In 1988, Linda Nicholson and Nancy Fraser published an article entitled "Social Criticism Without Philosophy: An Encounter Between Feminism and Postmodernism," arguing that this essay would provide a jumping point for discussion between feminisms and postmodernisms within academia. Within this essay, Nicholson and Fraser largely disavow a number of second wave feminist theories due to their essentialist and foundationalist underpinnings in favor of a set of postmodernist frameworks that might help feminist theorists overcome these epistemological impediments. A "postmodern feminism," Nicholson and Fraser claim, would become "the theoretical counterpart of a broader, richer, more complex, and multilayered solidarity, the sort of solidarity which is essential for overcoming the oppression of women" (35). Interpreting "Social Criticism" through a feminist cultural studies model in which texts are understood to be simultaneously constituted by and reflective of their own sociopolitical spaces, I argue that the construction of Nicholson and Fraser's "postmodern feminism" is, first and foremost, neither a postmodernist critique nor a means of overcoming the pitfalls of essentialism and foundationalism. Instead, the construction of this theoretical paradigm can be shown to be complicit with postfeminist discourses, wherein an implicitly patriarchal discourse of postmodernism is called upon to repair the deficiencies of feminisms, deficiencies that postmodernisms, in some ways, helped to bring into view. To provide a conceptual backing for these claims, I move toward an examination of mass culture, surveying the similarities between "Social Criticism" and the film What Women Want. Such a comparison, I suggest, facilitates a better understanding of how "Social Criticism" can be shown to be imbedded in a postfeminist narrative structure in which feminisms are relegated to a discursively subordinate gendered position in relation to postmodernisms. Finally, in what I find to be the most important aspect of this thesis' inquiry, I ask what it means to build a "broader, richer, more complex, and multilayered solidarity" by disavowing second wave feminisms in favor of postmodernisms. I conclude that, in using postmodernisms as a panacea for feminist theories, Nicholson and Fraser curtail what might have been a rigorous interrogation of and direct engagement with second wave feminist theories that would also attend to the phallogocentric underpinnings of postmodern theories. To underline the potential consequences, I turn to a set of televisual and filmic texts including Sex and the City, Desperate Housewives, and The Devil Wears Prada to gauge what their "postmodern feminism" might represent in practice rather than what it entails as philosophy. This juxtaposition of these two differently defined and yet overwhelmingly similar postmodern feminisms, I propose, underscores the potential that Nicholson and Fraser may have instituted a postmodern feminist methodology in which it is possible that feminisms might emerge not as discourses essential for "overcoming the oppression of women" but rather as discourses that can be critiqued into oblivion.

Диссертация посвящена актуальной и мало разработанной теме, касающейся современной киномузыки, осмысленной в свете проблемы диалога и взаимодействия элитарной и массовой культур. В работе дается анализ философских,_социологических, культурологических трудов по избранной проблематике. Большое внимание уделено анализу специфики музыки в современном массовом кино (преимущественно в зарубежном) и сделаны выводы о различных путях диалога и взаимодействия элитарной и массовой культур и об использовании музыки в концептуальном, жанрово-стилевом и техническом аспектах. Работа содержит самостоятельный проект «ParkScreen», касающийся деятельности Екатеринбургского парка культуры и отдыха им. В. Маяковского (ЦПКиО), в котором автор предлагает возвратиться к традициям летних концертов и киносеансов, объединяюших интересы людей разных поколений, в целях культурного отдыха и культурного обмена внутри Уральского региона. / The dissertation is devoted to a topical and poorly developed topic related to modern film music, comprehended in the light of the problem of dialogue and interaction between elite and mass cultures. The work provides an analysis of philosophical, sociological, culturological works on the selected problems. Much attention is paid to the analysis of the specifics of music in modern mass cinema (mainly in foreign cinema) and conclusions are drawn about various ways of dialogue and interaction between elite and mass cultures and about the use of music in conceptual, genre-style and technical aspects. The work contains an independent project "ParkScreen" concerning the activities of the Yekaterinburg Park of Culture and Leisure named after V. Mayakovsky (Central Park of Culture and Leisure), in which the author proposes to return to the traditions of summer concerts and film shows, uniting the interests of people of different generations, for the purpose of cultural recreation and cultural exchange within the Ural region.

Диссертация посвящена сложной, актуальной и мало разработанной пока проблеме взаимодействия народной и массовой культур в области музыкального творчества. Музыкальный фольклор исследуется в контексте тенденций современной массовой культуры, выявляются принципы его реализации в новых социокультурных условиях электронной эпохи глобализации и цифровизации. Дан краткий историко-культурный срез предпосылок развития такого музыкального направления ХХ века, как неофольклоризм. Выявлены особенности взаимодействия фольклора в композиторском творчестве «новой фольклорной волны» 1960-1970-х годов, повлиявших на современные процессы бытования музыкального фольклора в медиакультуре. Основные идеи работы доказываются на примере анализа таких явлений, как этноджаз, фолктроника и др., проявившихся в деятельности разных фольклорных групп ХХI века. В работе представлен самостоятельный проект, ориентированный на развитие современных фольклорных традиций и проявление творческих навыков в композиции и исполнительстве, а также сайт, в котором фигурируют исследуемые в диссертации коллективы (видеозапись). / The dissertation is devoted to a complex, topical and underdeveloped problem of the interaction of folk and mass cultures in the field of musical creativity. Musical folklore is studied in the context of the trends of modern mass culture, the principles of its implementation in the new socio-cultural conditions of the electronic era of globalization and digitalization are revealed. A brief historical and cultural section of the prerequisites for the development of such a musical direction of the twentieth century as neo-folklorism is given. The features of the interaction of folklore in the composer's work of the "new folklore wave" of the 1960-1970s, which influenced the modern processes of the existence of musical folklore in media culture, are revealed. The main ideas of the work are proved on the example of the analysis of such phenomena as ethnojazz, folktronics, etc., manifested in the activities of various folklore groups of the 21st century. The paper presents an independent project focused on the development of modern folklore traditions and the manifestation of creative skills in composition and performance, as well as a website that features the groups studied in the dissertation (video recording).

No description available.

[pt] O presente trabalho discute a relação entre narrativas cinematográficas e a construção de uma sensibilidade moderna e urbana, bem como as transformações na percepção humana intensificadas com os avanços dos aparatos técnicos. Ou seja, qual é o papel do cinema na era da reprodutibilidade técnica, Walter Benjamin (1939). Considerado ao mesmo tempo a expressão artística da modernidade e a ferramenta com a qual os indivíduos aprendem a observar o funcionamento desse novo mundo e desse novo cotidiano afetado pelas tecnologias, o cinema é o elemento que guia o nosso trabalho e estabelece as reflexões para o nosso estudo. Autores como Leo Charney e Vanessa Schwartz (2004), Walter Benjamin (1939), Jonathan Crary (2012), Susan Buck-Morss, Jacques Aumont (2004) são utilizados como referencial teórico. A discussão foi realizada junto à análise fílmica das obras Tempos Modernos (1936) de Charlie Chaplin, 1984 (1956) de Michael Anderson, Blade Runner (1982) de Ridley Scott, Ela (2014) de Spike Jonze, Medianeras (2011) de Gustavo Taretto, Paris, Te amo (2006) Joel e Ethan Coen, Gérard Depardieu, Gus Van Sant e others, Babel (2006) de Alejandro Gonzáles Iñárritu, Violino Vermelho (1998) de François Girard, Balzac e a costureirinha chinesa (2001) de Dai Sijie e Uma Vida Iluminada (2005) de Liev Schreiber. / [en] This dissertation aims to analyze the impacts of cinema on the sensitivity of individuals and the changes that occur in human perception with the advancement of the technique. Authors such as Leo Charney and Vanessa Schwartz (2004), Walter Benjamin (1939), Jonathan Crary (2012), Susan Buck-Morss (2012), Jacques Aumont (2004) are used as theoretical reference. The discussion was carried out together with the film analysis of Modern Times (1936), made by Charlie Chaplin, 1984 (1956) by Michael Anderson, Blade Runner (1982) by Ridley Scott, Her (2014) by Spike Jonze, Medianeras: Buenos Aires in times of virtual love (2011) by Gustavo Taretto, Paris I love you (2006) by Joel and Ethan Coen, Gérard Depardieu, Gus Van Sant and others, Babel (2006) by Alejandro Gonzáles Iñárritu, The Red Violin (1998) by François Girard, Balzac and the little chinese seamstress (2001) by Dai Sijie and Everything Is Illuminated (2005) by Live Schreiber.

Esta dissertação traz uma abordagem das questões sócio-históricas e culturais que nortearam a formação de inúmeras conceituações acerca da cultura brasileira durante as décadas de 1960 e 1970, e tem como objeto de pesquisa a vida e a obra do poeta Solano Trindade, suas atividades intelectuais, poéticas e teatrais. No aporte teórico do trabalho, as manifestações da cultura popular e as suas relações com as práticas culturais autenticadas pelos meios de comunicação de massa foram investigadas, com o intuito de trazer à luz as conseqüências desse encontro, os debates sobre as políticas culturais que surgiram na tentativa de controlar tais expressões, os focos de resistências e a configuração social pautada pela modernidade capitalista. A idéia de contribuir para uma noção de cultura, e como ela perpassou inúmeras definições na sociedade brasileira, atravessou a maioria das indagações durante as leituras e análise de dados que guiaram a redação. Revisar um período conturbado em termos de novos horizontes sociais e políticos no Brasil, nos permitiu avaliar uma realidade nem sempre clara para a maioria dos grupos sociais. / This dissertation brings socio-historical and cultural issues that guided the formation of many conceptualizations about the Brazilian culture during the 1960s and 1970s in Brazil, and aims to research the poet Solano Trindade\'s life and work, his intellectual, poetic and theatrical activies. In support of theoretical work, the popular culture manifestations and its relations with the cultural practices certified by the mass media were investigated in order to bring to light for the consequences of this meeting, the discussions about the cultural politics that have emerged in attempt to control such expression, the focus of resistance and social configuration lined by capitalist modernity. The idea of contributing to a sense of culture, and how it permeates many settings in Brazilian society, it crossed most of the inquiries during the readings and data analysis that guided the writing. To review a confused period in terms of new social and political horizons in Brazil allowed us to evaluate a fact not always clear to most social groups.

<p>In 2004 <em>Troy</em> was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.</p><p> The main purpose of this paper is to see the connection between <em>Troy</em> and Homer’s <em>The Iliad</em> – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How <em>The Iliad</em> mutates to be a marketable product.</p><p>   I discuss the changes of the plot that were introduced in <em>Troy</em> and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.</p><p>   By approaching <em>Troy</em> and <em>The Iliad</em> as two separate cultural products (I did not view <em>Troy</em><em> </em>as a documentary on <em>The Iliad</em>) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.</p>

In 2004 Troy was released in movie theatres worldwide and almost immediately sparked up discussions on film’s relation to the ancient epic of Homer.  The main purpose of this paper is to see the connection between Troy and Homer’s The Iliad – motion pictures’ only officially credited source of inspiration. By using comparative method and intertextual approach I try to see how a literary piece, for centuries recited and cherished by the highest academic circles is remodelled to fit the taste of a mass public. How The Iliad mutates to be a marketable product.    I discuss the changes of the plot that were introduced in Troy and try to see those changes as an outcome of mutation process. Apart from the plot, the notion of a hero is also discussed: how the definition of hero changed through time? To illustrate the changes, two main heroes – Achilles and Hector are discussed, yet again using the comparative method.    By approaching Troy and The Iliad as two separate cultural products (I did not view Troy as a documentary on The Iliad) I was able to connect them. I could see that the essence of the literary work and the film appears to be the same. It shows that the ancient Greek values, especially those, related to warfare and heroism, have definitely survived long enough to penetrate the modern thought.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-16T12:26:01Z No. of bitstreams: 1 Sandra Maria Gomes.pdf: 880349 bytes, checksum: b794d1f6df5ec4831c5aaf9de86c81b5 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-28T18:35:58Z (GMT) No. of bitstreams: 1 Sandra Maria Gomes.pdf: 880349 bytes, checksum: b794d1f6df5ec4831c5aaf9de86c81b5 (MD5) / Made available in DSpace on 2013-05-28T18:35:58Z (GMT). No. of bitstreams: 1 Sandra Maria Gomes.pdf: 880349 bytes, checksum: b794d1f6df5ec4831c5aaf9de86c81b5 (MD5) Previous issue date: 2005 / A dicotomia arte elevada e arte popular industrial foi, em grande parte, o elemento que opôs os movimentos modernista e pós-modernista no século XX. Se o modernismo caracterizou-se por se posicionar politicamente contra a cultura de massa, vista como representativa do capitalismo burguês, o pós-modernismo apresenta-se numa relação mais flexível com a indústria de massa. A arte contemporânea mistura elementos provenientes da indústria cultural serializada com textos da herança clássica ocidental, através de práticas intertextuais, intersemióticas e paródicas. Quando mistura o elemento industrial ao objeto canônico, a arte pós-moderna enfraquece a dicotomia popular / erudito, diluindo as fronteiras que separam os objetos em classes hierárquicas de alta e baixa cultura. Dentre as artes pós-modernas o romance contemporâneo tem papel fundamental na diluição dessa fronteira, pois, através da experimentação intersemiótica e da renovação das formas narrativas, põe em funcionamento uma intensa prática auto-reflexiva que problematiza a nossa forma de compreender a experiência e força a ultrapassagem de modelos estéticos estabelecidos. A inserção de referências a obras de arte dos vários períodos da arte clássica ocidental (Antiguidade Greco-Romana, Renascimento, Barroco, Neo-Classicismo) funciona como contraponto ao desconforto, inquietação, fragmentação e multiplicidade da vida moderna, por trazerem à tona modos de representação de tempos em que o homem era a medida de todas as coisas do mundo. O romance espanhol Corazón tan blanco do escritor Javier Marías é um caso de narrativa romanesca que movimenta signos tanto da indústria da imagem ? televisão, cinema e vídeo ? quanto da tradição clássica da pintura ocidental. As pinturas de Velásquez e Rembrandt, as gravuras de Dürer, o drama shakespeareano Macbeth conferem erudição ao romance e insuflam o diálogo arte clássica e romance popular na representação do mal-estar e perplexidade do homem diante do indiferente e opressivo mundo contemporâneo. / Salvador

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-07-04Bitstream added on 2014-06-13T20:46:38Z : No. of bitstreams: 1 oliveira_scrd_dr_sjrp.pdf: 2615783 bytes, checksum: 8046c7f4f86da950ffe53d7b0b6836d6 (MD5) / Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro “jogo-de-armar” novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo. / Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works’ composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn’t limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.