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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
51

Música e imagem: o movimento punk e seus desdobramentos - década de 1990

Barcellos, Jefferson Alves de 26 May 2008 (has links)
Made available in DSpace on 2016-04-25T20:22:17Z (GMT). No. of bitstreams: 1 Jefferson Alves de Barcellos.pdf: 10947803 bytes, checksum: 8d6bc7f78b1e77886390d9d5f1b68546 (MD5) Previous issue date: 2008-05-26 / The Social Sciences dedicate attention on studying the youth as a new bias on the construction of identities (Hall, 1999) in different formats and as a continuous process that occurs at a daily manner. The present work tends to understand and punctuate specific points on the modification of musical genders on a historical and bibliographic way, with a profound study of the new musicality and its insertion on the youth universe. The first musical chords of the American black music were considered, such as its influences, at a first moment identifying the artists that dedicated their work to this new musical possibility and at a second moment, to the new visual possibilities that were presented during the route of this change. The present work takes on a photographic bias to identify and punctuate the different musical style modifications, following, at a first glance, the changes at the North American scenario and secondly, on the English ground. On this second moment, this dissertation points out the changes occurred on musical aspects and through the analyses of images and photography of the 60´s, showing later that at a punctual way these changes occurred simultaneously at the USA and England, culminating on the consolidation of a new musical and visual style, which was called the Punk Culture. Considering the music and photography as a basis for a permanent dialogue, an ethnographic research was conducted at the city of Ribeirão Preto, considering the musical scenario at the 90´s and the actuation of the present researcher on the punk music movement of the city. This work of investigation and identification also traces a comparison with the present day and identifies a visual and musical scenario with the influence of the punk movement on the city at the present day (2007) / As Ciências Sociais dedicam-se cada dia mais com o estudo da juventude como um novo viés para a construção de identidades (HALL, 1999). Essas identificações têm vários formatos e acontecem de maneira cotidiana das maneiras mais distintas. Esse trabalho visa, através de um mapeamento histórico e bibliográfico, entender e pontuar alguns pontos específicos de mudanças de gêneros musicais. Para tanto, se valeu de um estudo profundo de novas musicalidades e sua profunda inserção no universo juvenil. Partindo do levantamento dos primeiros acordes musicais, que fizeram da música negra americana, no início do século vinte, o começo para o grande destaque que o rock têm nos dias atuais, incluindo suas maneiras e influências, chegou-se ao punk moderno, representante direto da rebeldia juvenil. Num primeiro momento, a dissertação preocupo-se em identificar os artistas que se dedicavam a essa nova possibilidade sonora; posteriormente, verificou-se as novas possibilidades visuais que se apresentam na trajetória dessa mudança. O trabalho aproveita de um viés fotográfico para identificar e pontuar as mudanças de fase, percorrendo das mudanças sociais em solo norte-americano, para o surgimento de um novo modo de fazer música em terras Inglesas. Neste segundo momento, essa dissertação aponta as mudanças ocorridas nos aspectos musicais, colocados através das músicas e de análises fotográficas na década de 1960, já simultaneamente nos Estados Unidos e Inglaterra para, depois, de maneira pontual, identificar e pontuar a consolidação de uma cena musical comum e emergente nos dois países. É o que veio a consolidar-se como estética Punk, contemplando música e visual. Tendo o trabalho todo como base a música e a fotografia, criando com isso um diálogo permanente, foi realizada uma pesquisa etnográfica na cidade de Ribeirão Preto, tendo como base os anos 1990 e a atuação do pesquisador no movimento Punk da cidade. O trabalho de investigação e identificação traça uma comparação com os dias atuais, identificando também uma cena visual e musical com influências da música e do visual Punk na cidade nos dias atuais (2007) encerrando, com isso, a análise desse trabalho
52

Música e imagem: o movimento punk e seus desdobramentos - década de 1990

Barcellos, Jefferson Alves de 26 May 2008 (has links)
Made available in DSpace on 2016-04-26T14:57:05Z (GMT). No. of bitstreams: 1 Jefferson Alves de Barcellos.pdf: 10947803 bytes, checksum: 8d6bc7f78b1e77886390d9d5f1b68546 (MD5) Previous issue date: 2008-05-26 / The Social Sciences dedicate attention on studying the youth as a new bias on the construction of identities (Hall, 1999) in different formats and as a continuous process that occurs at a daily manner. The present work tends to understand and punctuate specific points on the modification of musical genders on a historical and bibliographic way, with a profound study of the new musicality and its insertion on the youth universe. The first musical chords of the American black music were considered, such as its influences, at a first moment identifying the artists that dedicated their work to this new musical possibility and at a second moment, to the new visual possibilities that were presented during the route of this change. The present work takes on a photographic bias to identify and punctuate the different musical style modifications, following, at a first glance, the changes at the North American scenario and secondly, on the English ground. On this second moment, this dissertation points out the changes occurred on musical aspects and through the analyses of images and photography of the 60´s, showing later that at a punctual way these changes occurred simultaneously at the USA and England, culminating on the consolidation of a new musical and visual style, which was called the Punk Culture. Considering the music and photography as a basis for a permanent dialogue, an ethnographic research was conducted at the city of Ribeirão Preto, considering the musical scenario at the 90´s and the actuation of the present researcher on the punk music movement of the city. This work of investigation and identification also traces a comparison with the present day and identifies a visual and musical scenario with the influence of the punk movement on the city at the present day (2007) / As Ciências Sociais dedicam-se cada dia mais com o estudo da juventude como um novo viés para a construção de identidades (HALL, 1999). Essas identificações têm vários formatos e acontecem de maneira cotidiana das maneiras mais distintas. Esse trabalho visa, através de um mapeamento histórico e bibliográfico, entender e pontuar alguns pontos específicos de mudanças de gêneros musicais. Para tanto, se valeu de um estudo profundo de novas musicalidades e sua profunda inserção no universo juvenil. Partindo do levantamento dos primeiros acordes musicais, que fizeram da música negra americana, no início do século vinte, o começo para o grande destaque que o rock têm nos dias atuais, incluindo suas maneiras e influências, chegou-se ao punk moderno, representante direto da rebeldia juvenil. Num primeiro momento, a dissertação preocupo-se em identificar os artistas que se dedicavam a essa nova possibilidade sonora; posteriormente, verificou-se as novas possibilidades visuais que se apresentam na trajetória dessa mudança. O trabalho aproveita de um viés fotográfico para identificar e pontuar as mudanças de fase, percorrendo das mudanças sociais em solo norte-americano, para o surgimento de um novo modo de fazer música em terras Inglesas. Neste segundo momento, essa dissertação aponta as mudanças ocorridas nos aspectos musicais, colocados através das músicas e de análises fotográficas na década de 1960, já simultaneamente nos Estados Unidos e Inglaterra para, depois, de maneira pontual, identificar e pontuar a consolidação de uma cena musical comum e emergente nos dois países. É o que veio a consolidar-se como estética Punk, contemplando música e visual. Tendo o trabalho todo como base a música e a fotografia, criando com isso um diálogo permanente, foi realizada uma pesquisa etnográfica na cidade de Ribeirão Preto, tendo como base os anos 1990 e a atuação do pesquisador no movimento Punk da cidade. O trabalho de investigação e identificação traça uma comparação com os dias atuais, identificando também uma cena visual e musical com influências da música e do visual Punk na cidade nos dias atuais (2007) encerrando, com isso, a análise desse trabalho
53

DISTAT MOTSTÅND : Motståndsartikulationer i all-trans/female-punkbands låttexter

Kling, Gina January 2014 (has links)
Syfte och frågeställningar: Uppsatsens syfte är att lyfta fram motståndsartikulationer i låttexter skrivna av aktiva all-trans/female-punkband. Frågeställningarna behandlar låttexternas teman, deras referenspunkter, bandens val av mottståndsstrategi och vart detta motstånd riktas. Teori: Huvudsakligen har motståndsforskarna Mona Lilja och Stellan Vinthagens bok Motstånd (2009) använts för att beskriva hur motstånd verkar i förhållande till makt. Judith Butlers Genustrubbel (2007) har använts för att exemplifiera makt- och motståndsverkan kopplat till kön. Metod: Låttexterna har analyserats kvalitativt och tolkats i relation till det omgivande samhällets maktstrukturer. På så sätt har tema och referenspunkter utlästs. Hur motståndet artikuleras i låttexterna har sedan beskrivits med hjälp av uppsatsens teoretiska utgångspunkter. Resultat: Det har funnits ett stort omfång av motståndsartikulationer i alla nio låttexter. Motståndet har främst riktats mot patriarkala maktstrukturer. De tre bandens motståndsartikulationer går att särskilja genom de olika motståndsstrategier de använder sig av för att adressera patriarkatet. Matriarkatet använder sig av humor, Korp av symboliskt våldsamma artikulationer och Flocken av både det symbolisk våldsamma och artikulationer som kritiserar begränsande normer och ideal.
54

Sociala medier som marknadsföringskanal : En studie kring hur punk och rockare upplever och använder sociala medier. / Social Media The Marketing Channel : A Study How Punkrockers Experience and Utilise Social Media.

Hedström, Jessica, Lyckegård, Jonas January 2012 (has links)
Problembakgrund: Sociala medier har blivit så viktigt att marknadsförare inte kan bortse ifråndem (Patino, Pitta och Quinones, 2012). Det är viktigt att företag har en klar strategi för hurmarknadsföringen på sociala medier ska se ut (Setreus, 2011). För att få djupare förståelse kringdet här bör användandet av sociala medier undersökas.Syfte: Uppsatsen syfte är att undersöka och beskriva konsumenters beteende på sociala medier,och upplevelser kring företags marknadsföring på sociala medier.Metod: Undersökningen har en kvalitativ ansats. Urvalet i studien är ett spontant uppsökandeurval av tolv individer, som har deltagit i totalt tre stycken gruppintervjuer med fyra personer ivardera.Slutsatser: Respondenterna i undersökningen använde i huvudsak sociala medier för att hållakontakten med vänner. De läste varandras profilsidor, och var noga med hur deras egnaprofilsidor såg ut. I huvudsak publicerade de mer bilder än text. Om företag skulle kontakta dempå sociala medier var det viktigt att respondenterna hade godkänt kontakten först.Praktisk betydelse: Uppsatsens har kommit fram till att för framgångsrik marknadsföring krävsdet en stark upplevd image från konsumenter. / Program: Kandidatutbildning i företagsekonomi
55

After the riot : taking new feminist youth subcultures seriously

Wilson, Angela, 1979- January 2004 (has links)
No description available.
56

The Righteous and the Profane: Performing a Punk Solidarity in Mexico City

Tatro, Kelley January 2013 (has links)
<p>Abstract</p><p>Mexico City's punk scene has a notorious reputation, based on the supposedly angry, rude, and destructive behavior of its integrants. Certainly, participants in the punk scene value intense affects, aesthetics, and interpersonal exchange, but see them as means to amplify their political consciousness, their attempts to create alternative social networks. In this dissertation thesis, based on an extended period of ethnographic fieldwork in Mexico City's punk scene, I investigate the co-constitution of the aesthetic and political for participants of the punk scene and ask what "the political" might entail for the city's marginalized punk youth. In pursuing a local punk aesthetics that is both righteous and profane, to borrow descriptive terminology from Dick Hebdige, I argue for close formal analysis of musical, artistic, and other social performance. I employ formal analysis to evaluate the flourishing of punk in the context of "el DeFectuoso"--as residents name the hard-scrabble, global South metropolis of Mexico City--decades after punk's initial arrival in Mexico. Deluezian network theory and social movement theory more broadly help me argue for a politically constituted music "scene," created largely through U.S.-Mexico cross-border relations, without fixing its boundaries or stultifying its politics. Additionally, I explore the affective dimensions of punk performance, the role of music in subjectivization, and the importance of the body trained intersubjectively for both listening and performing. It is at the points of convergence of these three approaches that I locate a punk aesthetics as at once a punk ethics, animated by an ideal of "direct action." Within chapters organized through broad themes like networks, violence, labor, and solidarity, I address topics from the harsh, hard-working vocal performances punks employ to the various anarchist currents that shape an always-tenuous, specifically Mexican punk solidarity, constituted through practices like street sing-alongs, the creation of alternative DIY networks of exchange, and fanzine writing and design. Within these routes of investigation, I elucidate the ways in which participants in Mexico City's punk scene use profanity and outrage in the performance of a righteous ethic that informs their struggles to maintain solidarity and make a difference, through an explicitly political social network that is nevertheless grounded in aesthetic experience.</p> / Dissertation
57

Rebel Girls: Feminist Punk for a New Generation

Bodansky, Rachel L 01 April 2013 (has links)
This thesis examines the Riot Grrrl bands of the 1990s, as well as Amanda Palmer today, as examples of feminist punk artists. Rather than focusing on Riot Grrrl as a unique musical episode, this thesis argues that all punk is activist in nature, and that Riot Grrrl was building on this activist tradition while challenging the misogyny implicit in punk culture. Likewise, Amanda Palmer uses similar punk strategies (such as a DIY approach to music production, and direct interaction with fans) to create political music.
58

Tonight is the Night I Come Unglued

Raines, Laurah Norton 12 June 2006 (has links)
TONIGHT IS THE NIGHT I COME UNGLUED By Laurah Norton Raines Under the Director of John Holman ABSTRACT This thesis is comprised of a collection of stories concerning adolescents involved in the North Carolina and Atlanta punk rock subcultures. The thesis, which contains six stories, focuses on the crisis moments in the lives of the teenagers and is firmly rooted in contemporary southern culture. The first three stories center on a Georgia native, Aaron, and his aimless adventures in small towns and big punk clubs. The second set of stories is all based in the city of Greensboro, North Carolina, and each concerns a different adolescent girl. INDEX WORDS: Creative Writing, Punk, Greensboro, North Carolina, Georgia, Atlanta, Adolescence, Teenagers, Thesis
59

Daft Punk : En visuell analys av Daft Punk's filmer Interstella 5555 och Electroma med ett autenticitet, simulacra och reflexivitetsperspektiv

Gahnström, Peter, Nilsson, Daniel January 2011 (has links)
Populärmusik som vi känner den har de senaste 60 åren starkt fokuserat på mer än bara musiken. Ikoner som Elvis var bland de första som slog igenom stort där inte bara musiken utan ett ideal följde med i paketet. Denna trend har fortsatt genom åren med band som the Monkees som beskyllts för att inte ens spela musiken själva, David Bowie som starkt jobbade med image och presentation för att locka publik, Kiss som fortsatte på den trenden med mycket smink och explosiva scenframträdanden fram till idag då band som Kraftwerk och Daft Punk gått i en något liknande riktning. Fortfarande är det den yttre framställningen som är viktig men istället för att använda sig själva fokuserar man på virtuella och/eller mekaniska representationer. Men framställningen av sig själv behöver inte bara presenteras i ett enskilt medie utan kan avspeglas och föras fram i flera olika. På så sätt ges publiken utrymme att själva leta upp mer information genom att söka i flera olika medier. Detta kallas transmedialt berättande och kombineras i den här uppsatsen med visuell kultur som beskriver hur dagens samhälle präglas utav bilder. Bland annat ger visuell kultur breda ramar för hur en person införskaffar sig kunskap. Det talas om hur vår kulturella bakgrund påverkar hur vi tolkar en bild och att ingen tolkning behöver vara den andra lik. Men på samma sätt som t.ex. en viss kulturell bakgrund påverkar vårt sätt att se och tolka en bild kan den som producerar bilden lägga in tecken eller ikoner för att styra tolkningen i en viss riktning. Det går naturligtvis inte att styra det fullt ut då tolkningar är högst personliga men med hjälp av ett ramverk kan försök göras för att läsa dessa medvetet och omedvetet inlagda tecken eller ikoner. I genomförandet för den visuella analysen i denna uppsats fokuserar vi på det postmoderna och science fiction för att läsa in vad ett par robotliknande artister vill berätta med två av av dem influerade samt producerade filmer. I den här uppsatsen tittar vi närmare på Daft Punk och deras sätt att framställa sitt artisteri genom virtuella historier i filmerna Interstellar 5555 och Electroma. Här spelar vår tolkning in för att försöka se tecken/ikoner i filmerna och vilka paralleller vi kan dra utifrån visuell kultur och hur tanken om transmedialt berättande påverkat dessa produktioner.
60

Psychobilly : imagining and realizing a "culture of survival" through mutant rockabilly

Kattari, Kimberly Adele 09 June 2011 (has links)
Identifying simultaneously with the cool 1950s greaser, the punk rebel, and the zombies, murderers, and monsters of horror lore, psychobillies (“psychos”) cobble together an identity that expresses their subcultural subjectivity. They construct and cultivate an alternative present, a participatory culture that offers multiple strategies for relieving the pressures of working-class life, for experiencing pleasure despite hardship. As one research participant put it, “psychobilly is a culture of survival.” This dissertation explores the interwoven, multiple reasons why musicians and fans identify with this alternative, underground culture, tracing the integral role it plays in their lives and the ways in which psychobillies creatively reconstitute aspects of the cultural past in the present. I focus on the advantages that a tight-knit social community confers and on the ways in which various fantasies and lived practices provide transcendental escape as well as feelings of control and power. My research draws both from a long line of cultural studies and from more recent trends in popular music scholarship that focus on musical meaning in everyday life. Accordingly, I employ an ethnographic writing style that privileges the multiple voices and identities of my research associates. / text

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