms of tourist motivation. Regarding the theory of cultural hegemony, hegemonic power was exercised through STM travelers' work. STM travelers took advantage of an opportunity to provide what locals wanted as an opportunity to spread their religious message. Furthermore, identified conflicts between Christianity and the local culture support the existence of cultural hegemony. Concerning the relationship-building process of STM travelers, the results suggested that STM travelers built their relationship with local people and God by providing a gift to them and positively evaluating receivers' responses. In terms of the theory of cross-cultural adaptation, this study found support for this theory as successful intercultural adaptation led to a personal transformation in travelers. Finally, cultural distance was considered as a dimension of the intercultural adaptation theory. Regarding the perceived cultural distance, American mission travelers reported cultural distance with the host culture whereas Korean mission travelers expressed a cultural similarity to the host cultures rather than cultural difference.

This thesis is a theoretically guided empirical discussion of fashion and its role within the production of national identity in Germany. In recent years, a new patriotism in contemporary German fashion could be observed, starting with the fashion designer Eva Gronbach in 2001. I will approach the term patriotism with the aid of one of Michel Foucault's key terms, the notion of the episteme. In my case study, singular fashion images from three consecutive collections by Gronbach are examined with regard to their role in the discourse of German patriotism. But I am not only interested in the "how" of this discourse. Building up upon Antonio Gramsci's notion of "cultural hegemony", I also explain the recent rise of this fashion patriotism. Thus, my discourse analysis of Gronbach's fashion becomes embedded in social struggles and transformations in Germany. Argueing that fashion is a discursive practice that can show up as well as promote changes in discursive formations, I assume a dialectical structure-agency conception: On the one hand the case of Gronbach hints at the deeper structural problematic of patriotism and social cohesion which allowed Gronbach to become popular. On the other hand, this structure is also produced via discursive practices such as Gronbach´s. The what I term "inclusionary patriotism" comprises cultural normalisation. Thus, the case of Gronbach demonstrates a "constrained heterogeneity" with regard to the discourse of patriotism in Germany, in which diversity is only acceptable within certain discursively constructed limits.

This thesis aims to analyze the ideology of the &ldquo / European New Right&rdquo / (Nouveille Droite) and its attempt to establish its cultural hegemony on European integration. The revival of the radical right-wing parties after 1980s and the rise of xenophobia have emerged as a fundamental threat to European democracy. The study of such developments and the measures taken to combat right-wing extremism, however, should not be limited to political parties and activists. The intellectual framework of the contemporary radical right as a successor of historical fascism and its Europeanization necessitates a broader and deeper analysis of the ideology of the radical right. The case of &ldquo / European New Right&rdquo / as one of the most influential right-wing intellectual networks provides the appropriate ground to discuss on such framework and to elaborate its impact on European integration.

This dissertation examines media narratives of Chien-Ming Wang, Yani Tseng, and Jeremy Lin as the entry point for interrogating the construction of transnational Taiwanese identity through modern sports. On the one hand, the (re-)articulation of Taiwanese nationalism has been reproduced and driven through the sporting success of these sporting figures. On the other hand, their national identities, their physical movements across national borders, and their sporting performances—mainly on American soil—also trouble the orthodox notion of nation and nationalism. Through examining media texts published in the United State and Taiwan, I argue that a fluid and flexible transnational Taiwanese identity has emerged. Although global capitalism and transnational corporations have been the leading forces of such media discourses, nation and nationalism still largely regulate and define the ways in which meanings are produced and consumed in these localities. More importantly, I contend that the power imbalance—politically, economically, and culturally—between America and Asia should be critically foregrounded in this conjuncture. In sum, the United States' intervention in Asia during the Cold War era and Taiwan's special status in this historical period still have a lasting effect in contemporary Taiwanese societies. The “light of Taiwan” discourses revolving around Wang, Tseng, and Lin could be understood as a continuation of U.S. cultural imperialism and hegemony since the end of the World War II. Meanwhile, transnational capital and a relatively new Taiwanese nationalism also played prominent roles in these nationalistic celebrations in contemporary Taiwan.

Canons have been constructed for nearly 2000 years, providing collections of great works throughout history. With roots embedded in religious texts, canons today still exist with an aura of authority. In the fall of 2022, the Swedish government agreed to construct a national canon of culture. The ambition is for the canon to act as a social glue, creating a shared sense of unity. Within the next few years, there will be a list of what Swedish works of art are deemed essential to the country's cultural history. The decision was inspired by a similar canon constructed in Denmark in 2006; one that is mostly forgotten about today. Looking at the significance and inherent meanings of political efforts to use culture as a tool to unite a nation, this thesis presents a qualitative critical discourse analysis of the topic, using theories on collective memory, cultural hegemony, and theoretical approaches to canonisation. The objects of analysis consist of a radio segment, a debate article, and a visual novella; all of which were published within a few months after the decision was announced. The commitment to construct the canon has been met with criticism, partly stemming from the lack of impact the initiative had in Denmark. However, the focal point of criticism presented in the discourse analysis stems from the intentions behind the decision, as well as resistance against instrumentalization of culture.

In this study, I critically analyse two grassroots organisations in rural Aragón (Spain) that oppose renewable energy projects proposed for their communities. Named after their respective regions, the groups La Fueva no se Vende and La Ribagorza no se Vende demand that those in power consider the impacts on rural communities, the natural environment and tourism before installing solar farms. The groups argue that the green projects focus too much on creating profit for a few large companies, rather than creating truly sustainable systems. Through semi-structured group interviews, I examine the motivations for their resistance processes, the challenges they face, and how they used communication and community engagement practices to overcome them. The findings are then analysed with a mainly Gramscian framework to advance the understanding of rural development issues in the green energy transition.

This dissertation critically examines the entrenched Western classical music paradigm in K-12 and higher education music programs and its impact on Black, Indigenous, and People of Color (BIPOC) students. Utilizing Critical Race Theory (CRT) (Delgado & Stefanic, 2017) and Culturally Relevant Pedagogy (CRP) (Ladson-Billings, 2022), the study explores how this dominance leads to epistemological and ontological imprisonment, marginalizing non-Western musical traditions and perpetuating cultural hegemony and systemic racism. Through qualitative peer research interviews with BIPOC university music education students, faculty members including the curriculum director, the research uncovers significant themes, including normalizing and cultural hegemony of Western classical music, the pressure to conform, resistance to pedagogical shifts, and structural barriers to implementing culturally sustaining pedagogies. Additionally, it highlights the duality and dialectical tension educators and students face navigating the dominant Western paradigm while striving to integrate diverse musical epistemologies. The dissertation passionately advocates for new possibilities in practice through transformative approaches to music education that honor students’ cultural backgrounds and challenge dominant narratives. The text suggests the need for changes in the curriculum, policies, and inclusive educational practices to better represent the diverse cultural backgrounds of all students. It offers practical recommendations for educators and institutions to create a fairer and

電影作為跨文化傳播的重要媒介，反映當下他國與該國權力結構的認知，對一國的國家形象塑造有著重大作用。國家形象就是他國人民對一個國家的概念性印象，在傳統好萊塢的商業大片上，中國的形象多半遭受「東方主義」的臆測，中國政府亟於透過文化宣傳的方式來改善中國的國家形象，其中中美合拍電影傳達出的中國意象扮演重要角色。觀察近年來的中美合拍片，相較於過去的好萊塢電影，中美合拍電影的中國形象似乎獲得大幅提升，但仍存在東方主義對「他者」的視角。 中美合拍片有將「中國國家形象」與「中國人形象」與之區分，分別對應「專制的中國政府」與「順從無主見」的人民，最終只能希冀西方的拯救者來救贖之現象。就連東方的導演都「自我東方化」，電影傳達的中國形象，其實是透過中國導演觀察與西方的差異，自我建構出的「東方形象」。 雖然中美合拍片裡中國形象仍是西方對東方的「再現」，但中國政府透過合拍的攝製法規與審查制度，「一手拿棍棒，一手拿紅蘿蔔」。一方面獎勵遵守中國規則的劇組，提供資源協助，一方面針對不符合中國期望的電影情節，在審查過程中要求刪除甚至擱置。 中美合拍片不但存在國際社會的文化爭霸，更有一國之內政治社會與市民社會的交互作用，在國際社會上，中美合拍電影的中西方文化元素交相呼應，同樣的符號在個別電影中有不同的詮釋。在政治社會與市民社會的面向上，中國政府以電影審查制度控制電影內容，來維護既有的意識型態；但電影劇組仍可以透過導演或主演的個人聲望、隱晦的針砭手法，迫使官方妥協，重構出新的意識型態。中國政府與合拍片商在彼此爭霸中，互有消長與妥協，故中美合拍片中的中國形象，呈現正負面兼有之的特徵。 / Film as an important medium for intercultural communication, it becomes one of the effective ways to promote a nation’s image. The national image is the conceptual impression of the people from other countries. In traditional Hollywood commercial movies, the image of China suffered “Orientalism” speculation. By co-producing films with American, government of China has tried to get rid of the stereotype of China’s national images. In recent year, compared to the previous Hollywood movies, the images of China in Sino-U.S. co-production films seem to get significantly improved. However, some of them still implicate Orientalism speculation. Sino-U.S. co-production films distinguish “the national image of China” from “the image of the Chinese people”, describing a society that an autocratic government and a crowd of lackey, hoping a savior from the west would liberate them. Even Chinese directors have “self-orientalization” issues, the image of China that they described in the movie is just a reflection compared with the west. Although the image of China in Sino-U.S. co-production film is the “representation”, the government of China still could use “carrot and stick” to receive the hegemony. On the one hand, they encourage and reward the producer for obeying the regulations; on the other hand they use censorship as a punishment. Sino-U.S. co-production film not only consists of the cultural hegemony of the international community, but also includes the interaction between political society and civil society in the domestic system. In the international community, the same symbols of Western/Eastern cultural elements has different interpretations of individual Sino-US co-production films, and in the political society and civil society, the Chinese government regulates movie contents building the movie censorship system to secure the existing ideology; But the director or big shots still can use their expand their personal Influence, or metaphor in the script, to force the authority to compromise and reconstructs a new ideology.

This text investigates the harmonic dimension of music and the various social, cultural and political consequences that arise through the act of tuning and tempering harmonic space. While no singular musical domain can exist divorced from the rest (i.e., duration, rhythm, dynamics, spatiality, etc.), in order to examine its afflictions and possible remedies, this text focuses only on the harmonic domain and the severity of its influence over listeners. This text questions the standardisation of twelve tone equal temperament, the implications it has inflicted culturally, the capital agents it may serve, and the possible insights just tuning systems and alternate temperaments may provide. / Cast of Mind