This thesis explores the cultural production of addiction and the psychologization of everyday life. Through analyses of ubiquitous addiction literature, as well as ordinary, everyday encounters, I examine how we make meaning of addiction, thus culturally constituting the addict. I explore my situated-ness in relation to addiction, which in turn helps me to think through how I am oriented toward addiction. Through an analysis of a specific account of an intersubjective experience of addiction, I examine how experiences of addiction are made between us. This thesis also explores the relationship between substance use and harm and the role the perceived “warnings signs” of addiction play in how we recognize addiction. Using a phenomenologically informed method of social inquiry, I question what the psychologization of everyday life, or our (over) use of psychology, means for our engagement with others.

Latino students are the only ethnic group more likely to enroll in community colleges than four-year institutions. However, they transfer to four-year institutions at much lower rates than their white counterparts. This gap in transfer rates for Hispanic students is of significant concern to higher education researchers and policy makers because of its broad impact on overall educational attainment for Hispanics. Research on Latino transfer rates has focused predominantly on quantitative data, which paints a clear picture of what is happening, but falls short in explaining why transfer rates continue to be low. Researchers have offered both structural (social reproduction theory and the community college "cooling out" theory) and agency explanations (transfer aspirations and self-efficacy) for low transfer rates. This dissertation expands our understanding of Latino student transfer through a qualitative, interview-based study, which gives voice to six Latino students at an urban community college in the Ohio Valley. Individual interviews were conducted with transfer-ready students and were then transcribed and analyzed through narrative analysis. Each of the students in this study planned to earn an associate‘s degree and then transfer to a four-year institution, but despite these goals they had done limited transfer planning. Although the community college provides access to these students, the students also struggle financially and wonder if they‘ll be able to afford the American Dream. Within the context of the community college and American culture, the students are navigating cultural values, gender roles, and expectations as they pursue their education. The students pursue their educational goals and persistence within the context of strong family connections. They are navigating an unfamiliar education system, often in a foreign language. As they experience education in another language, they are actively engaged in the production of their own cultural identities. Despite the obstacles these students face – particularly financially), the student narratives are grounded in a strong sense of personal agency and a belief that education will provide them with a better future.

This thesis examines how Latin America is produced and consumed through the ¡Viva! Spanish and Latin American Film Festival in Manchester and how people who do not have Latin American origins (subsequently 'non-Latin American') use Latin American culture to reconcile issues of self-identity and cosmopolitanism at a local level. Extending Dina Iordanova's (2010) application of imagined communities to film festivals beyond diaspora, a framework of imagined cosmopolitan communities finds that, through consumption of the ¡Viva! film festival, non-Latin American consumers can often feel a sense of belonging or connection to Latin American people and culture. Non-Latin American ¡Viva! consumers subsequently incorporate Latin American culture and identity within their own construction of self-identity in order to reaffirm their sense of self. Using a mixed methods approach which brings together qualitative research (including a questionnaire survey and semi-structured interviews) with media analysis, this thesis finds that the incorporation of Latin American identity into non-Latin American self-identity is facilitated, in part, by the way in which Latin America has been encoded at a discursive level in the UK in recent decades through magical realism and associated codes, themes and narratives concerning the region's bizarre, crazy, strange and surreal characteristics. Applying theories of encoding and decoding (Hall, 1980), the ¡Viva! film festival and its non-Latin American audience members are found to likewise construct Latin America in these terms, as different, but not too different from British cultural norms. This interpretive framework, along with the fact that Latin Americans are largely positioned outside of the increasingly hostile rhetoric towards migrants and ethnic minorities in the UK, facilitates the incorporation of a Latin American identity within non-Latin American consumers' construction of self-identity. Scholars have suggested that cosmopolitanism demands a transformation in self-understanding in addition to an openness towards the cultural Other (Delanty, 2009). Analysis of the ¡Viva! film festival subsequently reveals a nuanced form of cosmopolitanism in which the Self is transformed through the incorporation of the Latin American cultural Other and offers an insight into the changing nature of the cultural relationship between Latin America and the UK. Latin America has typically been constructed as embodying the unconscious fears and desires of British (and western) culture (Beasley-Murray, 2003; Foster, 2009). This thesis finds instead that Latin America is being reconfigured by non-Latin American consumers of the ¡Viva! film festival as an equally formative part of their conscious identity that completes their sense of self and of being cosmopolitan in an attempt to resist and challenge contemporary scepticism and rhetoric in the UK surrounding multiculturalism, immigration and ethnic minorities.

This project, based on a study of television producers in Colombia, is an ethnographic exploration of the working conditions of cultural production within a highly contextualized environment such as public service television under state control, using Señal Colombia TV channel as case study. I examine how cultural production is affected by governmental structures and dynamics, whilst exploring the conditions and processes of public service television production, and how television producers experience these processes at an individual level. My primary question is to determine how the production of public service television under state control impacts producers’ practices and perceptions regarding the value and outcomes of their work. In this context, precariousness, autonomy, good work, power and public value have emerged as central areas of constant tension. I link issues regarding cultural work and public value in a media production analysis, obtaining direct empirical data that provides an in-depth description of the current public media production context under state control in Colombia. To explore these intersections, the project brings together interviews, focus groups, and participant observation. The findings exposed that the internal dynamics of both the nation and the organisation significantly affect the concept of public value, making it an ambivalent, uncertain and ill-defined notion. Where governance is state-driven, workers, regardless of their role, subscribe to dominant narratives and discourses that justify their work, and thus contribute to keeping themselves under prescribed creativity. In general, the present study provides a holistic account of cultural work study, focusing on what occurs to cultural work in various contexts of control, and the individual reactions to these contexts. The analysis of cultural work in this context, also broadens current knowledge on the concepts of network sociality and good work under clientelism, and in a non-free-market.

120f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-09T18:41:35Z No. of bitstreams: 1 Dissertacao Sergio Araujo.pdf: 946474 bytes, checksum: 068dcd7acd575d84f7bb63eaacc44aab (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-10T17:22:24Z (GMT) No. of bitstreams: 1 Dissertacao Sergio Araujo.pdf: 946474 bytes, checksum: 068dcd7acd575d84f7bb63eaacc44aab (MD5) / Made available in DSpace on 2013-05-10T17:22:24Z (GMT). No. of bitstreams: 1 Dissertacao Sergio Araujo.pdf: 946474 bytes, checksum: 068dcd7acd575d84f7bb63eaacc44aab (MD5) Previous issue date: 2007 / A presente dissertação examinou os enlaces entre cultura, política e mercado na Bahia tendo como horizonte temporal os fenômenos ocorridos nas duas últimas décadas em nosso Estado com as transformações ocorridas no campo da criação e da produção cultural contemporânea. A pesquisa ancorou-se em dois eixos de análise: 1) na compreensão da relevância dada aos campos político e econômico na configuração que a cultura adquiriu a partir do século XX; 2) na compreensão das transformações ocorridas no campo da gestão pública da cultura, orientadas pela interseção, cada vez mais presente, entre cultura e entretenimento, política e economia, adotando-se como célula de análise a criação da Secretaria da Cultura e Turismo do Estado da Bahia. Os resultados desta investigação possibilitaram inferir que, ao priorizar as áreas da cultura e do turismo como agendas de destaque, o empreendimento do grupo político liderado pelo senador Antonio Carlos Magalhães estava atento à crescente demanda por bens culturais, fenômeno ocorrido em escala global. O esteio deste empreendimento foi a adoção de uma ampla intervenção no campo da criação e da produção cultural, centrada na celebração da singularidade e diversidade da identidade baiana como elemento de diferenciação simbólica. / Salvador

As formas de produção cultural contemporâneas no Brasil – como em outras partes do mundo –, junto com a consolidação das tecnologias digitais de informação e comunicação, articularam formas sociais emergentes que colocam em tensão as divisões e abrem novas interrogações sobre as fronteiras entre produção cultural, política e mercado. Esta tese é uma etnografia sobre novas formas de produção cultural. Explora algumas das práticas do movimento artístico-cultural Fora do Eixo, movimento surgido na última década que se caracteriza por sua organização através de coletivos articulados em rede e pelo uso de tecnologias digitais para o trabalho. Por meio de uma análise dos sentidos que o Fora do Eixo associa às práticas de circular e contar, bem como de suas estratégias de hackeamento e das formas de ressignificar a vida íntima, esta tese procura dar conta da importância de redefinir as abordagens analíticas para este tipo de movimento. Em última instância, este estudo tem como objetivo re-enquadrar a análise institucional da produção cultural, e os movimentos sociais e culturais, transcendendo as simplificações analíticas para entender os modos de mediação entre cultura, política e mercado que esses movimentos produzem em seus próprios termos. / Forms of contemporary cultural production in Brazil – as elsewhere in the world –, along with the consolidation of digital technologies of information and communication, have articulated emerging social forms that put strain and open new questions on the boundaries between cultural production, the political and the market. This thesis is an ethnography of novel forms of cultural production. In particular, it explores some of the practices of the artistic and cultural movement Fora do Eixo, that emerged in the last decade, which is characterized by its organization in an articulated collective network and the use of digital technologies for work. Through the analysis of some of the meanings that Fora do Eixo gives to certain actions such as circulating and counting, as well as their hacking strategies and their ways to redefine intimate life, this thesis seeks to give account of the importance of redefining the analytical approaches for this type of movements. Ultimately, this study aims at re-framing the institutional analysis of cultural production, and social and cultural movements, by transcending the analytical simplifications to understand the modes of mediation among culture, politics and the market that these movements produce in their own terms.

Made available in DSpace on 2015-05-14T12:39:30Z (GMT). No. of bitstreams: 1 ArquivoTotal.pdf: 7122104 bytes, checksum: 4ed303fae9f362bd294ee74baffd8ace (MD5) Previous issue date: 2011-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims to record and study the memory of Repente Singing in São José do Egito-PE The Immortal Cradle of Poetry, a town in the microregion Valley of Pajeú. The singing was discussed in the context of oral literature, removing it from the involucre of folk literature, conventionally taken as the basis for categorizing this art of northeast repente. A critical theoretical route has been traced about Memory, Orality and Identity and also about the origin, the context, the singer and modality of the singing universe. Thereafter, the memory and poetry of São José do Egito have been analyzed through the speeches and poems collected in the interviews. As a result, we realized how much poetry, not just the improvised one, but also the bancada one, is respected and admired in the region, revealing cultural values and identity of the people. It has been found out a variation in many memorized verses. This proves the direct influence of orality, which does not mean that these texts are to be taxed as folklore or without poetic value. On the contrary, it reveals the existence of the poetic vein, the reciter himself, he feels no difficulty in modifying the verses, instead, creates new verses, which justifies a view of poetry in traditionalization. Thus, there is an oral poetic collection in the city which persists in the memory of that people that quite often is transformed by the reciter. Finally, we understand that in São José do Egito, poetry is a kind of "their daily bread", allowing the creation of a new way of treatment among citizens that is the term poet. / Este trabalho tem como objetivo registrar e estudar a memória da Cantoria de Repente em São José do Egito-PE O Berço Imortal da Poesia, cidade situada na microrregião do Vale do Pajeú. Foi discutida a cantoria no contexto da literatura oral, retirando-a do invólucro da literatura folclórica, convencionalmente adotada como base para categorizar essa arte do repente nordestino. Foi traçado um percurso teórico crítico sobre Memória, Oralidade e Identidade e também sobre a origem, o contexto, o cantador e modalidades do universo da cantoria. A partir daí, foi analisada a memória e produção poética de São José do Egito, através dos discursos e versos colhidos nas entrevistas. Como resultado, percebemos o quanto a poesia, não apenas a de improviso, como também a de bancada, é respeitada e admirada naquela região, revelando valores culturais e identitários do povo. Descobriu-se, ainda, variação em muitos versos memorizados. Isso comprova a influência direta da oralidade, o que não significa que esses textos devam ser taxados como folclóricos ou sem valor poético. Muito pelo contrário, isso revela a existência da veia poética, no próprio declamador, que não sente dificuldade em modificar os versos, ao contrário, cria novos versos, o que justifica uma poesia em vista de tradicionalização. Existe, assim, na cidade um acervo poético oral que persiste na memória daquele povo e muitas vezes é transformado pelo fazer do declamador. Por fim, compreendemos que em São José do Egito, a poesia é uma espécie de Pão nosso de cada dia , permitindo a criação de uma nova forma de tratamento entre os concidadãos que é o termo poeta.

As formas de produção cultural contemporâneas no Brasil – como em outras partes do mundo –, junto com a consolidação das tecnologias digitais de informação e comunicação, articularam formas sociais emergentes que colocam em tensão as divisões e abrem novas interrogações sobre as fronteiras entre produção cultural, política e mercado. Esta tese é uma etnografia sobre novas formas de produção cultural. Explora algumas das práticas do movimento artístico-cultural Fora do Eixo, movimento surgido na última década que se caracteriza por sua organização através de coletivos articulados em rede e pelo uso de tecnologias digitais para o trabalho. Por meio de uma análise dos sentidos que o Fora do Eixo associa às práticas de circular e contar, bem como de suas estratégias de hackeamento e das formas de ressignificar a vida íntima, esta tese procura dar conta da importância de redefinir as abordagens analíticas para este tipo de movimento. Em última instância, este estudo tem como objetivo re-enquadrar a análise institucional da produção cultural, e os movimentos sociais e culturais, transcendendo as simplificações analíticas para entender os modos de mediação entre cultura, política e mercado que esses movimentos produzem em seus próprios termos. / Forms of contemporary cultural production in Brazil – as elsewhere in the world –, along with the consolidation of digital technologies of information and communication, have articulated emerging social forms that put strain and open new questions on the boundaries between cultural production, the political and the market. This thesis is an ethnography of novel forms of cultural production. In particular, it explores some of the practices of the artistic and cultural movement Fora do Eixo, that emerged in the last decade, which is characterized by its organization in an articulated collective network and the use of digital technologies for work. Through the analysis of some of the meanings that Fora do Eixo gives to certain actions such as circulating and counting, as well as their hacking strategies and their ways to redefine intimate life, this thesis seeks to give account of the importance of redefining the analytical approaches for this type of movements. Ultimately, this study aims at re-framing the institutional analysis of cultural production, and social and cultural movements, by transcending the analytical simplifications to understand the modes of mediation among culture, politics and the market that these movements produce in their own terms.

Trata-se de uma etnografia que visa interpretar a produção cultural da periferia paulistana, a partir do trabalho desenvolvido pela Cooperifa (Cooperação Cultural da Periferia) nos anos de 2001 e 2011. Entre outras atividades, este autodenominado movimento cultural promove saraus literários que operam como encontros comunitários e oportunizam novas opções de lazer, produção e participação político-cultural. Nesse sentido, busco apreender os discursos acerca da periferia, tanto no que se refere ao espaço social quanto à sua cultura peculiar, construído pelos protagonistas deste movimento no cenário contemporâneo. Observa-se, assim, um processo de produção cultural em que não somente os produtos e circuitos de consumo periféricos apresentam-se como soluções criativas ao mercado cultural, mas, também, coloca novamente os moradores da periferia no centro da cena pública, a partir da elaboração de uma agenda comum. / This is an ethnography that aims to interpret the cultural production of the suburbs of São Paulo, from the work done by Cooperifa (Cultural Cooperation in the Periphery) between 2001 and 2011. Among other activities, cultural movement that promotes self-styled literary soirees that operate as community meetings and nurture new leisure facilities, production and participation in political and cultural. In this sense, seeking to understand the speeches about the periphery, both in terms of social space as to its peculiar culture, built by the protagonists of this movement in a contemporary setting. There is thus a process of cultural production that not only the consumer products and peripheral circuits are presented as creative solutions to the cultural market, but also raises again the residents of the periphery in the center of the public stage, from the development of a common agenda.

Expressions culturelles en vogue parmi les jeunes adultes (25-35 ans) issus des milieux privilégiés, la haute gastronomie à base péruvienne et les fêtes de musique électronique se sont fait rapidement une place centrale dans l’offre de loisirs culturels de la ville de Lima. L’analyse de la construction sociale du prestige autour de ces activités mondialisées révèle que, bien que la valeur accordée à ces pratiques puisse être éphémère dans la mesure où il s’agit de champs culturels traversés par des effets de mode, elle est pourtant fondée sur des mécanismes de distinction sociale faisant appel à des significations profondément enracinées dans la société péruvienne. Une immersion dans ces milieux « exclusifs « et « branchés « montre que ces mécanismes, très subtiles et fortement articulés à des logiques marchandes, véhiculent des valeurs et des attitudes contribuant à la construction (ou reconstruction) de la « culture bourgeoise liménienne » / Popular cultural expressions among young adults (25-35 years old) from privileged social groups, Peruvian-based high gastronomy and electronic music parties have quickly obtained a central place in the offer of cultural leisure activities of the city of Lima. The analysis of the social construction of reputation around these globalized activities reveals that, although the value granted to these practices may be short-lived as far as it is about cultural fields crossed by fashion effects, it is nevertheless founded on mechanisms of social distinction appealing to meanings firmly implanted in the Peruvian society. An immersion in these « exclusive » and « trendy » circles demonstrates that these mechanisms, very subtle and strongly articulated with trade logics, convey values and attitudes contributing to the construction (or reconstruction) of « Lima’s bourgeois culture ».