• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 16
  • 4
  • 1
  • 1
  • 1
  • 1
  • 1
  • 1
  • 1
  • Tagged with
  • 27
  • 27
  • 14
  • 11
  • 6
  • 4
  • 4
  • 4
  • 3
  • 3
  • 2
  • 2
  • 2
  • 2
  • 2
  • 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.
11

The evolution of cyberspace as a landscape in cyberpunk novels

Holloway, Heather. January 2004 (has links) (PDF)
Thesis (M.A.)--Georgia Southern University, 2004. / "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts." ETD. INDEX WORDS: William Gibson, Neal Stephenson, Neuromancer, Snow crash, science fiction, cyberpunk, cyberspace, metaphysics, cyberculture, transrealism. Includes bibliographical references (p. 71-73).
12

Surfing for punks the internet and the punk subculture.

Furgason, Aaron Robert. January 2008 (has links)
Thesis (Ph. D.)--Rutgers University, 2008. / "Graduate Program in Communication, Information and Library Studies." Includes bibliographical references (p. 289-315).
13

Anarchy in the USA : capitalism, postmodernity, and punk subculture since the 1970s /

Moore, Ryan M. January 2000 (has links)
Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 396-415).
14

A cultura punk e o underground: um estudo no cenário de duas cidades do interior paulista

Oliveira, Bruno Pereira de 26 August 2014 (has links)
Made available in DSpace on 2016-06-02T19:39:49Z (GMT). No. of bitstreams: 1 6347.pdf: 11031071 bytes, checksum: 986ad3a98ab5b086bfda0f5ec6561852 (MD5) Previous issue date: 2014-08-26 / This essay is the result of the analysis of history fragments and Punk culture, as well as some artistic productions by the members of this movement, as zines and musics utilized by the Punks to defend their ideals and to establish its position before a hegemonic culture imposed on then. The productions analysed are the main sources of data for the fulfillment of this research, because the sources selected allow for an analysis considering the proximity between the Punk culture and the Underground scene from some similarities found during the research, as the influence of the Counterculture and the fight before the imposed standards. With the intention to elaborate a bibliographic review, considering the possible relations between the Punk movement and the Underground, being these elements present in most urban centers, this research is directed to two cities from São Paulo inland, Atibaia and Bragança Paulista, each one with its own culture and behavior. In this essay other movements besides the Punk are cited merely as comparative elements, because the Punk movement, its Underground component allies and all it's set of practices and actions, provide the minimally necessary data for the analysis of the proximity between the Punk culture and the Underground. / Esta dissertação é o resultado da análise de fragmentos da história e da cultura Punk, assim como algumas produções artísticas dos membros desse movimento, como zines e músicas utilizados pelos punks para defender seus ideais e marcar sua posição perante uma cultura hegemônica imposta sobre eles. As produções analisadas constituem as principais fontes de dados para a realização desta pesquisa, pois as fontes selecionadas permitiram realizar uma análise considerando as proximidades entre a cultura Punk e o meio Underground a partir de algumas similaridades encontradas durante a pesquisa, como a influência da Contracultura e do enfrentamento perante determinados padrões impostos. Com o intuito de elaborar uma revisão bibliográfica, considerando as possíveis relações entre o movimento Punk e o Underground, sendo esses elementos presentes em boa parte dos centros urbanos, direcionamos a pesquisa para duas cidades do interior de São Paulo, Atibaia e Bragança Paulista, cada uma com sua cultura e costumes. Nesta dissertação outros movimentos além do Punk, são utilizados meramente como elementos comparativos, pois o movimento Punk, aliado dos componentes do Underground, e todo seu conjunto de práticas e ações, fornecem os dados minimamente necessários para a análise da aproximação entre a cultura Punk e o Underground.
15

Never Mind the Scholar, Here's the Old Punk: Identity, Community, and the Aging Music Fan

Herrmann, Andrew F. 01 January 2012 (has links)
Purpose - Research on punk culture often falls prey to three main dilemmas. First, an ageist bias exists in most popular music research, resulting in the continued equating of music and youth. Second, punk culture research often uses a Marxist economic lens that implies fieldwork reveals already known conceptions of class and culture. Third, research on punk culture lacks ethnographic and narrative examinations. This ethnographic project explores my reentry into punk culture as an adult, exploring it from a new researcher perspective. It provides an insider's view of emerging cultural themes at the site that disrupts these traditional research approaches. Methodology/approach - This ethnography examines punk culture at an inner city nonprofit arts establishment. Through grounded theory and using a fictional literary account, this research probes how rituals and cultural narratives pervade and maintain the scene. Findings - Concepts such as carnival, jamming as an organizing process - and as an aesthetic moment - emerged through the research process. This ethnography found narratives constituted personal and communal identity. Research limitations/implications - As a personal ethnography, this research contains experiences in one local arts center, and therefore is not necessarily generalizable to other sites or experiences. Originality/value of paper - Using ethnography, I explored punk as one of my primary identities in tandem with younger members of the scene. It critiques Marxist and youth approaches that have stunted music scene research for decades.
16

No compromise with their society : the politics of anarchy in anarcho-punk, 1977-1985

Dymock, Laura. January 2007 (has links)
No description available.
17

Punk aesthetics in independent "new folk", 1990-2008.

Encarnacao, John January 2009 (has links)
Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.
18

Punk aesthetics in independent "new folk", 1990-2008.

Encarnacao, John January 2009 (has links)
Various commentators on punk (e.g. Laing 1985, Frith 1986, Goshert 2000, Reynolds 2005, Webb 2007) have remarked upon an essence or attitude which is much more central to it than any aspects of musical style. Through the analysis of specific recordings as texts, this study aims to deliver on this idea by suggesting that there is an entire generation of musicians working in the independent sphere creating music that combines resonances of folk music with demonstrable punk aesthetics. Given that the cultural formations of folk and punk share many rhetorics of authenticity – inclusivity, community, anti-establishment ideals and, to paraphrase Bannister (2006: xxvi) ‘technological dystopianism’ – it is perhaps not surprising that some successors of punk and hardcore, particularly in the U.S., would turn to folk after the commercialisation of grunge in the early 1990s. But beyond this, a historical survey of the roots of new folk leads us to the conclusion that the desire for spontaneity rather than perfection, for recorded artefacts which affirm music as a participatory process rather than a product to be consumed, is at least as old as recording technology itself. The ‘new folk’ of the last two decades often mythologises a pre-industrial past, even as it draws upon comparatively recent oppositional approaches to the recording as artefact that range from those of Bob Dylan to obscure outsider artists and lo-fi indie rockers. This study offers a survey of new folk which is overdue – to date, new folk has been virtually ignored by the academic literature. It considers the tangled lineages that inform this indie genre, in the process suggesting new aspects of the history of rock music which stretch all the way back to Depression-era recordings in the shape of Harry Smith’s Anthology of American Folk Music. At the same time, it attempts to steer a middle course between cultural studies approaches to popular music which at times fail to directly address music at all, and musicological approaches which are at times in danger of abstracting minutae until the broader frame is completely lost. By concentrating on three aspects of the recordings in question - vocal approach, a broad consideration of sound (inclusive of production values and timbre), and structure as it pertains to both individual pieces and albums – this work hopes to offer a fresh way of reading popular music texts which deals specifically with the music without losing sight of its broader function and context.
19

"Give me the safe word and smack me in the mouth, my love" : negotiating aesthetics of sound and expressions of love in the music of she wants revenge /

Hyndman, Sheena. January 2008 (has links)
Thesis (M.Ed.)--York University, 2008. Graduate Programme in Education. / Typescript. Includes bibliographical references (leaves 127-132). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45946
20

Romantic, do-it-yourself, and sexually subversive an analysis of resistance in a Hawaiʻi local punk rock scene /

Takasugi, Fumiko. January 2004 (has links)
Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 256-265).

Page generated in 0.0955 seconds