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Within this thesis I explore what can be achieved when culture is critically assessed through a series of theories that mobilise a spatial imaginary. I place the concepts of atmosphere, connection, site and encounter, and theories of emergence via terms such as movement, practice and embodiment, into tension with a single case study: Goth. Goth is a music based grouping, emerging from Punk, New Romantic, Indie and Glam Rock style and music cultures in the late 1970s, with a significant near-global presence in the popular culture industries and links to several salient media controversies; including the Columbine High School massacre, the murder of Sophie Lancaster, and fears over self-harm and suicide. I specifically draw on the vocabularies from within non-representational geographies of performance, relational materiality, affect and social anxiety to re-work understandings of this collectivity. I question what is involved in the material practices of Goth, explore how the practice and experience of Goth is articulated through specific sites, examine how Goth participates in the production and circulation of cultures of anxiety or (un)popularity; and reconsider the concept of ‘subculture’. To do so, I employ a range of methodologies, from guided walks to photo-diaries, within multi-site field research throughout the UK, Tokyo and New York City. I conclude that Goth and culture more generally can be theorised in a number of ways: it emerges as a performed series of embodied acts; it is co-produced in complex relations with non-humans; it can be thought of as a series of modulating affective atmospheres; it coalesces as a collectivity and circulates through events; and it is co-produced through sites and media events. None of these dominates over or diminishes the other; rather they are co-constitutive and interdependent.

This thesis explores the insider/outsider dynamic experienced by individuals as they enter diverse social situations. The shift from insider to outsider is evoked through an art installation of 18 sculptures drawing influence from "goth" subculture, as the viewer enters and interacts with the art space. The subjects of culture and identity are discussed as they pertain to insider/outsider status.

Quel est le lien entre de jeunes et indomptables vampires de la Nouvelle-Orléans, une créature frankensteinienne avec des ciseaux à la place des mains, Alice combattant la Reine Rouge dans un Wonderland effroyable et un ange déchu nommé Cain, version japonaise ? Ténèbres, rébellion et jeunesse semblent se rejoindre dans le même filon. L'objectif de cette thèse de littérature comparée n'est pas simplement de rappeler que les manifestations de la sous-culture Goth est toujours d'actualité mais aussi démontrer le caractère trans-médiatique et transculturel de ce que nous appelons la culture des ténèbres, dans quatre médias différents. Divisé en quatre grands chapitres, ce travail analyse l'importance du premier « vampire moderne », Dracula de Bram Stoker, dans l'émergence de la figure de l'outcast vampirique dans The Vampire Lestat de Anne Rice et Lost Souls de Poppy Z Brite. Le second chapitre étudie la créature frankensteinienne dans le film de Tim Burton, Edward Scissorhands, lequel a su imposer sa propre conception tout en étant sensiblement lié à l'œuvre de Mary Shelley. Le troisième se consacre à l'analyse de la ré-imagination personnelle d'Alice in Wonderland par le concepteur American McGee dans les jeux vidéos American McGee's Alice et Alice Madness Returns. Enfin, nous proposons une étude de la série de manga Goth Cain écrit par Yuki Kaori dans un dernier chapitre. / What is the link between young wild vampires in New Orleans, a frankensteinian creature with scissors for hands, Alice fighting the Red Queen in a twisted Wonderland and a japanese version of a fallen angel named Cain ? Darkness, rebellion and youth seem to converge in the same stream. The purpose of this thesis is not only to recall that Goth subculture is still fashionable but also to discuss on the dark culture transmedia and transculturalism in four different medias. Divided in four chapters, this study analyses the importance of the first « modern » vampire, Bram Stoker's Dracula's in the coming-up of the vampire outcast in Anne Rice's Vampire Lestat and Poppy Z Brite's Lost Souls. The second chapter focuses on the creature in Tim Burton's movie Edward Scissorhands which presents an original conception while dealing with Mary Shelley's Frankenstein at the same time. The third chapter analyses American McGee's personal vision of Lewis Carroll's Alice in Wonderland in the video games American McGee's Alice and Alice Madness Returns. The last chapter explores Yuki Kaori's Cain Goth manga series.

Ridefinizione del tema delle origini dei Goti secondo il recente dibattito e indagine storico-prosopografica basata su fonti narrative, documentarie, archeologiche ed epigrafiche sulla fisionomia identitaria e sociale degli Ostrogoti insediati in Italia e sopravvissuti nel periodo successivo alla Guerra Greco-Gotica (dalla seconda metà del VI sec. d.C..), con particolare attenzione alle aree di dominio bizantino. Il lascito della loro memoria etnica, storica e istituzionale nel Regnum longobardo e in alcune fonti narrative italiane medievali. / Redefinition of the Goths-origins them in the recent debate, and historical -prosopographical research based on narrative, documentary, archaeological and epigraphic sources about the identity and social make-up of living and surviving Ostrogoths in Italy after the Greek-Gothic War (from 2nd half of VIth century), particularly for the areas under Byzantine rule. The heritage of their ethnic, historical, and institutional remembrance in the Lombard kingdom and in some Italian middle-age narrative sources.

Made available in DSpace on 2016-04-26T18:16:24Z (GMT). No. of bitstreams: 1 Bruno Fischer Dimarch.pdf: 4202658 bytes, checksum: fbec2c82e772f775a28f755773e88f33 (MD5) Previous issue date: 2007-08-27 / Secretaria da Educação do Estado de São Paulo / The present Dissertation devotes to think about the Gothic, identifying the problems brought by the mistaken media exposition. For this purpose, it is presented a gothic reading of the Goth, so that it can be understood as a part of an usual process to all cultures, as a refuge of the generation of the, named here, culture norm . This research present as the theoretical corpus the General Systems Theory, in the development of Jorge de Albuquerque Vieira, proposing a new approach of the concept of collective shadow proposed by Carl Gustav Jung (1875-1961), from the hypothesis that every culture projects its shadow (the term culture refers only to western culture in this dissertation). This shadow is the allegoric night of moral, ethics and dominant customs. The repressed elements are organized in a system of mediation in the communicative relation of body with environment, named Shadows . Goth is a subsystem of Shadows, which found a great difficult in media communication. Through broadcasted interviews, sites and journalistic subjects in several means of communication, it is possible to find Goth associations with a culture and life style that are subversive, licentious, antichrist, necrophile etc. That kind of mediatic exposition, injured public identification in relation to Gothic culture. Although, the Goth intracommunication ensured its permanence and evolution, retreated from mediatic light. In the Shadows, this process points towards a relative distinction of the other subsystems and a specialization of its internal information. Besides the bibliographic research, interviews and an image documentary research in different media means were held / A presente Dissertação se dedica a pensar sobre o Gótico, identificando os problemas trazidos pela sua equivocada exposição midiática. Para tal, apresenta uma leitura gótica do Gótico, com o objetivo de fazê-lo ser entendido como parte de um processo comum a todas as culturas, o refugo da geração da, aqui nomeada, norma da cultura . Essa pesquisa apresenta como corpus teórico a Teoria Geral dos Sistemas, no desenvolvimento de Jorge de Albuquerque Vieira, propondo uma nova abordagem do conceito de sombra coletiva , de Carl Gustav Jung (1875 1961), a partir da hipótese de que toda cultura projeta a sua sombra (e aqui o termo cultura se refere somente à cultura ocidental). Essa sombra é a noite alegórica da moral, da ética e dos costumes dominantes. Elementos reprimidos se organizam em um sistema de mediação na relação comunicativa do corpo com esse ambiente, nomeado de Sombras . O Gótico é um subsistema das Sombras que encontrou grande dificuldade de comunicação midiática. Em entrevistas televisivas, sites e matérias jornalísticas em diversos meios de comunicação é possível encontrar associações do Gótico a uma cultura e estilo de vida subversivo, licencioso, anticristo, necrófilo etc., refugos da norma da cultura. Esse tipo de exposição midiática prejudicou a possibilidade de identificação e melhor compreensão, por parte do público, da cultura gótica. Todavia, foi a intracomunicação no Gótico que garantiu a sua permanência e evolução, fora da luz midiática. Nas Sombras, esse processo apontou para uma relativa distinção de outros subsistemas e uma especialização das suas informações internas. Além da pesquisa bibliográfica, foram realizadas entrevistas e uma pesquisa documental de imagens em diferentes mídias

This thesis discusses concepts of cosmopolitism and peripherality in the Greek and wider European goth scene. The research took place primarily in Greece but extended to Germany, the United Kingdom and online as I followed the movement of Athenian goths who were searching for connectivity, hybridity and their cosmopolitan selves. In living a hybrid cosmopolitan identity, goths regularly challenge national stereotypes and transgress international boundaries. But sometimes the complexities of goth cosmopolitan identity may also contain unpalatable aspects, such as hard-core Greek or German nationalism and views that verge on xenophobia or anarchism that are seemingly at odds with the ‘open' and ‘egalitarian' persona put forward by Athenian goths. It is through performance (particularly dance) that Athenian goths choose to express their beliefs and desires, blending aspects of the contemporary goth scene with twists of ‘traditional' Greek ideas. Often performance, with all its paradoxes and hybrid contradictions, says more than words. Movement is at the centre of goth identity; the movement of ideas on social media, the physical movement of goths to overseas festivals and the exchange of opinions among goths at nightclubs in Athens all contribute to a hybrid cosmopolitan identity of a group of people who reside both on the geographical periphery of Europe and on the periphery of their own society. Goth identity is hybrid and complex with layers of peripherality being channelled toward becoming an ever-developing cosmopolitan subject. This thesis focuses on the core aspects of the goth life-project which aim for individuality, connectivity, movement and inclusivity. Being able to creatively display one's hybrid cosmopolitanism is the very essence of what it is to be goth.

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