The thesis analyses the continuously changing discourse of cultural diversity. The focus of this study is the ways in which this discourse is shaped within contemporary Swedish cultural politics in general, and how it unfolds and further changes through the specific activities performed by a cultural institution in Stockholm – Södra teatern. Where as the cultural diversity inspired cultural politics seems to be caught in the tension between defending the autonomous position of culture in society and arguing for the supposed positive integrative consequences of such a perspective the Södra teatern mirrors a similar complexity in their ways of performing cultural diversity. This complexity is expressed through the three aspects of cultural diversity the thesis analyses – the real, the good and the cool cultural diversity. Each of the three aspects expresses a search for authenticity as well as a resistance towards the very same notion; a belief in the enlightenment of knowledge at the same time as the content of the very same knowledge is questioned; and finally that ethnic differences some times is enforced through utterances that stresses tradition where as the supposed hybrid forms in other situations is celebrated. The three aspects of cultural diversity analysed here all express how cultural diversity works as a hyper complex concept within cultural policy where no single possible meaning erases other potential meanings. On the contrary: different and even contradictory meanings of the concept exist side by side. Thus the thesis argues that the discourse of cultural diversity expresses a hyper complex problem. / Avhandlingen analyserer hvordan mangfoldsdiskursen formes på det kulturpolitiske området ved å studere hvordan denne formes i så vel Södra teaterns virksomhet som i den statlige kulturpolitikken. Mens den statlige mangfoldsorienterte kulturpolitikken preges av en spenning mellom på den ene siden å forsvare kulturens autonome stilling og på en andre siden å forsvare det man kan kalle for integrasjonspolitiske hensyn, så uttrykker Södra teaterns arbeid med kulturelt mangfold en lignende kompleksitet. Denne kompleksiteten uttrykks gjennom de tre ulike aspekter av den mangfoldsdiskursen avhandlingen analyserer – det ekte, det gode og det coole mangfoldet. De tre aspektene uttrykker hver for seg både en søken etter autentisitet og en motstand mot autentisitet; en opplysningstro så vel som en selvrefleksivitet i forhold til hva det opplyses om; og til slutt at etnisitetsforskjeller i visse situasjoner forsterkes gjennom ytringer som vektlegger tradisjon, mens andre ytringer snarere hyller det som oppfattes som hybride uttrykk. Disse tre delanalysene visere hvordan kulturelt mangfold fungerer som et hyperkomplekst begrep innenfor kulturpolitikken da tilsynelatende ulike og motsigelsesfulle tolkninger kan eksistere side ved side. Således argumenterer avhandlingen for at mangfoldsdiskursen uttrykker et hyperkomplekst problem.

An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this research seek to conduct a study on the performance of the Coletivo Fora do Eixo as a social organization developed by young people, whose main causes culture. The aim is to describe the performance in the Coletivo Fora do Eixo network from the study of social actors that make up the group and how they build and execute actions based on the production, circulation and cultural consumption in the context of politics and economics. In this context, I analyze, from the direct observation, the interviews and analysis of applications, websites and social networks, which are the discursive strategies present in the brazilian contemporary debate about culture, give meaning to the political articulations collaboratively and as the Coletivo Fora do Eixo develops creative strategies for generation of the economy. I still intend to verify the importance of technology, based on collective intelligence, as networked information access tool. And in this way, meet the collective processes and motivating young people from different social and cultural proposals, to articulate and organize network collaboratively. / Na presente pesquisa busco realizar um estudo sobre a atuação do Coletivo Fora do Eixo como organização social desenvolvida por jovens, que tem como causa principal a cultura. O objetivo é descrever a atuação em rede do Coletivo Fora do Eixo a partir do estudo dos atores sociais que compõe o grupo e como eles constroem e executam as ações pautadas na produção, circulação e consumo cultural no âmbito da política e da economia. Dentro deste contexto, procuro analisar, a partir da observação direta, das entrevistas realizadas e da análise dos aplicativos, sites e redes sociais, quais são as estratégias discursivas presentes no debate contemporâneo brasileiro sobre a cultura, como dão sentido as articulações políticas de forma colaborativa e como o Coletivo desenvolve estratégias criativas para geração da própria economia. Pretendo ainda verificar a importância da tecnologia, baseada na inteligência coletiva, como ferramenta de acesso à informação em rede. E, desta forma, conhecer os processos coletivos e o que motivam jovens, de diferentes propostas sociais e culturais, a se articularem e se organizarem em rede de forma colaborativa.

Through the perspectives of cultural studies and studies of musical styles, identities, youth and cultural consumption, the present work aims to study a music festival called "Festival de Música Independente Rock Sertão", held in "Nossa Senhora da Glória" town, situated hinterland of Sergipe, 79 miles away from the capital. Organized by a young local group of cultural producers, had in 2012 its tenth edition. The objective is to analyze the production and consumption of a rock festival held in the hinterlands of Sergipe and organized by the local youth. I will demonstrate how this festival is programmed and how the rock is used by producers and consumers as a style marker. Seeking raise questions about the cultural production of a rock festival that takes place in region that spreads "forró" and "axé" as ideal music style. These styles are very different from rock and festival´s main theme. / Através das perspectivas dos Estudos Culturais e dos estudos sobre estilos musicais, identidades, juventudes e consumo cultural, o presente trabalho tem como objeto de estudo um festival de música intitulado Festival de Música Independente Rock Sertão, realizado no município de Nossa Senhora da Glória, a 126 km da capital Aracaju. Organizado por um grupo local de jovens produtores culturais, teve no ano de 2012 a sua 10ª edição. O objetivo do trabalho é analisar a produção e o consumo de um festival de rock realizado no sertão sergipano. Desse modo, tratarei de demonstrar de que maneira é programado esse festival e como o rock é usado pelos produtores e consumidores como demarcador de um estilo de vida. Procuro suscitar questões acerca de seu décimo ano num contexto contraditório de difusão de um ideal típico de gosto musical associado aos estilos forró e axé.

Trata-se do novo cenário da produção e difusão de vídeo popular, tendo em vista o contexto das transformações na cultura brasileira, com foco nas ações e realizações da Associação Brasileira de Vídeo Popular - ABVP dos anos 1980 e do Coletivo de Vídeo Popular de São Paulo dos anos 2000, levando em consideração rupturas e continuidades nas formas organizativas dessa produção. Para tanto, olhamos para o passado recente da cultura brasileira para entender as influências e o lugar atual da produção cultural na realização de vídeo popular. Dois eixos básicos são apresentados para explorar a relação entre contexto social, produção cultural e vídeo popular. Na primeira vertente, analisa-se os mecanismos de produção dos realizadores ligados à ABVP, próxima aos movimentos sociais e populares da época, traçando como se comporta esse grupo de produtores, a partir da análise do vídeo Há lugar, de 1987. A segunda vertente, mais atual, insere os vídeos no contexto mais amplo da produção cultural, delineando as determinantes sociais e culturais de seu mecanismo de produção. Percebe-se hoje que o audiovisual não está restrito ao dito cinema de mercado e à indústria cultural, mas que se desenha também como instrumento no interior de ações culturais e sociais. Neste contexto vamos analisar o vídeo Qual Centro?, de 2010. Pretende-se investigar, através do apontamento histórico das mudanças institucionais e legais ocorridas no âmbito federal, estadual e municipal no que tange à política cultural para o audiovisual e para a \"diversidade\", alguns pontos da relação entre a produção cultural, as mudanças na concepção de cultura e de Estado, as mudanças na situação político-econômica e a produção de vídeo popular do passado e do presente / This research focus on the new stage of popular video production and broadcasting, given the context of changes in Brazilian culture, approaching the actions and achievements of the Brazilian Association of Popular Video - ABVP (1980s) and Popular Video Collective of São Paulo (2000s), taking into account ruptures and continuities in the organizational forms of this production. To this end, we look at the recent past of Brazilian culture to understand the influences and the current place of cultural production in the realization of popular video. Two basic axes are presented to explore the relationship between social, cultural production and popular video. In the first part, we analyze the mechanisms of production of the videomakers linked to ABVP, closed to the social and popular movements of the time, tracing how this group of producers behaves, starting from the analysis of the video Há Lugar (There is Place), 1987. The second part understand videos in the broader context of cultural production, outlining the social and cultural determinants of their production mechanism. We can see today that the audiovisual is not restricted to that market and the cultural industry of cinema, but also as a tool inside of cultural and social activities. In this context we analyze the video Qual Centro? (Which Center?), 2010. We intend to investigate, through the institutional and legal changes in federal, state and municipal levels, with regard to cultural policy to the audiovisual and \"diversity\", some points of the relationship between cultural production, changes in the conception of culture and state, changes in the political and economic situation, and popular video production, past and present

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-15T12:45:17Z No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T15:45:44Z (GMT) No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5) / Made available in DSpace on 2018-05-22T15:45:44Z (GMT). No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5) Previous issue date: 2017-08-31 / Esta pesquisa tem como objeto a produção cultural no Brasil Contemporâneo (anos 90 aos dias atuais) e, dentro desta, mais especificamente, o nicho da chamada “música independente”, analisada a partir (mas não só) de estudo empírico da rede “Circuito Fora do Eixo”, a qual, como objeto, ultrapassa o âmbito da produção cultural e dos circuitos alternativos de arte e cultura. Os objetivos são observar a atividade de produção cultural em sua generalidade no mundo contemporâneo, o quanto esta é moldada por ingerências estruturais e conjunturais tanto econômicas quanto políticas, além de culturais; descrever sucintamente parte da história recente e analisar o nicho da “música independente” dentro deste quadro; analisar o caso da rede “Circuito Fora do Eixo”, sua formação em meio e sob a ingerência destes diferentes processos, sua especificidade como, além de circuito cultural, movimento social, e seu desenvolvimento ao longo dos anos, demonstrando a sua pertinência heurística para o objeto mais amplo em questão, assim como o seu transbordamento em relação ao mesmo. Tudo isso para discutir alguns possíveis sentidos subjetivos da atividade de produção cultural para o produtor cultural. / The object of this research is the category of “cultural production” in contemporary Brazil (from the nineties till now) and, inside if this, more speciphically, the nicho of the so called “independente music”, analysed from (but not only) the case study of the network “Circuito Fora do Eixo”, whom, as object, goes beyond the spectrum of the “cultural production” and the alternative circuits of art and culture. The goals are to observe in general matter the activity of “cultural production” in the contemporary world, how much this activity is shaped by structural e conjunctural injanctions, political e economical, besides cultural; to describe briefilly parto f the recente history a analyse the nicho of the “independente music” from the stanpoint of this framework; analyse the case of the network “Circuito Fora do Eixo”, its foundatitons in teh midle of and from the injanctions of this diferente processes, his specifity as, beyond a cultural circuit, a social movement, and his development through the years, showing his heuristic pertinance to the broadly object in question, and how it overwelmed it. All this to discuss some contemporary possible subjective meanings of the activity of cultural production to the cultural producer.

Dissertation Abstract Paper Agora: The Samizdat Periodical Vokno and the Provincial Czech Underground in Historical and Social Perspective Martin Tharp, Department of Historical Sociology. The present work takes as its central subject a Czech samizdat publication, the magazine Vokno, primarily during its years of illegal operation, i.e. from 1979 until 1990, considered within the wider context of civil and cultural resistance to the oppressive social order of European state socialism. It treats Vokno as an instance of social action amid state forces inimical towards it, discussing the interplay and interaction of oppositional practice and the forces it opposes, both of state authority and more subtle ones of state cultural hegemony. It is argued that Vokno formed an attempt at a "counterculture" in the late 20th-century sense of an impulsive critique of a regimented modernity, yet within its immediate conditions was necessitated to assume three specific forms: as an aesthetic sub/counterculture, as a social network with differing levels of involvement and connections (whether to established intellectual dissent or to other social strata), and finally as a conscious oppositional social movement.

No description available.

This thesis is the first qualitative study of parental involvement in education regarding students in one key township high school in an undeveloped small town in southern China. This thesis aims to examine parental expectations and strategies in the voices of parents. To achieve this goal, this thesis examines the social class of the interviewed parents while considering place. It explores the distinctions in the shared thoughts embodied in life stories as parents perceive or articulate their identities and interests with the parents’ lived experiences, particularly with schooling, occupational careers, and their place identities in cities, towns, and villages. Using concepts of cultural production and penetration, defined by Paul Willis, “penetration” pertains to parents’ insights into the use of education in reflection of parents’ embodied experience and social conditions, while “cultural production” refers to the outcome of collective parental practices and a meaning-making process regarding parental involvement in education. Oral history interviews were conducted with ten families (five fathers and five mothers). This research argues that parents can be divided into two groups based on the distinction of identities of interests in schooling, occupational career, and place of identity, with one group having long-term employment and the other having short-term jobs. Therefore, two sets of parental expectations are conceptualized through penetrations: onward mobility from the periphery to the center and upward mobility from a short-term to a long-term job. Finally, all parents produce the culture of “it depends on himself/ herself” regarding parental involvement in education and conduct four types of parental strategies considering parents’ social class and children’s grades parents perceive: position, trust, ambivalence, and distance.