This thesis examines contemporary street art and its exhibition in galleries and museums in connection with Walter Benjamin's concepts of aura and authenticity in the postmodern period. Street art is posited as a marginal art evolving out of the tradition of 1970's New York graffiti that can be made to function as a type of anti-spectacle within the spectacle of the mainstream. Situationist theory and concepts within the agenda of Unitary Urbanism (psychogeography, the dérive, and détournement) are used to evaluate contemporary street art as anti-spectacle. Photography, as a primary method of documenting street art, is considered as a mechanically reproduced medium bringing into play discourses of repetition and originality, which are in turn related back to Benjamin's concepts of aura and authenticity. Andy Warhol, his Pop Art iconography, and practice of seriality are also considered as an influence on contemporary street art's imagery and underlying practice. Warhol's promotion of an "art star" persona is also related to such contemporary street art "stars" as Banksy and Mr. Brainwash.

ABSTRACT Casa Samba is a cultural organization and samba school that has been operating in New Orleans’ performance scene since 1986. The group has been run by an American couple, Curtis and Carol Pierre, since its inception. Their son, Bomani Pierre, has been raised in the Afro-Brazilian drumming and dance practices that Casa Samba teaches and performs. Life histories of the group’s founding family are the basis of this qualitative case study. Using the details of individual lives and the context that these details provide, this dissertation seeks answers to two key questions: How and why does an American couple run a samba school? How does Casa Samba’s presence in New Orleans shape its practices? As Carol and Curtis described their early lives and young adulthoods, it became apparent that each of them was seeking a way to remake their identities. The terrain for analyzing this search became personal authenticity, and I examine how each of the adult Pierres is on a quest for personal authenticity that begins early in their lives and continues through their creation and maintenance of Casa Samba. But the sense of personal authenticity that underwrites the Pierres’ construction of Casa Samba comes into contact with another form of authenticity, one that is external, evaluative, and also the root of New Orleans’ tourism economy. Thus, further questions arose regarding Casa Samba’s location in New Orleans and its cultural landscape. How does the tourist industry shape what is “authentic”? How is Casa Samba an “authentic” New Orleans cultural organization? In what ways is it an “authentic” representative of Brazilian carnival? In the end, authenticity may be too narrow a concept from which to understand the totality of who the Pierre family is and what Casa Samba is. For this reason, this research examines Casa Samba as a utopian project, a site of cultural belonging, and an Afrocentric venture. I propose that Curtis and Carol Pierre have drawn on their knowledge of what is valuable, meaningful, and important—that is, authentic—to produce a cultural organization that reflects their sensibilities to the fullest extent possible.

This thesis discusses the recent construction and anthropological collaboration of the Paris museum: Musée du quai Branly (MQB), an art museum dedicated to showcasing art collections specific to aboriginal and indigenous cultures in the Americas, Africa, Asia and Oceania. The opening of MQB in June 2006 raised a plethora of controversial questions concerning the museum’s methods of curatorial display of the art it has made its primary focus. One of the major issues discussed examines the Quai Branly’s authentic, or inauthentic, representation of certain artworks displayed throughout the museum. Thus, the essay raises the questions: does a non-Western object remain authentic once it is exhibited in a Western society’s art museum? To answer this question, the essay explores the various explanations of art and authenticity in order to reach an understandable conclusion of what constitutes an authentic display of non-Western objects in a Western art museum.

This dissertation aims to find further understanding of how people with special interest in a certain artist utilise music and the fact that they are fans in their everyday lives. I have opted to study two fans included in each group selected for this study: Kiss, Status Quo and Lasse Stefanz, one male and one female fan belonging to each respective group. I have worked according to grounded theory as a method, and through an analysis of their musical life stories, I have attempted to identify why they became fans and how them being fans has affected them in their lives. Four categories, fandom as: a marker of identity, socialisation, a form of self therapy and a pseudo religion and the core category authenticity usage show the results of the study. The categories show that to a large extent it all comes down to the musical identity of these people, i.e. the identity of being a fan, and their experiences of being fans. They have been socialised into a specific genre, which has meant increased interest in a specific artist. Family, media and friends have all played a part in this socialisation. The informants have developed cultural competence as concerns their idols, although they have also gained the subcultural capital resources required in order to come across as credible fans. Various kinds of experiences offer meaning and nourish the fans. Security and stability in everyday lives are also contributing factors to them being fans and the music offers them something that they are unable to acquire from elsewhere. They have established different strategies in order to be able to be fans, one of these being legitimacy. A vital part of this legitimacy consists in them viewing the bands as authentic, i.e. important.

The broad aim of this thesis is twofold: firstly, I contextualise the Maausk movement and its practitioners’ understandings in relation to history and the surrounding society; secondly, I analyse the affective and embodied experiences of being a Maausk practitioner from a phenomenological perspective. The thesis focuses on the formation and practice of Maausk, which is perceived to be deeply tied to the society and history where it exists. Relatedly, this study examines how Maausk identity formation and practices have been influenced by the Soviet legacy, romantic nationalism and Estonia’s current economic and political situation. In order to analyse the Maausk experiences and narratives, this study draws from various phenomenologically oriented theories of affect, embodiment and emotion, as well as cultural theories of place, identity, tradition and authenticity. I have used economic anthropology and globalisation theories as well as historical studies of Estonia’s Soviet past to contextualise the Maausk movement. Further, to place Maausk in the European religious landscape, this study refers to native faith and Neo-pagan studies. Through sensory ethnography, this study draws on the affective and emotional aspects of the research material to analyse how the complexity of emotional experiences of being a Maausk practitioner produces Maausk meanings and values. The study also examines the role and function of the body and emotions during the process of embodying the Maausk practices, both techniques and meanings of the practices.

The aim of the thesis is to make a resume for a view of body and corporality in relationship with the existence and cognition aspect to res cogitans and res extensa. The issue provides analysis of Cartesian's world extension and its reach over to present time through symbols, medicines and religion. Simultaneously the essence of authentic life in the truth as the most important essence and sense of life's existence is given as well. Keywords: Body, corporality, body scheme, truth, authenticity

Background: Before digitization, it was increasingly difficult to reach new target groups. However, during the early 2000s, this changed when the web 2.0 emerged with the "dot-com" bubble. This paved the way for a new phenomenon, social media that is a way for users to share their views and thoughts. Using social media as a marketing strategy has contributed to an increasing number of companies being able to reach a wider audience. This has led to a new concept which is influencers, where they can influence their followers via their social media, which companies have started to use. By implementing this in their marketing strategies, it allows them to reach new target groups and markets. However, it can be difficult for the followers to decide what is genuine or not when marketing is via influencers. Purpose: The purpose of this study is to investigate how the relationship of the followers to influencers is affected by different collaborations between companies and influencers. Method: This study implements a qualitative research strategy where semi-structured interviews and observations have been applied to collect the empirical material. To get a variation in the result, 12 respondents of different ages and genders have been interviewed. Conclusion: Based on the results of the study, it has proved important that an influencer shows authenticity, in order for the followers to trust them and that values should be consistent with the image they want to convey. The conclusions also show that previous relationships to an influencer and how often they make a collaboration can play a crucial role in how the followers receive it. / Bakgrund:Innan digitaliseringen var det allt svårare för företag att nå ut till nya målgrupper. Under början av 2000-talet ändrades dock detta då web 2.0 växte fram med “dot-com” bubblan. Detta banade vägen för ett nytt fenomen, sociala medier som är ett sätt för användare att dela sina åsikter och tankar. Att använda sociala medier som en marknadsföringsstrategi har bidragit till att allt fler företag kan nå en bredare publik. Detta har lett fram till ett nytt begrepp vilket är influencers, där de via sina sociala medier kan påverka sin följare vilket företag har börjat utnyttja. Genom att implementerat detta i sina marknadsstrategier kan de nå nya målgrupper och marknader genom att rikta sig på de områden som är attraktiva. Dock kan det bli svårt för följarna att avgöra vad som är äkta eller inte när marknadsföringen sker via influencers.  Syfte: Syftet med denna studie är att undersöka hur följarnas förhållande till influencers påverkas av olika samarbeten mellan företag och influencers.  Metod: Studien förhåller sig till en kvalitativ forskningsstrategi där semi-struktuerade intervjuer och observationer har tillämpats för att samla in det empiriska materialet. För att få en variation i resultatet har det intervjuats 12 respondenter i olika åldrar och kön.  Slutsats: Utifrån studiens resultat har det visat sig vara viktigt att en influencer visar på autenticitet, en form av äkthet för att följarna ska känna förtroende till dem och att värderingar ska stämma överens med den bild de vill förmedla. Slutsatserna visar även på att tidigare relationer till en influencer och hur ofta de gör ett samarbete kan spela en avgörande roll i hur följarna tar emot det.

Problemformulering: Konsumenter har påvisat en ökad misstro mot traditionell marknadsföring och efterfrågar autenticitet. Influencer Marketing används i allt större utsträckning av företag för att nå sin målgrupp på önskvärt sätt, och branchen anses ha mognat. Som en vidareutveckling av Influencer Marketing har ett nytt fenomen tagit form; Artificiella Influencers. Fenomenet är ännu relativt okänt av gemene man, men har redan uppmärksammats av såväl modehus som marknadsförare världen över. Hur användandet av detta fenomen kan komma att påverka företag, dess varumärken och uppfattade autenticitet är i dagsläget ännu oklart och forskning på ämnet saknas. Syfte: Studien ämnar undersöka om, och hur, konsumenters uppfattning av ett varumärke och dess autenticitet skiljer sig åt då varumärket kommuniceras via en Verklig- eller Artificiell Influencer. Vidare avser studien jämföra hur dessa två marknadsföringsstrategier skiljer sig åt gällande koncepten varumärkesperception och autenticitet. Slutsats: Studien påvisar att såväl likheter som skillnader går att urskilja gällande de attityder och inställningar som återfinns hos respondenterna mellan Verkliga och Artificiella- Influencers. Den avgörande faktorn konstaterades vara vare sig det framgick om Influencern var artificiell eller ej. Om detta ej kunde avgöras av respondenten bedömdes varumärkessamarbetet utefter samma kriterier för båda typerna av Influencers, vilka därmed likställdes från ett autenticitetsperspektiv. Vidare fastställdes den övergripande kongruensen av matchning mellan samtliga faktorer och modeller vara av stor vikt och helt beroende av individernas subjektiva perception av autenticitet. Forskningsbidrag: Denna studie tillför nya insikter om hur individer uppfattar varumärkesautenticitet vid användandet av fenomenet Artificiella Influencers. Detta fenomen är därmed en ny-tappning på ämnesområdet Influencer Marketing varför uppsatsen bidrar med ökad förståelse för såväl fältet Influencer Marketing som fenomenet Artificiella Influencers. / Problematization: Consumers have demonstrated an increased distrust against traditional marketing and are demanding authenticity. Influencer Marketing is used more frequently by companies in order to reach the target audience in a desired manner, and the industry is considered to have matured. As a further development of Influencer Marketing, a new phenomenon has evolved; Artificial Influencers. The phenomenon is still relatively unknown by the commonalty but has already been recognized by both fashion houses and marketers worldwide. The effects this phenomenon will have upon companies deciding to follow this new trend, their brands and perceived authenticity is still unclear and as for now, there is a lack of research on the subject. Purpose: The purpose of this study is to examine if, and how, consumers perception of a brand and its authenticity alters whether the brand is communicated by a Real- or an Artificial Influencer. Furthermore, the study aims to compare how these two marketing strategies differs in terms of brand perception and authenticity. Conclusion: This study determines that both similarities and differences can be distinguished among the attitudes of the respondents regarding the matter of Real- versus Artificial Influencers. The decisive factor was found to be whether or not it was clear that the Influencer was artificial. If the respondent could not tell the origin of the Influencer, the brand collaboration was assessed upon the same criteria for both types of Influencers, hence they can be regarded being equal in terms of authenticity. Moreover, it became clear that the overall congruence of fit between all of the determinants as well as the theoretical models were of importance, which depended on the individual’s subjective perception of authenticity. Contribution: This study contributes with new insights on how individuals perceive brand authenticity when companies market themselves with the help of Artificial Influencers. The phenomenon can therefore be seen as a remastered form of Influencer Marketing hence this thesis contributes to an increased understanding of both the Influencer Marketing field as well as the phenomenon of Artificial Influencers.

L'objet de cette thèse est de penser la légitimité philosophique du concept d'authenticité et les moyens de parvenir au « moi » véritable. Les questions qui sous-tendent notre approche sont les suivantes : pourquoi l'authenticité est-elle devenue la valeur contemporaine majeure ? Quelles réponses sont actuellement proposées dans la quête de soi ? L'authenticité a-t-elle une quelconque valeur philosophique ? Le « moi » véritable existe-t-il ? Comment ne pas faire de la question de l'authenticité (qui suis-je vraiment ?) une question d'identité personnelle (que suis-je ?) ? Enfin, comment parvenir au « moi » véritable ? L'enjeu s'avère triple : 1/ élaborer un questionnement sur la possibilité même d'un « moi » véritable ; 2/ replacer cette question dans le champ des théories de l'identité personnelle ; 3/ traiter l'authenticité comme étant à la fois représentative et mimétique, et envisager ainsi de manière renouvelée la question du rapport à soi-même. En concevant l'authenticité comme une représentation mimétique, nous verrons qu'elle parvient à résister aux menaces dissolvantes du « moi » tout en échappant aux apories substantialistes. Pour traiter ces questions, ce travail philosophique mobilise les points de vue à la fois philosophiques et littéraires. / This thesis aims to ponder over the philosophical concept of authenticity and the means to reach the true self. The queries underpinning this approach are as follows: why has authenticity become the mainstream contemporary value? What answers are currently suggested concerning the quest for the self? Has authenticity any philosophical value? Does the true self exist? How can we manage not to turn the query about authenticity (who am I really?) into a query about personal identity (what am I?). Finally, how can we reach the true self? The issue is threefold: 1. Work out a questioning about the actual possibility of a true self. 2. Put this question back in the sphere of the theories about personal identity. 3. Regard authenticity as being both representative and mimetic and thus, consider the question of the relation to oneself in a new way. By viewing authenticity as a mimetic representation, we will find out that it can stand up to the dissolving threats of the self and overcome substantialist aporia. To deal with these questions, this philosophical work uses literary as well as philosophical viewpoints.

Student Number: 0307561M Master of Arts School of Literature and Language Studies Faculty of Humanities / In this study I will interrogate some of the issues and contradictions raised by Alexander McCall Smith’s Botswana novels. These texts feature a black African woman protagonist in a developing society, and have achieved huge popular and commercial success, but they are written by a white European man. I will examine briefly whether the books can be considered as ‘African Literature,’ and how the author has negotiated the interface between history and literature to convince readers and critics in ‘the West’ that he is portraying ‘the real Africa.’ I will investigate the strategies used by the author to create this ‘authentic’, ‘traditional’ effect, how he writes convincingly as, about and on behalf of women, and the use he makes of the detective fiction mode. Ultimately I will consider whether these novels represent a restorative ‘writing back’ or whether they constitute a continuing appropriation of African history, culture and identity, a further re-invention of Africa by and for ‘the West’.