Habil.-Schrift Univ. Bern, 2008.

The Japanese cuisine is the largest number of exotic dishes in Taiwan. The past researches of Japanese that ignoring the evolution of variety of types of Japanese cuisine see cuisine as a single cuisine type. The purpose of this study is to investigate the Japanese cuisine taste differentiation patterns and social significance. I used Bourdieu¡¦s taste segmentation theory to analysis. Using depth interviews and historical documents to make a thorough inquiry. I classified Japanese cuisine into family-style, kaiseki ryori , buffet style all you can eat as well as chain stores, and pointed out the different types of stores will develop different taste.I found that except for the chain and buffet style all you can eat, other types of Japanese cuisine will emphasize ingredients imported from Japan, the chef's cooking skills, and a fresh source. Kaiseki ryori emphasized orthodoxy, relatively inexpensive family cuisine stressed Taiwanese taste to prefer popularity. And cultural performance , the atmosphere of the the traditional family-style Japanese will tend to show Japanese culture, highlighting the cuisine of different countries with it. Kaiseki ryori or chain is modern style, with different family-style. The study found that different types of Japanese cuisine in the process to create taste have distinction between others and showed their class status.

Audience agency, text-reading practices, and the roles mediated cultural texts play in the lives of readers have long been at the center of enduring debates among Critical, Cultural, Performance, and Rhetorical Studies scholars. One salient ongoing dialogue among scholars and critics questions the degree to which audiences actively participate in the process of making sense of mediated texts. How capable are media consumers of comprehending and responding to texts containing oppressive discourses? If pop culture is vital in shaping what it means to belong to a culture, can politically minded consumption of cultural texts be a tool by which we can resist or subvert dominant ideologies? This study enters into this dialogue through critical engagement with the emergent embodied audiencing practice of movie riffing, which is characterized by performers talking back to a film, or any matter of mediated text, as it is screened, through a series of humorous and/or critical speech acts. Embracing performative riffing as both a text-reading ethic for negotiating ideologically loaded pop culture texts and a space-based return of embodied performance in a social setting typically characterized by stillness and silence, this study explores the present state of riffing and looks to riffing's future by theorizing a movie-riffing ethic that constitutes explicitly political performance. This study is divided into eight chapters. Chapters 1 and 2 consider contemporary and historical anecdotes on audiencing practices to situate riffing within a rich legacy of embodied audiencing, text appropriation, meta-commentary, and ritual performance. Chapter 3 discusses the theoretical implications of riffing by situating riffing in scholarly discussions concerning audience agency in making sense of ideologically loaded pop culture texts; I argue riffing explicates the possibilities and constraints of audience agency, all of which should be recognized if riffing is to become a valuable performance tactic by which consumers of U.S. popular culture might enter into struggle over ideologically loaded cultural texts and reclaim a space for embodied audiencing in the cultural marketplace. Chapters 4 through 6 are dedicated to site- and text-specific inquiries into the current state of performative riffing and embodied audiencing. Chapter 4 chronicles my initial foray into ritual embodied audiencing with an ethnographic account of the 24-hour participatory "bad" movie festival B-Fest. Recounting my experiences of a B-Fest spent riffing alongside a group of enthusiastic B-Fest aficionados, I consider both the shortcomings and potential power of B-Fest riffing as a participatory, embodied audiencing ethic. Chapter 5 continues my exploration into site-specific audiencing rituals and weaves elements of text-specific inquiry, as I examine the popular audiencing ritual of the 2003 film The Room through a lens of Victor Turner's social drama model. I argue The Room's audiencing ritual and its related performances constitute part of a discursive struggle between the film's fanbase and the film's director, Tommy Wiseau, to claim the film's enduring success as a midnight movie phenomenon. In describing ways in which audience members interact with the film and each other during screenings of the film, I explore the implications of tactical in-theater performance in reading pop culture texts. Chapter 6 moves out of the realm of physical theaters and into the world of popular media as I explore today's most famous and influential riffing showcase, Mystery Science Theater 3000, and consider the tactical strengths and weaknesses of its model of movie riffing as a vessel for cultural criticism. I undertake a close textual reading of MST3K's characteristic movie riffing and identify themes that politically minded riffers might utilize to aid their efforts to read and potentially challenge ideologically loaded texts. Yet, recognizing that the discourse of the show at times showcases problematic attitudes that can be read as destructive or offensive in ways that suggest ridiculing a text is not necessarily the same as subverting it, I also consider ways in which MST3K's model of riffing falls short or presents challenges--and, therefore, avenues for innovation and growth--to politically minded riffers. Chapters 7 and 8 reflect on the lessons gleaned in previous chapters to articulate theoretical contributions and future directions for riffing and embodied audiencing practices. Chapter 7 reflects upon the observations and ideas gathered in Chapters 4 through 6 and localizes them in three related contexts--amateur riffing and online communities, mediated activist art, and the political use of humor--which I offer as further illuminating possibilities, challenges, and new directions and paradigms for riffing. Finally, Chapter 8 draws from my observations in Chapters 4 through 7 and discusses future directions that performative riffing and embodied audiencing performances provide as text-based discursive tools for interpreting and critiquing mediated cultural texts and the ideologies and interpretations of reality they convey. I glimpse into the future of riffing and in-theater performance and discuss the possibilities of riffing as a method of political performance by which media consumers can talk back to mediated texts and those texts' ideologies and interpretations of reality.

The cultural performance of textile graffiti, or yarnbombing, dramatizes women’s contested relationship to the public/privates dichotomies that constitute neoliberal capitalism as well as liberal democracies. Across both of these institutions, privatized matters are problematically excluded from political consideration, and private sphere values—such are nurturance, interdependence, and communalism—are denied their necessity and legitimacy as public goods. Textile graffiti artists furnish an association between public and private life by placing signifiers of domesticity and caregiving onto the public streets, and adorning those nurturant signifiers with political and/or feminist messages. In so doing, textile graffiti functions to politicize caregiving, to highlight its gendered dimensions, and to remind city-goers of caregiving as a public issue and a public good that is necessary to the overall health of a functioning liberal democracy. This study explores textile graffiti from various political, aesthetic, and historical angles in order to situate it within an enduring feminist struggle to re-imagine public/private binaries through valorization of the artifacts, values, and communicative practices that are associated with the private sphere of the home.

No description available.

Since the introduction of film to Japan in the 1890s, Japanese cinema has been continually influenced by transnational processes of film production, distribution, promotion, and reception. This has led inevitably to questions about the inherent nationality of Japan's film culture, despite the fact that Japanese cinema has often been subjected to analyses of its fundamental ‘Japaneseness'. This study seeks to make an original contribution to the field of Japanese film studies by investigating the contradictory ways in which Japan has functioned as a global cinematic brand in the period 2000 to 2010, and how this is interrelated with modes of promotion and reception in the English-speaking markets of the UK and the USA. Through textual and empirical analyses of seven films from the selected period and the non-Japanese consumption of them, this thesis argues that contemporary film exports are culturally-decentred in regards to their industrial and, to some extent, aesthetic dimensions. This results from contradictory modes of ‘cultural erasure' and ‘cultural performance' in the production of certain films, whereby aesthetic traces of cultural specificity are concealed or emphasised in relation to external commercial interests. Despite strategies of cultural erasure, explicit cinematic representations of cultural specificity remain highly valued as export commodities. Moreover, in the case of contemporary Japanese film exports, there are significant issues of ‘cultural ownership' to be accounted for given the extent to which non-national industrial consortia (film producers, financers, DVD distributors, film festivals) have invested in the promotion and in some cases the production of Japanese films. Thus, both in relation to the aesthetic erasure of Japaneseness and their non-Japanese commercial identities, recent film exports can be viewed as non-national cultural products that have a commercial and cinematic identity connected to external influences as much as internal ones.

Submitted by Luanna Matias (lua_matias@yahoo.com.br) on 2015-05-19T15:19:21Z No. of bitstreams: 2 Dissertação - Antonio de Jesus Pereira - 2014.pdf: 1861267 bytes, checksum: b40326535ece6d6b44d538b43f1c8e76 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luanna Matias (lua_matias@yahoo.com.br) on 2015-05-19T15:29:06Z (GMT) No. of bitstreams: 2 Dissertação - Antonio de Jesus Pereira - 2014.pdf: 1861267 bytes, checksum: b40326535ece6d6b44d538b43f1c8e76 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-05-19T15:29:06Z (GMT). No. of bitstreams: 2 Dissertação - Antonio de Jesus Pereira - 2014.pdf: 1861267 bytes, checksum: b40326535ece6d6b44d538b43f1c8e76 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-11-24 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / An analysis of the mystics of the MST (movement of the landless workers) has been conducted in this dissertation. An attempt has been made to identify the enunciations that circulate around the mystics of the movement in order to find out to what extent they can enhance the potential of the formative process of its organic militancy. The elements which contribute to the manifestations of the mystics and which allow for them to be analyzed, in the perspective of the cultural performances, have been identified. For that means we have conducted a dense description ethnography of the mystics of the landless workers, supported by the idea of Clifford Geertz. The research that resulted in this dissertation was done in the state of Pará, and the purpose was to accomplish a work with the militancy of the movement of the rural landless workers (MST). Pará was chosen because it is a place of serious conflicts between landless workers and farmers. The following methodological procedures were adopted: record on field notebooks, observations, interviews and sound recordings. The research was conducted in the main formation spaces of the militants of the MST, such as: meetings, associations, assemblies and schools. Nine interviews with the militants have been conducted. From this trajectory we come to the conclusion that the landless workers constitute themselves by means of rituals and of the social activities of the MST, as social actors that incorporate experiences of struggle. In face of that they have constituted a capacity of systematizing their experience through poetic, body, imagistic and symbolic language that permeate the mystics of the movement. / Nesta dissertação realizou-se uma análise das místicas do MST. Buscou-se identificar os enunciados que circulam nas místicas do movimento para saber até que ponto podem potencializar o processo formativo da militância orgânica. Identificou-se elementos que contribuem para as manifestações das místicas, os quais permitiram que as mesmas fossem analisadas na perspectiva teórica das performances culturais. Para tanto, realizou-se uma etnografia da mística dos sem-terra a partir de uma descrição densa, apoiada na ideia de Clifford Geertz. A pesquisa que resultou nesta dissertação foi realizada no Estado do Pará e a proposta foi realizar um trabalho com a militância do Movimento dos Trabalhadores Rurais Sem-Terra (MST). A escolha do Pará se justifica no fato de que este é um lugar de grandes conflitos entre trabalhadores sem-terra e fazendeiros. Foram adotados os seguintes procedimentos metodológicos: registro através do caderno de campo, observações, entrevistas e gravações. Efetivou-se a pesquisa nos principais espaços de formação dos militantes do MST, tais como: reuniões, associações, assembleias e escolas. Ao longo deste trabalho foram realizadas nove entrevistas com os militantes do movimento. A partir deste percurso, conclui-se que os sujeitos sem-terra se constituem, por meio dos rituais e das atividades sociais do MST, como atores sociais que incorporam experiências de luta. Neste processo constituem, ainda, a capacidade de sistematizar suas vivências através da linguagem poética, corporal, imagética e simbólica que permeia as místicas do movimento.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-06-29T17:52:52Z No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-30T11:26:56Z (GMT) No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-06-30T11:26:56Z (GMT). No. of bitstreams: 2 Dissertação - Grasielle Aires da Costa - 2015.pdf: 911952 bytes, checksum: c0ced5b7036e92c431253828b800dfc8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-11-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims to analyze the concepts of ritual developed by Richard Schechner and Victor Turner. This is realized through the definition, analysis and discussion of the concepts looking for the dialog between Schechner and Turner. The research was developed by reading and analysing the major volumes published by these authors, what is Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors and From Ritual to Theater by Turner and made by Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual and Performance Studies. Was not found any work like this. It is an inedited and presented an important review on Schechner‟s and Turner‟s written. The ritual concept needs this multiplicity look to take a new breath and look up different sea-lines. This job has a methodological richness because points out precisely the fact that the research belongs analyse the field "between" the theatre and anthropology. It is not remand to any discipline and the same time belongs to all of them. This is a bibliographic study what can provide theoretical support for various research fields. / Este trabalho visa à análise do diálogo interdisciplinar e liminar estabelecido entre Richard Schechner e Victor Turner através da definição, análise e discussão do conceito de ritual em suas obras. A pesquisa foi desenvolvida através da leitura e fichamento dos principais volumes publicados destes autores, sendo eles Schism and Continuity; Forest of Symbols; The Ritual Process; Dramas, Fields and Metaphors e From Ritual to Theater de Turner e de Schechner Environmental Theater; Essays on Performance Theory; Between Theater and Anthropology; The Future of Ritual e Performance Studies. Não foram encontrados registros de trabalhos semelhantes. Sendo esse um trabalho inédito e que oferece uma revisão dos escritos destes dois autores. Discutir o ritual por esta perspectiva multifacetada é abrir o leque de novas possibilidades de discussão de um conceito tão importante e que tendo sido já tão discutido necessita de novo fôlego para ganhar novos horizontes. Trata-se de um trabalho considerado liminar, pois sua riqueza metodológica está justamente no fato de a pesquisa localizar-se no "entre" o teatro e a antropologia. Não se prende a nenhuma disciplina e ao mesmo tempo pertence a muitas. Trata-se de um estudo bibliográfico que poderá servir de aporte teórico para os mais variados campos de pesquisa.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2016-10-14T18:18:12Z No. of bitstreams: 2 Dissertação - André Carlos Conrado Inácio da Silva - 2016.pdf: 5170361 bytes, checksum: b30260de2baa8b6ac5e436c714f31823 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2016-10-14T18:19:49Z (GMT) No. of bitstreams: 2 Dissertação - André Carlos Conrado Inácio da Silva - 2016.pdf: 5170361 bytes, checksum: b30260de2baa8b6ac5e436c714f31823 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-10-14T18:19:49Z (GMT). No. of bitstreams: 2 Dissertação - André Carlos Conrado Inácio da Silva - 2016.pdf: 5170361 bytes, checksum: b30260de2baa8b6ac5e436c714f31823 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The word performance was popularized and became appellant in everyday human being. However, they make use of it without understanding the size and strength she has. . The performance takes place in all areas of our life, she runs the kitchen at the time of cooking, in sports, at work, on the floor, finally the performance is a term loaded with meanings and synthesis shows that our life is structured with ways behavior and gestural expression that a social attitude that is evident in daily living. The dissertational work images that speak: A pictorial ethnographic research goianiense cultural performance (2014-2016), sought to demonstrate how to constitute the daily lives of the city of Goiania cultural performance of passers-by that it circulating in their day-to-day. For this, we used the Photoethnography in a collection of images made through photographs taken at various points of the city, which were later transformed into lick lick and taken for public reception in the same places where photographed form. With the reception process we seek to identify the goianiense or goianiense recognize the images its own cultural performance or not. So in the receptive process we conducted interviews with the receiver public that were later used for data analysis on procedural research. This time, the results led to a gestural performance goianiense and goianiense that became evident in his statements on the existence of an identity - performative than is to be a goianiense or goianiense. This work is an invitation to get to know how to built and present in living daily "be goianiense". / A palavra performance se popularizou e tornou-se recorrente no cotidiano do ser humano. No entanto, fazem uso da mesma sem entenderem a dimensão e força que ela tem. A saber que performance ocorre em todos os espaços de nossa vida, ela ocorre na cozinha no ato de cozinhar, no esporte, no trabalho, no andar, enfim, a performance é um termo carregado de sentidos e em síntese demonstra que a nossa vida está estruturada com modos de comportamentos e gestuais que expressam uma postura social que se evidencia no viver cotidiano. O trabalho dissertativo Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016) buscou demonstrar como se constitui no viver cotidiano da cidade de Goiânia a performance cultural dos goianienses que por ela circulam no seu dia a dia. Para tanto, fizemos uso da fotoetnografia em uma coleta de imagens realizada por meio de fotografias feitas em diversos pontos da cidade que, posteriormente, foram transformadas em l ambe -l ambes e levadas para recepção do público nos mesmos locais onde foram fotografados. Com o processo de recepção, buscamos identificar se o goianiense ou a goianiense reconheceria nas imagens a sua própria performance cultural ou não. Assim, no processo receptivo, realizamos entrevistas com o público receptor que foram posteriormente usadas para análise de dados no processual da pesquisa. Dessa feita, os resultados obtidos nos levaram a conhecer uma performance gestual do goianiense e da goianiense que foi construída desde a formação da cidade, e eles afirmaram nos depoimentos a existência de uma performance que constitui a identidade – performática do que viria a ser um goianiense ou uma goianiense. O presente trabalho é um convite à reflexão sobre o viver cotidiano do “goianiense”.

Despite its exceptional importance as a cultural performance event in the Church of Jesus Christ of Latter-day Saints, General Conference has received little attention in Mormon studies, to say nothing of sociolinguistics. Situated within the larger question of how the public language of Mormon authorities has changed over time, this thesis seeks to discover style features of what impressionistically appears to be a unitary General Conference style since 1960 (the era of church "Correlation"). Statistical analysis is then used to determine which of five sociolinguistic factors and three pairwise interactions between four of the five sociolinguistic factors most saliently conditions the use of these style features in General Conference. Findings indicate that older male speakers are more likely to perform the majority of these style features, which opens the possibility that a new style may be emerging. Finally, this study attempts to give a theoretical account of style in General Conference by appealing to Alan Bell's (1984; 2001) "audience design" framework, and Nikolas Coupland's (2007) refinement of Bauman's cultural performance theory. The unique conditions of General Conference are best described as a "high performance event" in which speakers converge stylistically on an uncharacteristically present "in-group referee," namely the General Authorities of the church present in the LDS Conference Center during the live broadcast of General Conference.