The origin of this study was twofold: a concern for the lack of human and cultural capital in many of today's adolescents and a desire to understand the role that athletic participation plays in this situation. The focus of this study is to examine the development of human and cultural capital in the Black male adolescent as a result of his participation in the high school football program. This study is based on a year-long ethnography in three Miami-Dade County high school football programs. Specifically, the social capital and the resources it makes available in each football program was examined as a significant variable in the development of human and cultural capital in the adolescent. It is my hope that this study contributes to the understanding of the process and outcome of athletic participation.

Triads are Chinese organized crime groups based in Hong Kong. Their origin remains uncertain despite the many different versions given. As they are secret and illegal, many facts remain unknown about them. Even though they have been associated with values such as honor and loyalty in the past, they are nowadays involved mainly in vice related activities such as gambling and prostitution. Their goal which is supposed to have been nationalistic also seems to have changed to only be profit making. Despite the fact that the scope of their activities have decreased since the 1970`s they are still active nowadays. The police force and the government describe them as dangerous criminals. Since the mid 1980`s, many movies used the criminal underworld as a setting and Triad members as main protagonists. Triad Movies became extremely popular in Hong Kong during this period. Typical Triad protagonists in Triad movies are associated with values such as honor and loyalty despite their criminal affiliation. They are also often rich and powerful which can lead to think that Triad movies portray Triad members in an appealing way. Al Bandura`s Social Learning Theory explains that through vicarious experimentation, people tend to endorse actions made by others when those actions are successful. By watching movies, people can change their attitudes regarding a topic or a group of people especially if they are young. This study analyzes the values attributed to Triad members in Triad movies and how the portrayal of Triad members in movies can influence young people `s perception of real life Triad members. This is a two part study, in the first part, the 10 most popular Triad movies at the Hong Kong box office have been analyzed and coded in order to find which values are associated to Triads in movies. Based on these results, a questionnaire to assess people`s perception of Triads has been developed. In the second part of the experiment, a pre questionnaire is given to a group of young students before the presentation of a Triad movie and after the presentation, a post questionnaire containing the same items is given to the students, the results are then analyzed.

This study explores the complex relationship between humans and nonhuman animals through the lens of stock shows and rodeos (SSR). This study employs a feminist theoretical framework and an interpretive qualitative research methodology to gain insight into the ways in which humans practice a range of speciesist behaviors relating to their commodification, consumption, and care of other animals. Data consist of semi-structured interviews with 21 individuals who participate in SSR as spectators and competitors and with two animal medical experts, along with field observations at three different SSR held in Florida and Texas. Findings suggest that nonhuman animals serve many of the same roles beyond the stock show and rodeo, such as companions, competitive athletes, workers, food, and clothing. An analysis of the environment and culture of SSR exposes forms of leisure, entertainment, and competition where nonhuman animals are involuntary participants within an animal sport and entertainment complex constructed by humans. In addition, this human construction is tied to a romanticized version of frontier culture. Additional analysis shows that commodification of animal bodies and consumption of those bodies as entertainment, food, and clothing, is necessary in the maintenance of this animal sport and entertainment complex. Finally, findings support the notion that humans love and care for nonhuman animals, however, that love and care is contingent upon the value of the animal. This study helps build upon the scholarship regarding human-nonhuman animal studies, including in sports and entertainment, and it illuminates the ways in which other animals are social actors subject to similar structural controls and constraints as humans.

本文借助並修訂了布爾迪厄（Pierre Bourdieu）的理論框架，透過對中國大陸二十世紀九十年代以來文化明星的製造進行研究來理解變動中的文化生產場 (field of cultural production)，並探討在其間知識分子作為的新可能。文化明星問題之所以值得特別研究，首先是由於它處於當代中國文化生產的中心，涉及到電視、圖書、平面媒體、互聯網等不同的文化生產次場域（sub-field），以及製作人、 出版人、文化明星本人、“粉絲” (fans) 和批評者所代表的不同力量。考察圍繞著製造文化明星的複雜的關係網絡，正可以勾勒出當代中國變動的文化生產場域的概貌。其次，文化明星的產生和生產是對九十年代以來知識分子危機的一種回應，是知識分子問題的變奏。理解了文化明星的製造機制，有助於尋找在當下的文化生產場中知識分子作為的新可能。 本文選取余秋雨、易中天、于丹和韓寒四個個案進行深入分析。余秋雨是公認的第一個最成功的文化明星，對其案例進行研究揭示了文化明星產生的歷史轉變。易中天和于丹的案例則代表著著一種可以複製的成熟的文化明星製造模式的出現。韓寒的形象及製造是一種有別于以上主流文化明星的另類模式。 本文綜合運用多種研究方法，包括對十幾名相關的文化生產者進行訪問，組織了一個針對粉絲的焦點小組（focus group），並且到電視節目錄製現場、出版 社和大型書店進行參與式觀察。此外亦有歷史檔案梳理和文本、話語分析。 最終，本文繪製出了不同的文化明星在當代中國文化生產場中的位置，反思了現有文化明星生產模式的後果，並對知識分子/文化生產者參與文化生產提出有針對性的建議。

2003 年中國內地與香港簽訂《內地與香港關於建立更緊密經貿關係的安排》(Mainland and Hong Kong Closer Economic Partnership Arrangement, 簡稱CEPA)。其中關於電影的條款放寬了香港電影進入內地的條件，加之龐大的市場需求，香港電影工業的跨境活動變得日益頻繁, 並開啟了新一輪的中港「合拍片」潮流。電影產業及其市場環境的轉變背後是更為深層的中港經濟、政治與文化的融合。香港從「九七」前後至今在新的政治空間及身份脈絡中不斷尋求「本土」位置顯得日益困難。電影作為流行文化文本和社會實踐曲折地表述「本土」、「自我」、「身份」，其中「懷舊」（nostalgia）便是近十年香港電影文化想像中一個顯著的憶述工具和路徑，亦即通過處理「過去」、歷史、集體記憶等來書寫「現在」的某種情感、經驗、欲望。 本論文以後CEPA 時期的香港電影為研究對象，檢閱以合拍片為主導的電影工業體制下，和香港近十年來文化政治脈絡中，不同類型、風格、主題，以及不同生產方式、製作規模、市場面向的香港電影懷舊想像與「本土」身份的互構關係。以及後CEPA 時代香港電影的懷舊想像與此前懷舊電影相比下的延續與新變。

The study consisted of a qualitative analysis of female swingers' perceptions, attitudes, and experiences related to their participation in the Lifestyle. Using feminist standpoint theory and pro-sex feminist theory as the theoretical framework, in-depth interviews were conducted via the Internet using instant messaging with sixteen female swingers. The women were asked questions regarding their attitudes and perceptions about swinging as well as their experiences in the Lifestyle. Findings were compared with previous studies from the 1970s as well as with common feminist thoughts and potential misconceptions about the Lifestyle. The results showed that although demographically the female swingers were similar to past studies, much of the previous research data was outdated and incorrect. Furthermore, the study provides evidence to

Recent studies of globalization provide contrasting views of the cultural and sociopolitical effects of such major corporations as Disney as they invest transnationally and circulate their offerings around the world. While some scholars emphasize the ubiquity of Disney’s products and its promotion of consumerism on a global scale, accompanied by cultural homogenization, faltering democracy, and diminishing state sovereignty, others highlight signs of contestation and resistance, questioning the various state-capitalist alliances presumed to hold in the encounter between a global company, a local state, and the people. The settlement process and the cultural import of Hong Kong Disneyland in Hong Kong complicate these studies because of the evolving post-colonial situation that Disney encounters in Hong Kong. While Disney specializes in “imagineering” dreams, Hong Kong itself is messily imagining what “Hong Kong” is and should be, and how it should deal with others, including transnational companies and Mainlanders. In this thesis, I appropriate Doreen Massey’s ideas of space-time in order to examine Hong Kong Disneyland not as a self-enclosed park but as itself a multiplicity of spaces where dynamic social relations intersect in the wider context of post-colonial Hong Kong. I illuminate the shifting relationship between Disney, Mainlanders, and the locals as this relationship develops in its discursive, institutional, and everyday-life aspects. Through interviews and ethnographic research, I study how my respondents have established and interpreted the meanings of Hong Kong Disneyland, and how they have made use of the park to support their own constructions of place, of politics, and of identity.

本论文主要考察中国大陆九十年代出现的独立电影的特性，首先从一批年轻的独立电影导演及其作品出发，将它们放在当代大陆城市青年文化的历史脉络中，着重考察独立电影的特殊生产机制以及对“青年”的再现，与“青年”在社会建构中出现的变化之间的关系。然后通过使用民族誌的研究方法，重点考察大陆本土年轻观众对独立电影的接受情况，试图解释为何“边缘”成为当下论述大陆独立电影文化特性的重要话语。本文的主要立论是，“边缘”是由独立电影与城市青年文化在不同层面上互构而成的。 这种互构关系的建立，表现在几个方面：首先，大陆进入商品经济时代，具有整合性的建构青年身份的国家意识形态话语失效，导致了年轻人的迷茫和失落，他们断裂和破碎的身份，通过独立电影在国家制片体系之外的生产和制作模式中被再现出来，被称为“边缘”的特殊个体。其次，大陆独立电影被部分青年影迷用来对抗互联网上出现的话语资源垄断和话语权威，从而确立“业余爱好 者”、“草根”等被称为“边缘”的身份。最后一个方面，即是作为影迷的城市青年对不同观影场所和对独立电影不同消费方式的选择，建立了在电影院线、个人在家庭观看影碟等主流渠道以外的，被称为“边缘”的观影方式，但这种方式又不可避免的会引起影迷的身份焦虑。

本论文针对 1990 年代以来中国社会在经济文化方面的巨大改变，归纳并指出一种新的“消费意识形态”在中国业已历史地形成并取代日渐式微的传统 意识形态，成为宰制当代中国社会的主导力量。论文批判地回顾了1949 年以后中国大陆语境中意识形态涵义的历史嬗变，以四个具有典型意义的时尚报刊和广告案例、广告事件为例，从不同侧面解析了广告形象以及广告产业如何作为 中介与以时尚报刊为代表的文化工业一起，参与当代中国“消费意识形态”建 构的社会过程。 论文通过对“消费意识形态”所遮蔽的当代中国社会问题的揭示，对“消费意识形态”在当代中国社会发生影响的深度和广度的阐释，回应了九十年代以来在中国思想界有较大影响的“后六·四”文化论争中的一些重要问题，展现了文化研究在中国大陆介入现实社会思考和批判的可能空间。

In this dissertation I use the production of culture perspective as a lens to analyze the emergence of craft beer in the US. In doing so, I examine how the six facets of the production of culture perspective have both constrained and stimulated the production of craft beer in the US. The six facets of the production of culture perspective are: law and regulation, industry structure, organizational structure, markets, technology, and occupational careers. These six facets, in concert, allowed the craft beer movement to emerge in the 1970s. In order to demonstrate the effects each facet has on the production of craft beer I employ a content analysis of All About Beer, an industry trade publication that reports on the craft beer culture. Additionally, I analyze the structure of the brewing industry through secondary data regarding technology, production, and industry concentration. In my analysis I demonstrate how the POC explains the production of cultural goods. I also highlight the limitations of the perspective and suggest future avenues of research. / Ph. D.