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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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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.
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Showing 11 to 17 of 17 (0.037 seconds)Spelling suggestions: "subject:"ambiculture"" "subject:"pureculture""
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Sous le signe de la lyre : les ensembles à vent en Europe / In the light of the lyre : wind ensembles throughout Europe, from the 1940s to the 1980s, a transnational cultureMartino, Laurent 14 October 2016 (has links)
Les ensembles à vent existent dans toute l’Europe. Ils sont un trait de culture partagé. La miseà jour d’une sub-culture fanfaristique s’effectue à partir des comparaisons, migrations,circulations, étudiées à travers les ensembles à vent et par emboîtement d’échelles. A partird’exemples représentatifs, pris à hauteur d’Hommes, l’existence d’un modèle européen de lafanfare, dans son fonctionnement, son image, son rôle… est mis au jour. Pluriels, les ensemblesà vent ne sont pas des copies parfaites, mais de nombreux points communs permettent demodéliser cette pratique socioculturelle.Même si pour beaucoup au second XXe siècle, le mouvement orphéonique relève du passé,notre étude des ensembles à vent débute dans les années 1940 avec la Seconde Guerre Mondialepuis la Libération, et s’achève dans les années 1980 marquées par un tournant social, politiqueet culturel. Plus que sur le déclin, la fanfare est, au cours de la période, en mutation. Inventé auXIXe siècle, l’ensemble à vent répond à une triple définition. Il s’agit tout d’abord d’unensemble d’instruments à vent (cuivres et bois) et de percussions joués par des musiciensamateurs. La fanfare est également un orchestre de plein air. Enfin, c’est une musique qui «marche », qui défile pour animer la cité.La nature même de cette pratique musicale collective, effectuée par des musiciens nonprofessionnels, inclut une dimension sociale capitale. Autour de cette pratique récréative, seforme un groupe avec ses sociabilités, qui le cimentent. Les ensembles à vent répondent aussià une demande sociale multiple et notamment un rôle d’éducation populaire.L’ensemble à vent apparaît comme un modèle transnational qui possède une réelle identité.Inclassable, il n’appartient ni à la culture populaire, ni à la culture savante. La catégorisationentre une culture dominée et une culture dominante doit être remise en cause au profit d’uneautonomisation des normes de valeurs et de l’abolition des hiérarchies. Le fonctionnement, toutcomme les appropriations qu’il subit et qu’il réalise, plaident en faveur d’une autonomisationdes ensembles à vent. Ils sont une pratique et un genre autonome et reconnaissable dans toutel’Europe. / Wind ensembles exist all over Europe. They are a shared cultural feature. The exposure of aband sub-culture is established from comparisons, migrations, circulations, through windensembles, and interlocking at various levels. Drawing from representative examples, on aperspective centered on Man, the existence of a European standard for brass-bands, in itsoperation, image, role is brought forward. In their varied nature, wind ensembles are not perfectduplicates, but many common features make a modelling of such a sociocultural practicepossible.Even though, for many, in the second half of the twentieth century, brass-band culture was athing of the past, our study of wind ensembles begins in the 1940s with the Second World War,then the Liberation, and ends in the 1980s with its social, political and cultural turning point.Rather than being declining, brass bands were, over the period, evolving sharply. Invented inthe nineteenth century, the wind ensemble meets three different definitions. It is first anensemble of wind instruments (brass and woodwind) and percussions played by amateurmusicians. Brass-bands is also an outdoor orchestra. Finally, it is a “marching” music, one thatparades to animate the city.The very nature of this collective music-making, carried out by non-professional musiciansincludes a major social dimension. Around this recreational activity, a group gathers, and iscemented by its sociabilities. Wind ensembles also respond to a multiple social demand, inparticular a role in popular education.The wind ensemble appears as a transnational model with a full identity. Unclassifiable, itbelongs neither to popular culture, nor to high brow culture. The categorization betweendominated and dominant culture should be called into question. Empowering standards as wellas abolishing hierarchies must be promoted instead. Its functioning as well as the ownerships itis subjected to and it achieves, advocates for an empowerment of wind ensembles. They are anautonomous and recognizable practice throughout Europe.
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Yo Alta, verpiss dir - hier is mein Revier! : die "Selbst"-darstellung junger Männer in Feridun Zaimoglus Kanak Sprak: 24 Misstöne vom Rande der GesellschaftPetersson Nickel, Ute January 2018 (has links)
The central concern of this thesis is to describe the views of the young men in Feridun Zaimoglus book Kanak Sprak (2000) on their own identity ("Kanaken"), on the identity of other foreigners such as (college "Ali") and the Germans ("Alemannen") with help of close-reading. The book contains short-stories or "protocolls", written in the special language "KanakSprak", a mixture of Turkish and German street gang slang. There are claims that Zaimoglus texts are written based on hiphop/rap language. The categories in this work are identity, youth(sub)culture, territory, style and Hiphop. Other than close-reading the analysis will also take help of different research areas such as youth research and soliology.
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Dynamo / DynamoSaveby, Arvid January 2022 (has links)
This project is based on the studies we made of Eskilstuna's countryside. Engines and mechanics are a recurring interest among the population in Eskilstuna. At the same time, petrol prices are becoming more expensive and the transition to electric power is starting to pick up speed, which is positive in many ways. Working with machines and vehicles is a part of the culture in the countryside. Today, however, this phenomenon is not seen as frequently as before. This is partly because today's cars and tools look different. Frankly, today's mechanics look different and use completely different tools. You do not need forearms that look like logs, or a plethora of different keys and tools, nor do you need to have that extreme habit of mechanics. Today it is also about computer skills and being technically savvy. We have an extremely high level of technology in our things. Computerisation has struck with full force. For better or worse. Our things have become safer and friendlier to our surroundings, but also more complicated. About a 15-minute drive west of Eskilstuna along road 230 is what in the 1960s was a farmhouse but which has been transformed into what today looks like a dump site for scrap. A group of innovative car enthusiasts from Eskilstuna's countryside see here an opportunity to create a modern workshop to be able to build, repair and maintain electric cars and tools. At the same time, the building also contributes with premises that will support the local population in their everyday lives. The idea is that the building will function as an accelerator to handle the challenges that the transition to electric power entails with a focus on re-use and community, which will also be reflected in the building's simple but flexible structure. / Det här projektet är baserat på de analyser vi gjort av Eskilstunas landsbygd. Motorer och mekanik är ett återkommande intresse bland befolkningen i Eskilstuna. Samtidigt blir bensinpriserna dyrare och övergången till eldrivet börjar ta fart vilket på många sätt är positivt. Att meka med maskiner och fordon är en del av kulturen på landsbygden. Idag så ser man dock inte detta fenomen lika frekvent som förr. Det handlar dels om att dagens bilar och verktyg ser annorlunda ut. Vill man hårdra det så ser dagens mekaniker annorlunda ut och använder sig av helt andra verktyg. Det behövs inte underarmar som ser ut som stockar, eller en uppsjö av olika nycklar och verktyg och man behöver heller inte ha den där extrema vanan av mekanik. Idag handlar det också om datavana och att vara tekniskt insatt. Vi har extremt mycket teknik i våra saker. Datoriseringen har slagit med full kraft. På gott och ont. Våra saker har blivit säkrare och vänligare mot vår omgivning, men även mer komplicerade. Ungefär 15 minuters bilresa väster om Eskilstuna längs med väg 230 ligger vad som på 60-talet var en bondgård men som förvandlats till vad som idag liknar en dump-plats för gammalt skrot. En grupp nytänkande bil-entusiaster från Eskilstunas landsbygd ser här en möjlighet till att skapa en modern verkstad för att kunna bygga, reparera och underhålla elektriska bilar och verktyg. Samtidigt bidrar också byggnaden med lokaler som ska stödja lokalbefolkningen i sin vardag. Tanken är att byggnaden ska fungera som en accelerator för att hantera dem utmaningar som övergången till el-drivet för med sig med fokus på återbruk och gemenskap vilket också ska speglas i byggnadens simpla men flexibla struktur.
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The importance of counter-culture in art and lifeOrtlieb, Paulina Elizabeth 03 February 2015 (has links)
Punk rock provided not only a watershed of creativity, innovation and a do-it-yourself spirit to a culture saturated in the mainstream, it physically brought like-minded people together in a community, or rather extended family, which in today’s hyper-d.i.y. culture, is progressively declining. As early as the 1940s, theorists such as Adorno and Horkheimer warned us about alienation in a society increasingly dependent on technology. By looking to punk, and other resilient and robust counter-cultures, perhaps we can find solutions to the pitfalls of the ‘culture industry’ (Adorno, Horkheimer, 1944).
My thesis, consisting of a feature-length documentary film and textual analysis, is a culmination of: ethnographic research into the punk scene in my own community; theoretical research into the sociology, ethnography and subculture theory; and my own subjectivity. My personal findings are presented to offer insight into punk philosophy and to spur discourse, rather than deliver an objective account or didactic reproach. / Graduate
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Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRASGlomm, Anna Sandaker January 2012 (has links)
This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and HealingStasko, Carly 14 December 2009 (has links)
This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
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