Although immensely popular with American boys upon his debut in 1938, Superman has gradually lost relevance with the postmodern generation. DC Comics has rewritten the character numerous times in an attempt to regain lost popularity, but the problem lies in an aspect of his character they refuse to alter – his invulnerability. Superman’s invulnerable body was engineered to quell the fears America harbored towards technological progress, but his impervious physique now renders him obsolete. Boys in postmodern America, under the influence of post-Enlightenment body values, now connect with vulnerable comic book heroes whose bodies more closely match their own. This paper examines the sociological reasons for the shift in Superman’s popularity by comparing the body values of 1938 with those of today, and concludes that while Superman might have succeeded as a modern hero, he fails as a postmodern one.

I denna uppsats undersöks hur några festivalarrangörer har upplevt och upplever det svenska festivallandskapet under 2010 och föregående år, med fokus på musikfestivalen Siesta!. Genom Siesta får studien en ung och relativt nyetablerad festivals syn på festivallandskapet och tar därmed plats för första gången inom svensk festivalforskning.   Syftet med denna uppsats är att kvalitativt undersöka hur Siesta har uppstått och utvecklats ur ett arrangörsperspektiv och hur den skiljer sig från andra likartade musikfestivaler såsom Arvikafestivalen, Hultsfredsfestivalen, Peace & Love, Way Out West, Popaganda och Emmabodafestivalen. Vidare analyseras det festivallandskap och det nätverk som dessa musikfestivaler befinner sig i. Utgångspunkten är att det sker och har skett en förändring med tanke på Hultsfredsfestivalens konkurs under sommaren 2010. Vad det är som har skett och hur det har påverkat festivalarrangörerna undersöks ur ett nutidsorienterat företags- och samhällsperspektiv.   Materialet som använts är intervjuer med två personer ur Siestas ledning, skriftlig intervju med representant för Popaganda samt källor som belyser festivallandskapet ur ytterligare festivalarrangörers perspektiv. De faktorer som förefaller påverka arrangörerna mest i deras resonemang kring festivallandskapet är de konkurrensmässiga och ekonomiska förutsättningarna i dagens samhälle. I det ligger andra festivalers påverkan, både internationellt och nationellt, Internets betydelse för utvecklingen samt festivalernas relation till sin omvärld vad gäller andra intressenter och aktörer och tvärtom.

It was the best of cities, it was the worst of cities, it was a place of giddying boom, it was a place of economic despair, it was a utopia, it was a dystopic no-topia, it was the world centre of fantasies, and the world centre of nightmares, a town where some struck it rich while others lost themselves in their desires for wealth, in short, the place was so far unlike the present place, that some of the noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only. This thesis is constructed of fragmented stories but not in the classic sense as there is no over-arching narrative, no beginning, middle and end, no synthetic conclusion. Rather this thesis is similar to Los Angeles itself; it is a multi-faceted exploration of competing themes that have birthed a city of fictions, a centre of fantasy, a place that shapes our collective memories, even for those of us who grew up in far-off places. Los Angeles has searched for a down-town core, a collective identity, a dominant narrative and these attempts are explored through different themes – the story of film noir, the development of the Los Angeles Aqueduct, the redevelopment of Bunker Hill, the violence and upheavals of the riots. I have explored how the city has tried to re-brand itself, Through these prisms, and how these attempts have shaped its development and history. It is said that Los Angeles has an architecture of absence, with its superficiality and lack of depth, and as a visual metaphor, this can represent the giddy changes happening in the field of architecture, where hyper-realism trumps facts. This idea of Los Angeles as a mirror should not surprise: it has long been a world centre for myth-making, an epicenter of fiction, cinema, architecture, et cetera, spewing out seductive, grotesquely exaggerated reflections of North America itself.

The purpose of this BA-thesis was to study how three daily Swedish newspapers use a specific type of exemplars, which are recognized by a number of attributes. A photograph of the person that is interviewed always illustrates this type of exemplars and at least two persons are asked the same question.    The three newspapers that have been compared in this study each represent one of the major types of Swedish newspapers: morning press, tabloids and local press. By using a quantitative content analysis, one month was examined in all three newspapers in the year of 1997 and 2007.  Two of the theories that have been central in the thesis are Colin Sparks model of tabloidization, which demonstrates the process of tabloidization and McQuail′s description of commercialization.  The results of the study indicate that there are many similarities between the three newspapers use of exemplars. However, there are some differences when it comes to frequency and function. Noteworthy is that the newspaper “Dagens Nyheter” did not publish a single exemplar the first year of the study, 1997. Ten years later the very same paper published 15 exemplars during the month of examination.

High accessibility to internet technology and popularization of focus media has given rise to various emerging subcultures among the younger generation who constantly seek novelty and unique lifestyles. The Otaku subculture is one such adolescent subculture, a culture of avid ACG (animation, comic, games) collectors, while pop music fans belong to another youth subculture deeply involved in gathering and tracking the lives and performances of pop music stars. As the adolescent is becoming the most purchasing power consumer group of fashion product, this research aims at comparing the traits of the above two adolescent subcultures and their influences on buying behavior tendencies toward subculture-specific merchandises. This research is also attempting to develop an analytical model through comparison of two studies. The research framework is constructed based on the assumption that the traits of adolescent subcultures influence the subculture-specific consumptions and is examined on two studies of Otaku and pop music fans subcultures respectively. The same investigation methods are applied in two studies. First, the review of prior studies and findings of focus group interview with sample of five representative adolescents were integrated into a tentative model. Then, the questionnaire was developed based on the tentative model and the focus group interview findings, and sample of survey in two studies are 105 and 101 respectively. Survey data were examined by factor analysis and structural equation modeling for the verification of the tentative model, and finally a revised model is developed based on comparison of two studies results. Results show that the personality, values and lifestyle of subculture¡¦s main traits dimensions influence their buying behavior, although the Otaku and pop music fans take part in different activities and embrace different personality traits and values. The results also verify a feasible generalized analytical model for measuring the influences of the traits of specific adolescent subcultures on their buying behavior. This research offers some implications for consumer behavior and marketing communication including (1) comprehensive customer investigation is needed to understand what adolescents think and want; (2) providing attractive content and (3) adopting modern media to attract and access adolescent subculture group; (4) marketing communication appeals should match adolescents self-images to get their identification; and (5) providing total subculture solution in integrated marketing programs.

<p>The aim of the essay is to investigate the style of the dialogue in the movie Pulp Fiction and also to see if and how it changes depending on the context of the movie. The intention is to do this within a sociopragmatic theoretical framework. The manuscript has been used, along with the DVD with the movie itself.</p>

<p>The purpose of this study is to examine the possible theoretic and (f)actual role(s) of pop-culture icons in peace and evelopment-related global issues, using the qualitative research methods of text- and discourse analysis. Do pop-culture icons have a role to play at all in this field? If so, what is that role? What are these celebrity activists currently saying and doing on the international development scene and what are their analyses like? What are their current and historical functions? There is support in the academic literature suggesting that celebrity activists can possess vast power resources (scope of influence), (soft) power and (charismatic) authority, which in turn enables them to influence the attitudes and values of (especially young, receptive) people. The findings also show that the most successful celebrity activists have a global reach, as well as access to the international arenas of political power (e. g. the G8 and the World Economic Forum). Celebrity activists seem to be able to "sell" messages in a way that the politicians and officials of today cannot. When they speak, people listen. They further employ a two-level outreach, as they connect with political and economical elite groups as well as with the masses of world citizens in a way that politicians and officials, whose influence is more often limited by traditional nation state boundaries, cannot. I argue that the celebrity activists should be seen as a complement to the civil society and the work of NGO's and INGO's, since it is by further enhancing their work and strengthening their agendas that most of them act.Celebrity activists offer an alternative to the political establishment, which is viewed by suspicion by large groups of citizens, and can play a role in empowerment, inspiration, education, information, awareness raising, fundraising, opinion building and lobbying and function as diplomats, spokespersons, ambassadors, entrepreneurs, convenors and heroic voices.</p>

<p>The focus of this essay is on examining the meanings of the <em>onomatopoeia</em> (sound imitating words) <em>snap, crack</em> and <em>pop</em>. Previous studies on onomatopoeia and sound symbolism are used to define the terms and create a model for an alternative categorization of these meanings. This model is then applied in a corpus study, conducted on the COCA (Corpus Of Contemporary American English) and BYU-BNC (The British National Corpus) corpora, to find a way to more accurately describe the meanings and functions of these words.  For this purpose the context in which <em>snap, crack</em> and<em> pop</em> are used is also addressed by observing how frequently they occur in formal and informal texts and which adjectives and adverbs frequently modify them. In the study it was discovered that these three words took on many different meanings that would be hard to list separately in a dictionary. These meanings did follow a pattern linked to the properties associated with the word. The study found <em>snap, crack and pop</em> to be informal words with a tendency to add emotion or effect to a statement. It is therefore concluded that sorting onomatopoeia by sound and non sound-related meaning and describing the informal characteristics of these words leads to a greater understanding of how they are used.</p><p> </p><p>Keywords: Arbitrariness, <em>crack</em>, emotive, ideophones, mimetics, mimes, non-arbitrariness, onomatopoeia, phenomimes, phonomimes, <em>pop</em>, psychomimes, register, semantics, <em>snap</em>, sound symbolism and style.</p>

Delinquencies brings together forty-eight poems that reflect some of the aesthetic, philosophical and cultural interests I've attended over the last five years or so--namely, ideas related to failure and abhorrent behavior.

This thesis explores images of the Japanese schoolgirl as accessory to the Occidental Self in contemporary Orientalist pop culture in the US. In an analysis of a series of images by four different Western pop culture artists, each artist expresses an appreciation for Japan that is based primarily on their encounter with Japanese pop culture. Furthermore, they express identification with the Japanese Other and a desire to introject into Japanese subjectivities. However, lacking the material body needed for full immersion or identification with the Other, they produce the Japanese schoolgirl as an accessory to the Self. The accessory provides false immersion or identification with the Japanese Other. In this way, the Japanese schoolgirl becomes the embodiment of Japanese pop culture and an object for Western fetishization. / text