Title from second page of PDF document. Includes bibliographical references (p. 56-58).

Thesis (doctoral)--Frankfurt am Main, 2006. / Includes bibliographical references (p. 259-281).

Thesis (Kandidatspeciale / MA)--Institute of Anthropology, University of Copenhagen. / Title from screen page; viewed 25 July 2005. Includes bibliographical references. Also available in print format.

Zugl.: Stuttgart, Universiẗat, Diss., 2005.

S’khothane: Representation in, and influence on, contemporary visual arts practices For several years now, S’khothane youth culture has been viewed as a social ill. This view started after it received massive broadcast and print media coverage during the course of 2012. Crews claiming adherence to S’khothane were interviewed by investigative journalism programmes on two of South Africa’s most watched television channels, eTV and SABC1. While some townships1 in Gauteng claim to have been the birthplace of S’khothane, this subculture appears to be based on various other subcultures that preceded it. Cultures such as Swenkas (Umswenko), Sapeurs (La Sape) and Pantsula influenced various aspects of the S’khothane culture, from dance and poses, to dress style and performances. References made to S’khothane in studies by Mkhwanazi (2011) and Jones (2013a) as well as mass media coverage on programmes such as 3rd Degree (2015) and Cutting Edge, have generally been negative. Jones (2013a:210) describes S’khothane as a disruptive manifestation of consumption, which involves publicly destroying expensive designer clothes, shoes and accessories to show that these symbols of wealth are meaningless and easily replaceable. This study explores the representation of S’khothane in selected contemporary visual artworks and assesses any influence it might have on these artworks. The study also investigates public perceptions about the S’khothane youth culture and evaluates these against realities documented during data collection to determine whether the perceptions were premised on misconceptions. A group of participants was randomly selected from S’khothane events that took place in Fountains Valley (Pretoria), Soshanguve, Tembisa and other S’khothane gatherings held in places such as recreational parks and taverns. The participants were interviewed to gain insight into their perspective of the S’khothane culture, to establish the culture’s origin, its practises and elements. S’khothane is widely integrated and visually appropriated in the visual language of selected contemporary South African art practices. To this end, this research extends into a focused analysis of selected artworks in order to demonstrate how S’khothane influences selected contemporary visual arts practice in Gauteng. Through this approach, it becomes clear that these modes of representation embody no explicit moral judgement as one might find in investigative journalism programmes. There is a subtlety in the way S’khothane is represented by selected artists. In the Jamalaun Nxedlana artworks discussed, there is an element of realism depicted in the absence of manipulation through the documentation. On the other hand, Kudzanai Chiurai’s form of representation involves manipulation because he produced his visual artworks in a studio where he used props and had the ability to control the composition of the artwork. Nontsikelelo Veleko made a representation of various S’khothane elements including colourful clothes and accessories such as sunglasses. The study also investigates how S’khothane lifestyles, dance, poses, clothing and performances are trends shaped influenced by other subcultural historic groups such as Swenkas (Umswenko), Sapeurs (La Sape) and Pantsula; giving them fad status, whether it be morally correct or not. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

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The present study was designed to answer two questions. First, how do different forms of voice influence perceptions of organizational justice? Second, do organizational justice perceptions affect an individual's motivation to improve their job performance?

ŠVADLENOVÁ, Jana. The phenomenon of tattoo, body as a socio-cultural and art document. Prague, 2013. Thesis. Charles University in Prague, Faculty of Education, Department of Fine Arts. Supervisor PhDr. Jan Šmíd, Ph.D., 126 pages. Thesis "The phenomenon of tattoo, body as a socio-cultural and art document" is about tattoo as not only a form of body decoration, but as a possible theme in arts teaching. The author tried to map the history of this ancient ornamentation, to justify rising interest in it in the present and last but not least, tried to find a way how to present it to elementary school students in a comprehensible way. The thesis includes examples of possible reasons and ways of tattoo, while trying to find a connection to rituals (traditional and modern). The important part is finding options how to include this topic in the arts teaching at elementary schools and how to approximate possible pros and cons of this ornamentation.

The dissertation thesis focuses on the topic of individualism and non-clinical narcissism. The issue is seen first in the broad context of social sciences and also the results of empirical researches published hitherto are summarized in the first part. Subsequently, based on three questionnaire surveys (two of them have representative character), is researched the incidence of individualism and non-clinical narcissism in the Czech population as well as the interaction between these two phenomena. For the purposes of measuring of their incidence we adopted the scale of individualism and collectivism (INDCOL) and constructed our own valid instrument for measuring non-clinical narcissism. In the text there is also described the process of construction and application of these two instruments. The thesis pursues also wider consequences of non-clinical narcissism, emphasizing one's self-conception, sexual life, partner and other interpersonal relationships, professional life and occurrence of social-pathological behaviour.

Miroslav Paulíček NO ONE DARE SAY IT'S BORING TOWARDS THE SOCIOLOGY OF HIGH AND LOW ART The concept of high art usually connotes highbrow and snobbery, the pride of elitists; it seems to be an instrument of the ruling class for its dominant social status reproduction. Many advocates of popular culture scorn and ignore high art - they often use the approach of social constructivism and say that high culture is nothing but a social construction. They emphasize that there is no quality, which could classify any work of art as high or low. On the contrary, the author of this book writes about an art with no animosity, without an effort to relativize of it, about art without ironic quotation marks. The title of this book - quotation from Gustave Flaubert's letter about reading Dante's Inferno - enables to develop a story of the answer to the question of what kind of art is the art that no one calls boring and why no one dare do it. The book finds its inspiration in the perspective of social constructivism and in the sociology of science. The author describes the actors (both humans and non-humans) that keep the network of high art together. He starts with the ways of creating canons (of authors or works of art), he also deals with actors as nation, tradition, taste, age, money, education, comic, kitsch, irony,...