This text investigates the harmonic dimension of music and the various social, cultural and political consequences that arise through the act of tuning and tempering harmonic space. While no singular musical domain can exist divorced from the rest (i.e., duration, rhythm, dynamics, spatiality, etc.), in order to examine its afflictions and possible remedies, this text focuses only on the harmonic domain and the severity of its influence over listeners. This text questions the standardisation of twelve tone equal temperament, the implications it has inflicted culturally, the capital agents it may serve, and the possible insights just tuning systems and alternate temperaments may provide. / Cast of Mind

The purpose of this study is to use a qualitative method to investigate the Swedish curriculums of 1919, 1962 and 2011 in search of attitudes and different usages of the popular culture of the time. To reach these conclusions Antonio Gramsci’s theories about cultural hegemony have been applied to prove how the superior classes, in this study these classes are represented by the Swedish school as an institution, use popular culture to maintain sovereignty of the lower classes. Ergo the problem highlighted in this study is whether the cultural class society exists in a fixed state since the 1919’s with the school as the institution to implement the tradition of cultural hegemony. The study shows that, as the usage of popular culture has not become a more frequent tool recommended from the Swedish government, it has become more accepted that teachers do use it in various forms and that the demand of a canonised aesthetical selection has become almost eradicated.

Quelques critiques universitaires ont été écrites sur des spectacles récents prenant pour thématique le conflit israélo-palestinien, mais il n’existe pas d’étude d’ensemble à ce sujet. Par ailleurs, depuis le début des années 2000, plusieurs recherches se sont attachées à préciser les relations qu’entretiennent le théâtre et la politique. Cette thèse vise à approfondir cette réflexion à partir des transferts culturels d’œuvres israéliennes et palestiniennes vers la France, des années 1970 à nos jours.Pour ce faire la méthodologie mise en œuvre articule historiographie du théâtre, histoire des représentations théâtrales et étude du champ de production culturelle en diachronie. Elle a permis de mettre en évidence la persistance de l’Orientalisme renforcé par le déphasage historique entre la France et Israël et l’inégal développement entre la France et la Palestine. La représentation théâtrale peut offrir un espace de résistance aux assignations identitaires subies par les artistes d’Israël et de Palestine, ou bien reproduire les rapports de domination lisibles à travers le degré de légitimité des dramaturg(i)es. La thèse rappelle la complexité des rapports de domination qui ne sont pas réductibles au racisme ou à un « choc de civilisations » mais relèvent d’une hégémonie culturelle entretenue par les institutions théâtrales et universitaires, et critiques dramatiques. Ces instances de légitimation sont analysées ici en tant que productrices d’un discours idéologique dont l’étude remet en question la posture de neutralité qui accompagne l’autonomie de l’art. / In a limited scope, academic critiques have been written on recent productions on the theme of the Israeli-Palestinian conflict, still there exists no comprehensive study on the subject. Additionally, several studies have focused on clarifying the relationship between theatre and politics since the early 2000s. The thesis aims to expand on this line of thought, deriving from cultural transfers of Israeli and Palestinian works to France, from the 1970s to the present day.The methodology implemented articulates theatre historiography, history of theatrical performances and the study of the cultural production field in diachrony. The methodology allowed for the highlighting of the persistence of Orientalism, reinforced by the historic phase-shift between France and Israel and the unequal development between France and Palestine. The theatrical performance can either offer a space of resistance to the identity assignements suffered by artists from Israel and Palestine, or can reproduce domination relations that are legible through the degree of legitimacy of the theatre performances and performers. The thesis evokes the complexity of relations of dominance that are not reducible to racism or a "clash of civilizations" but are a cultural hegemony maintained by theatrical and academic institutions, and drama reviewer. These instances of legitimation are analyzed here as producers of an ideological discourse, the study of which challenges the posture of neutrality that accompanies the autonomy of art.

[pt] O presente trabalho visa analisar e criticar os principais paradigmas construídos e mistificados pela modernidade, pretensamente homogênea e de validade universal, mas, na realidade, eurocêntrica e provinciana. A perspectiva moderna, em especial cartesiana, está tão enraizada nos estudos filosóficos, políticos e até jurídicos atuais, que é possível localizá-los, inclusive, nos pressupostos basilares da discussão contemporânea acerca da universalização dos Direitos Humanos. Esta discussão está hoje limitada, majoritariamente – mas não completamente – pela relação binária universalismo versus relativismo, extremamente simplificadora. Defender-se-á aqui a insuficiência desta relação, que exclui, por si só, diversos aspectos e elementos essenciais, desconsiderando a infinita complexidade do tema. Também se deseja analisar nesta dissertação algumas práticas legitimadas pelos autodenominados direitos humanos, os quais permitem que práticas desumanas sejam justificadas pela busca de algum suposto ideal humanitário. / [en] The present work aims to analyze and criticize the main paradigms constructed and mystified by modernity, supposedly homogeneous and universally valid, but in reality, Eurocentric and local. The modern perspective, especially Cartesian, is so rooted in philosophical, political and even legal studies nowadays, it is possible to locate them in the basic assumptions of contemporary discussion of universal human rights. This discussion is now limited mostly - but not completely – by the binary relation between universalism and relativism, extremely simplistic. This work will defend the failure of this relationship, which excludes, by itself, various aspects and elements, ignoring the infinite complexity of the issue. It will also be analyzed in this work some practices legitimized by the self-called human rights, which allow inhumane practices to be justified by the pursuit of some supposed humanitarian ideal.

Dissertation thesis deals with the construction of the identity of Slovak art modernism in the period of the First Czechoslovak Republic (1918-1938) within the context of the official ideology of Czechoslovakism and in relation to Czech modern art. For many artists, theorists, and art historians in Slovakia, who, as part of the intelligentsia, felt obliged in the newly formed state to create and confirm a national identity through art, the search for Slovakness in art was crucial. This search was influenced by the nature of Czech - Slovak cultural relations, mutual misunderstandings, and stereotypes. The forms of Slovak modernism were formed in close connection with Czech modernism and at the same time as resistance to it. In this sense, we can consider the emphasis on Slovakness in the fine arts as an attempt not to merge artistically with the current of Czech art modernism. This study thus examines how national identity is constructed through the visual arts and what role plays its broader cultural and political background.

No description available.

改革開放以來實施的經濟改革，造成中共內部貪汙腐敗之現象日益嚴重，因此，新聞傳播媒體被賦予扮演權力監督機制的一環，針對一些違法亂紀的政府單位或商人進行監督懲處。然而，不同於西方新聞媒體的角色，在中共威權政體之下，輿論監督必須遵守黨國體制的輿論監督規範，以維持中共統治之合法性。為了探討中共輿論監督之樣貌，以及影響輿論監督的背後因素，本文以中央電視臺《焦點訪談》節目內容作為分析個案，在理論觀點上，以葛蘭西的文化霸權為基礎，結合理論與實證，以2013年該節目之新聞報導內容作為個案資料，討論國家對傳媒的影響，以及《焦點訪談》對政治和社會造成的影響，在此論述過程中，試圖釐清威權主義國家輿論監督的報導原則。 / The economic reforms in China after the opening policy, the corruption in the Communist Party of China (CPC) has become more and more severe.The media, consequently, has been used to endow itself with mechanism of supervising power, aiming at supervising and punishing the government department and businessman breaking laws and violating discipline.However, different from the western media, the public opinion supervision needs under the authentic regime of CPC,to abide by the public opinion supervision regulations of Party-State system.This thesis taking the Focus Report, program of China Central Television (CCTV) as the analysis case, will inquire into the public opinion supervision of CPC and the influencing factors behind it.And based on the cultural hegemony of Gramsci as the theoretical perspective, this thesis, combing the news report of Focus Report in 2013 to discuss how a country to influence its media and the influence for the politics and society of the program itself, will clarify the report principle of public opinion supervision of authoritarian state.

Quelles sont les voies par lesquelles les changements sociaux affectent les identités collectives et de quelle manière une nouvelle identité vient à être adoptée par une population. Les grandes transformations qui eurent lieu en Mongolie du 19e siècle à la moitié du 20e siècle seront abordées pour tenter de répondre à ces questions. Dans un court laps de temps, cette région passa par trois systèmes politiques différents; d'une partie semi-autonome du territoire de l'empire Qing à une théocratie bouddhiste puis à une République populaire. Dans chacun des cas, les contextes sociaux ayant provoqué des changements dans la définition identitaire seront abordés ainsi que la forme par laquelle les nouveaux concepts d'identité collective allaient être sélectionnés, modifiés ou construits. / Great social transformations took place in Mongolia from the 19th to the first half of the 20th century where the region changed in a very short amount of time from being a semiautonomous part of the Qing empire to being a theocratic Buddhist state, to finally becoming a People's republic. This thesis illustrates the ways in which social changes have affected the collective identities and how these came to be adopted by the population. In each of these cases, the social context which brought changes in the definition of identity are analyzed as well as the nature from which the new collective concepts are selected, modified or constructed.

90年代後，中國大陸的文化政策逐步鬆綁，流行音樂市場呈現百家爭鳴。其中，台灣流行音樂的市占率超過80%，傳播其所承載的意識型態，伴隨著一代又一代的中國大陸青年成長，對中國大陸社會的影響不曾間斷。在文化政策的宏觀調控下，中共官方對台灣流行音樂持續施展政治性的運用，運用黨國機器的管制與特殊的演出場域收編轉喻台灣流行音樂；而台灣歌手在「政治正確，商演不斷」市場的考量下，也樂於登上黨國控管的演出場域。這也使得中國大陸市場上的台灣流行音樂，鑲嵌於中共官方政策意識型態中。 / Since the 90s, cultural policy of the Chinese mainland has deregulation.The music market is more divers, and Taiwan's pop music market share over 80%. Chinese government tries to Metaphor and Metonymy Taiwanese pop music, Taiwanese singer to move closer Party-state field to market incentives.

Quelles sont les voies par lesquelles les changements sociaux affectent les identités collectives et de quelle manière une nouvelle identité vient à être adoptée par une population. Les grandes transformations qui eurent lieu en Mongolie du 19e siècle à la moitié du 20e siècle seront abordées pour tenter de répondre à ces questions. Dans un court laps de temps, cette région passa par trois systèmes politiques différents; d'une partie semi-autonome du territoire de l'empire Qing à une théocratie bouddhiste puis à une République populaire. Dans chacun des cas, les contextes sociaux ayant provoqué des changements dans la définition identitaire seront abordés ainsi que la forme par laquelle les nouveaux concepts d'identité collective allaient être sélectionnés, modifiés ou construits. / Great social transformations took place in Mongolia from the 19th to the first half of the 20th century where the region changed in a very short amount of time from being a semiautonomous part of the Qing empire to being a theocratic Buddhist state, to finally becoming a People's republic. This thesis illustrates the ways in which social changes have affected the collective identities and how these came to be adopted by the population. In each of these cases, the social context which brought changes in the definition of identity are analyzed as well as the nature from which the new collective concepts are selected, modified or constructed.