Richard "King Dick" or "Big Dick" Crafus, Cephas, or Seaver(s) first attracted attention by his size, strength and the authority he exercised as leader of U.S. African American Prisoners of War in Britain during the War of 1812. After the War he was celebrated as a boxing pioneer, ceremonial King of Boston's black community and almost certainly auxiliary law officer. Very little has been known about his life, and much of that obscured by his black working-class status; his true standing within his own community remains mysterious. Yet paradoxically he's been made much of, in academic writing and fiction alike right up to the present day. Although his life resisted the reduction of himself and his people to irrelevance and invisibility, I argue that his most prominent role has been as a palimpsest, a used canvas or marked screen onto which scholars and fiction-writers alike, as intellectual workers, have projected their images of the place of Blacks, blackness and racialized Others in the Americas and the Americanized world, including Haiti and Arabia. This thesis attempts to reconstruct his life and interpret his myriad reconstructions, to illuminate both dominant white and less-accessible minority discourses. The particular characteristics inscribed into Big Dick's figure have helped define class and caste structures, public morality and the use of public space, and the working of the U.S. capitalist and cultural imperium in the marketplace of discourses.

Entre 1855 e 1862 o físico e fisiologista Hermann von Helmholtz dedicou-se primariamente a questões relativas à física e fisiologia acústicas, e à aplicação dos resultados obtidos à epistemologia da música e à estética musical. Ainda que tais investigações tenham sido desenvolvidas por período restrito, seus principais frutos cuja apresentação mais completa se encontra na obra de 1863 Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (que traduziríamos por A doutrina das sensações tonais como uma base fisiológica para a teoria da música) tiveram impacto imediato e duradouro sobre a musicologia ocidental. Em um primeiro momento, o presente trabalho objetiva analisar os antecedentes filosófico-científicos que orientaram tal empreitada, bem como a metodologia empregada na mesma; isso a fim de podermos, em um segundo momento, abordar criticamente a forma como Helmholtz aplica seus resultados ao âmbito da estética musical. Afinal, ao fixar deterministicamente causas físicas e fisiológicas para noções eurocêntricas de musicalidade, não estaria Helmholtz operando certa naturalização dos sistemas de organização tonal imperantes em sua conjuntura histórico-cultural em detrimento de sistemas oriundos de outros períodos e culturas, amiúde dotados de critérios distintos de ordenação sonora? O trabalho proposto ganha em complexidade na medida em que a musicologia de Helmholtz, particularmente em sua dimensão epistemológica, não se mostra inteiramente insensível a riscos dessa espécie. Assim, figura entre nossos objetivos avaliarmos em que medida tal musicologia, de grande rigor científico, é capaz de coexistir com sistemas musicais que escapem às diretrizes estéticas que busca naturalizar. Seríamos mesmo racionalmente compelidos a adotar, como parece tacitamente sugerir a obra de Helmholtz, uma espécie de hierarquia valorativa no que toca aos sistemas musicais de diferentes períodos e culturas? Dentre tais sistemas, seriam alguns verdadeiramente mais aptos que os demais em plasmar uma suposta musicalidade universal? Acreditamos que, por meio de investigação renovada do nó epistêmico presente na percepção musical na qual se veem entretecidas considerações de natureza física, fisiológica, psicológica e filosófica , algumas distinções possam ser esboçadas entre fatores determinantes necessários (físicos e fisiológicos e, portanto, transculturais) e contingentes (biográfico-culturais) da mesma, e o problema devidamente atacado. / In the second half of the nineteenth century, German physicist and physiologist Hermann von Helmholtz devoted himself to the investigation of questions pertaining to physical and physiological acoustics, and to the application of the results of said research to the epistemology of music and musical aesthetics. While such endeavors represent a relatively brief part of his career, the chief innovations they brought forth the most thorough presentation of which may be found in On the Sensations of Tone as a Physiological Basis for the Theory of Music (originally published in 1863) have had a lasting impact on the whole of Western musicology. An analysis of the philosophical and scientific foundations and methodological principles his investigations rested upon occupies the opening chapters of the present work. Subsequent chapters present, in addition, a critical assessment of the scientists problematic attempt to extend the reach of his results to the sphere of musical aesthetics. The following two questions are central to our efforts: by establishing material and physiological traits as an ultimate, deterministic ground for the criteria for sound classification and ordering prevalent in nineteenth-century European art music, was Helmholtz not arguing for the naturalization of the musical systems prevalent in his own historical and cultural juncture? And, should this indeed be the case, would such a naturalization not be accomplished to the detriment of musical systems employed in other cultures and/or historical periods, often based on distinct modes of classification and ordering? Ultimately, then, the central aim of the present work is to evaluate and discuss to what an extent the rigorous scientific component of a musicology such as Helmholtzs is able to coexist with musical systems that obey aesthetic principles other than the ones said musicology espouses. Are we indeed rationally compelled to adopt a value-based hierarchy in regards to the systems of different cultures and/or historical periods, as the scientists work appears to suggest? Are certain musical systems indeed more apt than others to actualize human musicality? We believe an investigation of the epistemic knot which characterizes musical perception a phenomenon in which physical, physiological, psychological and philosophical strands are intricately intertwined may allow us to advance a few preliminary distinctions between its necessary (physical and physiological, which is to say transcultural) and its contingent (cultural and biographical) determinants, and thus properly attack the problem.

This thesis analyses a dialogue between the US ambassador to Zambia and two Zambian officials, regarding LGBT+ rights, following the sentencing of a same-sex couple by the Zambian high court. The theoretical framework utilizes postcolonial theory and a few of its concepts, namely cultural imperialism, and colonial discourses. To analyse the material, critical discourse analysis was conducted to examine if colonial discourse is present in the dialogue, and if so, how the discourses are used to reproduce or challenge the uneven power relationship between the West and Zambia. The thesis could conclude that discourses of cultural imperialism as well as colonial discourses were indeed present in the dialogue. The US ambassador reproduced the uneven power structure and the Zambian officials both reproduced as well as challenged it. The findings aim to contribute to the field of global LGBT+ advocacy, especially when conducted in a postcolonial context.

This paper presents the initiative to research on Food Television and the processes ofglobalization. The research gap in the selected subject area is identified after an in-depthliterature review and watching the culinary documentary ‘Ugly Delicious’. According toscholars globalization processes are influenced by the use of Media, as different channelsare transmitting values shared by globalization. Over the years, globalization has developedsub-process such as cultural globalization, a term which refers to the merge of cultures andthe formation of a global one. The identified research gap is to translate how globalizationhas been communicated in a culinary documentary. The title of the research is, therefore“Food Television and the processes of globalization: How does ‘Ugly Delicious’ userepresentations to portray cultural globalization?”, as it addresses the most pertinentresearch gap. Using visual data, such as video, requires a qualitative approach in which thecontent can be coded and later linked to theoretical knowledge. The role of the researcheris to find examples or patterns that represent cultural globalization within the frame of thetwo seasons of the documentary. The method which shapes this qualitative research is theGrounded Theory approach. A coding sheet will be generated to present the process andthe logic of generating codes.

The aim of this diploma thesis is to describe how successfully are global television formats adapted in the region of Central Europe. Media systems in the Czech Republic, Hungary, Poland and Slovakia were considerably transformed after the fall of communism in the 1990s. Television markets started to be built within the new media systems. This thesis describes a globalization theory with focus on the concepts of cultural imperialism and cultural globalization. Emergence of the global television formats is one of the most visible processes within the globalization. There is a prevailing opinion presently that the global formats contributes in some ways to cultural heterogenization and pluralization. Local adaptations of global formats acquire meanings of national culture. The term glocalisation is connected with spreading of the global formats. This term is nowadays used more often than the term globalisation in relation to global formats. This diploma thesis is concerned with the adaptation of formats in the countries of Central Europe. Popularity of global formats in this region is compared on the basis of ratings. There is also evaluated which format has the most universal impact in the region and if audiences in these countries have similar cultural preferences. Afterwards, other trends typical...

<p>The United States of America is one of the most powerful countries in the world and their broadcasting system has become a role model to the rest of the world. Since the US charge less for their media products in third world countries, it is cheaper even for poor countries to import American content than to purchase local products. The aim with our survey is to explore whether heavy consumers of American television programs in Kenya hold positive attitudes to the American lifestyle and experience feelings of relative deprivation as a result of this consumption. Comparisons are made between students in an urban and a rural area.</p><p>The theoretical framework for this study includes cultivation theory which investigates the effects of the values and behaviors of the television audience. It also includes relative deprivation, which is based on the assumption that people experience deprivation when they compare themselves with others – so called reference groups. In our case the reference group is the American lifestyle. A third theory used for this study is cultural imperialism which says that dominating, mainly western media corporations impose their cultural values on third world countries, as in this case, Kenya.</p><p>In this study we are using a quantitative survey based on questionnaires handed out to Kenyan students at two different universities, one in a rural and one in an urban part of Kenya.</p><p>Television is an important part of everyday life for Kenyan students and they consume more than we had predicted. We concluded that the respondents in our study generally have negative attitudes to their life and their country, but a more positive impression of life in the US. Relating these findings to the television consumption of the respondents, the students that watch American programs the most are students at the university in the urban area, and they are more positively disposed to Kenya, but more negative to the US, compared to the Egerton students in the rural area that generally do not favor American programs. These results do not support the theories chosen for this study. Based on our results, our conclusion is that the attitudes held by the USIU students do not originate from television consumption, but do most likely depend on other influences.</p>

The United States of America is one of the most powerful countries in the world and their broadcasting system has become a role model to the rest of the world. Since the US charge less for their media products in third world countries, it is cheaper even for poor countries to import American content than to purchase local products. The aim with our survey is to explore whether heavy consumers of American television programs in Kenya hold positive attitudes to the American lifestyle and experience feelings of relative deprivation as a result of this consumption. Comparisons are made between students in an urban and a rural area. The theoretical framework for this study includes cultivation theory which investigates the effects of the values and behaviors of the television audience. It also includes relative deprivation, which is based on the assumption that people experience deprivation when they compare themselves with others – so called reference groups. In our case the reference group is the American lifestyle. A third theory used for this study is cultural imperialism which says that dominating, mainly western media corporations impose their cultural values on third world countries, as in this case, Kenya. In this study we are using a quantitative survey based on questionnaires handed out to Kenyan students at two different universities, one in a rural and one in an urban part of Kenya. Television is an important part of everyday life for Kenyan students and they consume more than we had predicted. We concluded that the respondents in our study generally have negative attitudes to their life and their country, but a more positive impression of life in the US. Relating these findings to the television consumption of the respondents, the students that watch American programs the most are students at the university in the urban area, and they are more positively disposed to Kenya, but more negative to the US, compared to the Egerton students in the rural area that generally do not favor American programs. These results do not support the theories chosen for this study. Based on our results, our conclusion is that the attitudes held by the USIU students do not originate from television consumption, but do most likely depend on other influences.

When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.

若與其他國家相比，越南的歷史、政治、經濟等方面發展頗為特殊。越南曾經是法、美等帝國之殖民地，先後與日本、法國、美國等先進國家抗爭。脫離帝國統治之後，1976-1985年越南政府採取計劃經濟政策，全國封閉，自1986年起，越南開始進行市場化經濟改革，並配合對外開放與政治鬆綁，如今，越南變成一個充滿潛力及吸引力的新興市場。 隨著外商企業，『廣告』行業也來到越南。跨國企業除了向越南輸出商品，同時『輸出』行銷、廣告技術。西方國家文化產品席捲越南只是來自商業的企圖，還是資本主義的文化霸權？文化帝國主義形式之一？ 本研究透過蒐集，分析二手資料探討越南廣告業的發展，並對在越南跨國廣告公司的十二位負責人、二位越南本土廣告業者利用開放式的問卷進行深度訪談，以瞭解跨國廣告公司十年來如何進入，佔領越南廣告市場以及其目標企圖進一步瞭解文化帝國主義在越南之運作型態。本研究將130則電視廣告以SPSS統計軟體進行內容分析，探討越南廣告內容並瞭解文化價值呈現及西方導向趨勢。 根據命題，研究結果顯示： 目前有接近20家跨國廣告代理商在越南。80％越南廣告市場被跨國廣告公司掌控。越南廣告業剛萌芽，嚴重缺乏廣告附帶服務，所有廣告製造工作要在海外進行。大眾媒體均屬國營，內容貧乏，表面粗糙，消費者相當保守。主要的廣告商品都是國外品牌，大部分是低價錢、重複購買的消費用品。廣告策略簡單，偏向於資訊式廣告。 越南廣告市場富潛力，吸引外商進入。目前廣告在越南的確能夠起影響，改變人的態度與行為，但還不能夠損及越南的文化或成為文化主控者。 在廣告表現方面：在所有採取130則廣告中的產品，沒有屬於高涉入的產品，全部都屬於兩類產品：低涉入/理性和低涉入/感性；來自歐洲地區的產品為多，無本土產品廣告；廣告中使用外國語文的情形，強調產品是先進工業化國家的產品或採用他們之技術的現象相當不普遍； 本研究的貢獻在於，第一，深入探討越南廣告市場的發展背景及現況，提供廣告業者做為參考，降低其進入越南廣告市場的障礙。第二，本研究透過訪問越南跨國廣告公司的高級主管，並整合他們對越南廣告市場的評價及觀點，將研究成果回饋給越南廣告市場及政府作為決策時的參考。 / Abstract: Vietnam is known for its exceptional history, politics and economy. It has been colonized by America and France, and has it has been involved in wars of resistance against developed countries including France, Japan and America. After gaining its independence, the Vietnamese government adopted a closed economy from 1976 to 1985. In 1986 the Communist Party of Vietnam introduced comprehensive economic reform (the Doi moi process), which aimed to develop a socialist-oriented multi-sector market economy under state control. Since opening its door to the world, Vietnam has become a potentially attractive emerging market. With the arrival of multinational clients, advertising was introduced to Vietnam. Multinational companies bring marketing and advertising strategy to this market as well as products. Does this new advertising industry and the multinational companies it represents aim only at profit seeking, or is it also in pursuit of cultural imperialism? This paper focuses on three major objectives. First, it describes the Vietnamese advertising environment in general. Second, it documents the entrance of multinational advertising agencies to the Vietnam market. Third, it analyzes the content of Vietnamese advertising to assess the orientation of its underlying cultural values. The methodologies of in-depth interviews and analysis are used in this paper. The research finds: &#8226; Nearly 20 multinational advertising agencies in Vietnam occupy 80% of the market. &#8226; The Vietnamese advertising industry is in its primary stage, lacking suppliers. &#8226; Most advertisement production is done overseas. &#8226; The content of Vietnamese state-owned media is simple and uncreative. Vietnamese consumers are conservative. &#8226; Most advertisements are for cheap, foreign-brand consumer products. &#8226; Advertising strategies are simple, mostly based on information appeal. &#8226; The Vietnamese advertising market is potentially attractive to foreign investors. &#8226; In Vietnam advertising might affect people’s attitudes or behavior, but it still has not damaged Vietnamese culture or become “culturally dominant”. In 130 TV commercial samples, there is no high-involvement product advertising. All fall into two categories: low–involvement/rational and low- involvement/emotional. European brands appear most commonly. No local brands are featured. The use of foreign language or emphasis on the country of origin is uncommon in Vietnamese advertising. This paper introduces foreign advertising agencies to the Vietnam advertising environment so that they can avoid potential obstacles when entering the local market. In addition, through in-depth interviews with high-ranking managers of multinational advertising agencies, this paper offers reference material for Vietnamese advertisers and government officials responsible for strategic decisions.

The Nigerian entertainment industry called Nollywood has for several years been one of the top audiovisual producers worldwide in regards to the volume of media produced. However, its market is to a large extent isolated from the dominant media flows, which has inspired interest for a detailed study of its role in the global cultural scene. The thesis is a theoretical treatise about the history and the present situation of Nollywood, which the author discusses in the context of the two seemingly oppositional paradigms of the globalization discourse: cultural imperialism and cultural globalization. To gather the most up-to-date and the most complex information, the thesis uses theoretical methods, such as the analysis, synthesis and comparison of the articles found in science journals and literature. The text is comprised of three main parts. After a brief introduction into the current situation in Nigeria and the historical development of its audiovisual media, the second chapter discusses the birth of Nollywood for the first time in the Czech academia, as well as its current production and distribution principles. In this part of the thesis, the focus is given to the description of the extent of Nollywood's influence in the world, including the Czech Republic, talking both about the audience size...