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In this lecture, I will report on a model aiming at studying the dynamics and spreading of riots. It involves an epidemiological approach for the dynamics with a diffusion interaction term. I will discuss this model in the setting of the French riots of 2005 and compare its outcome with a rather detailed set of data for these riots. I will also describe a more general class of reaction-diffusion systems that are relevant in this context.

By conducting sound research to understand the concepts surrounding rioting and efficient riot response tactics, professionals, especially whose main job is to ensure the tranquility in the society, will be better prepared to deal with all kinds of civil movements. The purpose of this study, consequently, is to meet the growing need for educational materials in this area and to provide riot response case studies, which demonstrate the numerous administrative challenges faced by law enforcement decision makers. In this study, seven major riots from throughout the United States are discussed including the Hay Market Riot of 1886, the Watts Riot of 1965, and Los Angeles Riots of 1992. Each riot case is studied in five different and independent stages: the setting and pre-disturbance situation, basic causes of the event, the disturbance situation, the response to the riot, and the aftermath of the incident. The study of all of these stages is intended to help police administrators acquire a general perspective on collective violence, and help them prevent future occurrences in their jurisdictions. In this thesis a special reference is given to the deficiencies of American riot policing and some recommendations were formed accordingly. Therefore, the study concludes with a list of general recommendations, which are crucially important for concerned officials to pay attention before, during, and after a riot.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-06-06T12:13:24Z No. of bitstreams: 1 Gabriela Cleveston Gelain_.pdf: 2822869 bytes, checksum: 6a55ac10919adbbf56ac2d7ead2111a7 (MD5) / Made available in DSpace on 2017-06-06T12:13:24Z (GMT). No. of bitstreams: 1 Gabriela Cleveston Gelain_.pdf: 2822869 bytes, checksum: 6a55ac10919adbbf56ac2d7ead2111a7 (MD5) Previous issue date: 2017-03-31 / UNISINOS - Universidade do Vale do Rio dos Sinos / Este trabalho tem o objetivo de entender o que os elementos subculturais e sujeitos que envolvem a subcultura Riot Grrrl dizem sobre a sua atualização no Brasil. Enquanto elementos subculturais estão os fanzines, blogs, shows, bandas e eventos como o Girls Rock Camp no país. Enquanto sujeitos, entendo as mulheres que estão em contato direto e envolvidas com a subcultura Riot Grrrl no Brasil, amostra composta por 67 entrevistadas de 11 estados brasileiros, entre 15 e 47 anos de idade. A partir de autores e autoras como David Hesmondhalgh (2005), Paula Guerra (2010), Dick Hebdige (1979), Paul Hodkinson (2011) como base, proponho discutir o porquê de tratar Riot Grrrl enquanto subcultura, e ainda as questões de invisibilidade feminina na música e nos estudos subculturais e sobre juventude. Quanto à metodologia, assumo, através de uma observação participante (online e off-line) e inspirada na etnografia virtual, a posição de pesquisadora insider (Paul HODKINSON, 2005; Adriana AMARAL, 2009). Por fim, não há um consenso sobre o que significa ser uma riot grrrl, nem sobre o que seria a subcultura hoje no Brasil, mas nesta complexidade de vozes, idades, estados e opiniões, a vontade de trazer outras mulheres para pensar os feminismos parece falar mais alto do que os diferentes estilos musicais, as dissidências ou preocupações em dar nome às inspirações que tomamos sobre as atitudes das primeiras e “originais” riot grrrls. / This work aims to understand what the subculture elements and people that involve Riot Grrrl show about their update in Brazil. As subculture elements I understand the fanzines, blogs, shows, bands and events such as Girls Rock Camp. As people are the women who are in direct contact and involved with the subculture Riot Grrrl in Brazil, a sample composed of 67 interviewees from 11 Brazilian states, between 15 and 47 years of age. From authors such as David Hesmondhalgh (2005), Paula Guerra (2010), Dick Hebdige (1979), Paul Hodkinson (2011) as a basis, I propose to discuss why to treat Riot Grrrl as a subculture, as well as invisibility issues about women in music and in subcultural studies, and also on youth studies. About methodology, I’ve assumed through a participant observation (online and offline) and inspired by the virtual ethnography, the position of an insider researcher (Paul HODKINSON, 2005; Adriana AMARAL, 2009). Finally, there is no consensus on what it means to be a riot grrrl, nor on what would be the subculture in Brazil today but in this complexity of voices, ages, states and opinions, the desire to bring other women to think feminisms seems to speak louder than the different musical styles, disagreements or concerns in naming the inspirations we take about the attitudes of the first and "original" riot grrrls.

Made available in DSpace on 2016-04-25T20:21:29Z (GMT). No. of bitstreams: 1 Flavia Lucchesi de Carvalho Leite.pdf: 8227727 bytes, checksum: 69c6ad3cff4c1371abee5ecbdab5c429 (MD5) Previous issue date: 2015-07-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The riot grrrl, a feminist strand of the punk movement, appeared in the early 1990 s in the United States. They were tired with the male chauvinist conduct and minor fascisms imposed on their lives also inside the punk movement. These girls created a new way of life that strengthened their struggle against such conduct. Whether the rocker women who preceded the riot grrrl faced obscure paths to produce their rock and roll, the riots emerged a new way of writing, playing, and singing: they liberated their howl. They drew from the rock maxim sex, drugs and rock and roll and were thus considered by many: sluties. The riot grrrl adopted this word and experienced their sex liberated from the control of sexuality and macho violence. Faced with increased girls interest in the riot grrrl, the music market tried to invest in them but failed since the girls had an clear anti-capitalist attitude, which was radicalized by the Russian riots Pussy Riot around 20 years later. In this sense, the musical market launched products and entertainers that could capture the latent unrest of the young girls attracted by the riots, targeting them as potential consumers. Instead, the market launched rock pop women singers moderately foul-mouthed, or they launched popstars who used a certain feminist discourse that today is largely known as veracity of market. Far from the riot howl against male chauvinism, the women popstars assumed the family and the feminine discourse. In hand against the market and surpassing the riot scene appeared an anonymous girls association, the Pussy Riot, creating their performances by direct action based on feminist punk rock in the streets and private properties of Moscow. This thesis has intent to show the metamorphosis of riot grrrl war machine in the society of control / O riot grrrl, vertente feminista do movimento punk, eclodiu no início dos anos 1990, nos Estados Unidos. Esgotadas com as condutas machistas e os pequenos fascismos que incidiam sobre as suas vidas também no interior do punk, essas garotas inventaram um novo estilo de vida que as fortaleceu no embate contra essas condutas. Se as mulheres roqueiras que as procederam foram empurradas por caminhos tortuosos para conseguirem fazer seu rock n roll, as riots irromperam uma nova maneira de escrever, tocar e cantar: liberaram seu berro. Se ao provarem da máxima roqueira sexo, drogas e rock n roll as mulheres eram tidas como sluties [vadias], as riots se apropriaram dessa palavra e experimentaram seu sexo livre do governo da sexualidade e das violências do macho. Diante do crescente interesse de garotas pelo riot, o mercado da música investiu em contratá-las, mas foi recusado pela atitude anticapitalista anunciada por elas e radicalizada pela riots russas da Pussy Riot, cerca de 20 anos depois. Assim, o mercado lançou produtos e entertainers que pudessem capturar a inquietação latente daquelas jovens que se atraiam pelo riot e fazê-las potenciais consumidoras. De um lado, lançaram cantoras de pop rock moderadamente desbocadas, de outro, lançaram popstars que enunciaram um certo discurso feminista que hoje ganha amplitude como veridicção de mercado. Diferente do berro riot contra as condutas machistas, essas popstars reafirmam a família e a conduta feminina. Na contramão do mercado e avançando para além da cena riot, acontece a Pussy Riot, associação de garotas anônimas que faz suas obras por ação direta ao som de punk rock feminista pelas ruas e estabelecimentos privados de Moscou. Esta dissertação procura mostrar as metamorfoses da máquina de guerra riot grrrl na sociedade de controle

Made available in DSpace on 2016-04-26T14:55:29Z (GMT). No. of bitstreams: 1 Flavia Lucchesi de Carvalho Leite.pdf: 8227727 bytes, checksum: 69c6ad3cff4c1371abee5ecbdab5c429 (MD5) Previous issue date: 2015-07-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The riot grrrl, a feminist strand of the punk movement, appeared in the early 1990 s in the United States. They were tired with the male chauvinist conduct and minor fascisms imposed on their lives also inside the punk movement. These girls created a new way of life that strengthened their struggle against such conduct. Whether the rocker women who preceded the riot grrrl faced obscure paths to produce their rock and roll, the riots emerged a new way of writing, playing, and singing: they liberated their howl. They drew from the rock maxim sex, drugs and rock and roll and were thus considered by many: sluties. The riot grrrl adopted this word and experienced their sex liberated from the control of sexuality and macho violence. Faced with increased girls interest in the riot grrrl, the music market tried to invest in them but failed since the girls had an clear anti-capitalist attitude, which was radicalized by the Russian riots Pussy Riot around 20 years later. In this sense, the musical market launched products and entertainers that could capture the latent unrest of the young girls attracted by the riots, targeting them as potential consumers. Instead, the market launched rock pop women singers moderately foul-mouthed, or they launched popstars who used a certain feminist discourse that today is largely known as veracity of market. Far from the riot howl against male chauvinism, the women popstars assumed the family and the feminine discourse. In hand against the market and surpassing the riot scene appeared an anonymous girls association, the Pussy Riot, creating their performances by direct action based on feminist punk rock in the streets and private properties of Moscow. This thesis has intent to show the metamorphosis of riot grrrl war machine in the society of control / O riot grrrl, vertente feminista do movimento punk, eclodiu no início dos anos 1990, nos Estados Unidos. Esgotadas com as condutas machistas e os pequenos fascismos que incidiam sobre as suas vidas também no interior do punk, essas garotas inventaram um novo estilo de vida que as fortaleceu no embate contra essas condutas. Se as mulheres roqueiras que as procederam foram empurradas por caminhos tortuosos para conseguirem fazer seu rock n roll, as riots irromperam uma nova maneira de escrever, tocar e cantar: liberaram seu berro. Se ao provarem da máxima roqueira sexo, drogas e rock n roll as mulheres eram tidas como sluties [vadias], as riots se apropriaram dessa palavra e experimentaram seu sexo livre do governo da sexualidade e das violências do macho. Diante do crescente interesse de garotas pelo riot, o mercado da música investiu em contratá-las, mas foi recusado pela atitude anticapitalista anunciada por elas e radicalizada pela riots russas da Pussy Riot, cerca de 20 anos depois. Assim, o mercado lançou produtos e entertainers que pudessem capturar a inquietação latente daquelas jovens que se atraiam pelo riot e fazê-las potenciais consumidoras. De um lado, lançaram cantoras de pop rock moderadamente desbocadas, de outro, lançaram popstars que enunciaram um certo discurso feminista que hoje ganha amplitude como veridicção de mercado. Diferente do berro riot contra as condutas machistas, essas popstars reafirmam a família e a conduta feminina. Na contramão do mercado e avançando para além da cena riot, acontece a Pussy Riot, associação de garotas anônimas que faz suas obras por ação direta ao som de punk rock feminista pelas ruas e estabelecimentos privados de Moscou. Esta dissertação procura mostrar as metamorfoses da máquina de guerra riot grrrl na sociedade de controle

Since the wave of civil violence in the USA in the 1960s, many social theorists have tried to explain why riots occur. Despite at least 50 years of research since then, there is still not enough insight to anticipate large events like the 2011 Arab Spring and London riots. The main goal of this thesis is therefore to improve understanding about how underlying conditions influence and drive riot dynamics, such as the intensity, spread, and duration. I develop a new mechanistic and stochastic agent-based model for riots. Previous models have either only targeted general phenomena associated with riots, or aimed at behaviour specific to a single event. In this thesis I combine both approaches: I demonstrate how the model in which the motivation of the agents is based on general concepts, can be applied to the specific situation of the 2011 London riots. The model reproduces the majority of the behaviour observed in the London riots (r = 0.4-0.8). One of the key factors under investigation is the relationship between protests and outbursts of civil violence. Riots are often preceded by protests, such that a large pool of potential rioters is directly available. I find that the number of times a protest is repeated has greater influence on riot dynamics than the protest crowd size. The support shown during demonstrations might incite false confidence in individuals, potentially leading to quicker escalation. Another question is how contact networks and collective identity influence the spread of violence between different locations. The role of online social media (e.g. Twitter) has been a major focus in trying to explain why the violence in the 2011 Arab spring spread so quickly and so far. I investigate the role of social similarity as another factor that might have contributed to the diffusion of unrest, and demonstrate the existence of a critical transition in riot activity when increasing the density of the contact network in the model. Such increases in density beyond the critical thresholds might have been introduced by online social networks. Finally, I explore the sensitivity to cooperation of different potential riot groups. In some cases, mixed populations with different collective identities can form coalitions within neighbourhoods based on shared grievances, which could lead to increases in riot size and riot probability. I examine the influence of the social structure and spread of these populations over different neighbourhoods, as well as the overlap in grievances and different demographic structures.

Ce travail doctoral consiste en une considération de la nature complexe et ambivalente des relations qui sont tissées entre "culture dominante "("mainstream") et sous-cultures contestataires "underground", à travers l’examen du cas de la sous-culture punk, et plus spécifiquement, du cas de la sous-culture punk féministe américaine (sous la forme du courant "riot grrrl" notamment). En nous appuyant sur les discours des actrices et acteurs de ces sphères féministes et anticapitalistes d’une part, et d’autre part sur la production théorique à laquelle ont pu donner lieu les phénomènes sous-culturels marginaux et/ou contestataires, en particulier depuis la fin des années 1970, nous souhaitons mener une réflexion sur le rôle social que peut revêtir ce genre de regroupements sociaux. De quel(s) sens leurs protagonistes investissent-t-ils leurs pratiques ? Quel peut être l’objectif d’une telle démarche, si tant est qu’il y en ait un ? Par ailleurs, il s’agit également de s’interroger sur le concept de subversion : où peut-encore se situer un éventuel potentiel disruptif, dans une société qui, comme l’ont déjà souligné beaucoup de penseurs, ainsi que beaucoup des détracteurs de cette "idéologie dominante", semble en dernière analyse assez bien s’alimenter, paradoxalement, de sa critique. Ce sont ces questionnements qui sous-tendent, dans le cadre d’une dernière partie, la mise en perspective diachronique du punk que nous proposons, en comparant cette tendance avec les réjouissances carnavalesques médiévales telles que les a décrites Mikhaïl Bakhtine, et avec l’esprit dionysiaque que Nietzsche s’est employé à cerner. / This dissertation seeks to analyze the complex and ambivalent relationships that exist between mainstream "dominant" culture and oppositional underground subcultures, through the study of American feminist punk subculture (notably under the form initiated by the riot grrrl networks). By confronting the views and discourses expressed by insiders of this feminist and anticapitalist subculture on the one hand, and drawing from the theoretical background of subcultural studies on the other hand, we want to examine the social function of these types of networks. How do insiders conceive their own involvement and their subcultural practices? What is the purpose of an anti-establishment underground subculture, if ever there is one? We also seek to question the concept of subversion: is it possible for a subcultural group to exert a disruptive potential in a society that apparently largely feeds on criticism of itself. We will sketch out some answers to these issues in the last part of this work by drawing some parallels between punk and feminist punk subcultures, medieval carnivalesque practices as they are described by Mikhaïl Bakhtin, and the Dionysian spirit depicted by Nietzsche.

New media technologies, especially social media, continue to challenge previous notions regarding agenda melding activities. Recent observations have been made during chaotic and turbulent conditions, where participants behave contradictory to what is expected by previous agenda setting and melding theories. This study attempts to examine the content shared amongst ordinary users on Twitter directly following a sudden crisis event, specifically the US Capitol riot from January 6th, 2021. This was done through a quantitative content analysis, where the agenda melding activities as well as rhetorical purpose were examined in order to observe ordinary users’ behaviours during the crisis event. Along with an open discussion regarding what this might entail for US democratic functions or relations, and a general invitation for future research regarding similar issues.    The results of this study showed further support for contradictory agenda melding activities in relation to a crisis event. Where instead of seeking out safety and agreement in the majority, users engaged in arguments, discussions and challenged each other’s views and opinions publicly online.   In examining the content following the Capitol riot, this study hopes to shed light on a subject of study that needs further exploring, as well as arguments for future development of previous theories.

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