Four encounter groups were run using 41 undergraduates at Utah State University to measure the effects of leadership style, member vii socio-political subculture, and member personality on the quantity and quality of group interaction, and on member satisfaction. Using Kerlinger's Social Attitudes Scale, the subjects were divided into subgroupings of "conservatives" and "liberals." One conservative group and one liberal group were each conducted by a leader acting in a non-directive style, while one conservative and one liberal group were run by a leader acting in a directive style. The California Psychological Inventory was administered to the subjects to gain information on the personality traits of the individuals, and a questionnaire was used to measure member satisfaction. Each group met for six sessions, and the groups were rated for interaction using the Hill Interaction Matrix. Using an analysis of covariance, the results showed that the group led by the non-directive leader resulted in more interaction, and that this interaction was of a ''member-centered" work type. A statistical relationship was also found between the personality of group members and: 1) quantity and quality of interaction, 2) member satisfaction, and 3) the socio-political subculture of the members. An interaction effect between leadership style and socio-political subculture of the subjects was found to affect member satisfaction. Conservatives preferred a directive leader, while liberals preferred a non-directive leader. Finally, a trend was found suggesting a difference in group interaction due to the socio-political subculture of an individual. Implications for other types of groups, and for therapy and counseling, were discussed.

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This dissertation, a study of Christian rock music and musicians in Southern Ontario, Canada, examines issues related to religion, music and youth culture. In doing so it explores similarities and differences between subcultures and new social movements particularly in relation to issues around practices, identity and authenticity. The dissertation begins with examinations of the literature on subcultures and social movements, followed by brief looks at the literature on fields, habitus, legitimacy, individual and collective authenticity and identity, issues of authenticity within popular music and Christian rock music literatures. Following this it looks at the research methods used, detailing the interviews with Christian rock musicians and participant observation conducted from 2008-2010. The substantive chapters of the study look at practices and the uses of space, Christian rock identities over time and finally the question of whether Christian rock should be categorized as a subculture or a new social movement. The first of these chapters examines how spaces, particularly performance spaces are used within Christian rock, how these connect to worship, entertainment and art, and how these attempt to manifest themselves as transgressive. The second substantive chapter looks at how Christian rock musicians enact their individual and collective Christian rock identity in recruitment, participation and exiting of Christian rock. In doing so, it looks at how identities and the goals associated with those identities connect to Howard and Streck’s Christian rock typologies of separational, integrational and transformational (Howard & Streck, 1999). The third substantive chapter examines whether Christian rock should be considered a subculture or a new social movement by looking at how it deals with recruitment, mobilization, insiders and outsiders, structure, leadership, strategies, goals, uses of space and material cultures. In doing so the dissertation argues that Christian rock is composed of many different identities and approaches. It then explores the specific identities and approaches of Worshipcore and Worship Rock. This is followed by a conclusion and brief post-script detailing speculation around the changes that have occurred since the research was conducted. / Thesis / Doctor of Philosophy (PhD) / This dissertation looks at Christian rock in Southern Ontario, drawing on interviews with over 30 Ontario based Christian rock musicians, as well as participant observation of close to a dozen Christian rock performances conducted from 2008 to 2010. The dissertation focuses on issues related to how Christian rock is practiced (with particular focus on performance), how Christian rock influences identity over time and how Christian rock reflects aspects of both subcultures and new social movements. The research adds to understandings of Christian rock, and the use of identity and practice in religion, music and youth culture. It also explores similarities and differences between subcultures and new social movements particularly in relation to issues around practices and identity.

(in English) This Master's Thesis focuses on the analysis of the issue of production and maintenance of authenticity as subculture capital. Analyzing the case of a decline of interest of participation in the Czech Freetekno subculture, this Thesis shows how analytically grasp the issue of authenticity and subcultural capital. The research is methodologically built on a combination of in-depth interviews and participant field observation. Primary data are then complemented with an analysis of secondary data in the form of media articles, flyers, and social networks. The main argument of this Master's Thesis is that apart from a distinctive dimension, authenticity also has a substantive dimension. Authenticity does not represent only a distinctive element that internally and externally differentiates the field of a subculture. It is also an element that gives a subculture its inner content, meaning, and sense for both current and new members. Authenticity is not only a resource used in the competition of status but is also a source of the content of a subculture and the pleasure of participating in it. Through an explanation of the decline of interest of participation in the Czech Freetekno scene, this Master's Thesis concludes that in the field of subculture studies the formalist perspective of...

Breed has a concept and a main goal, to be unpredictable and visually impressive. The idea that it was built on was to try to create a collection with the method of breeding and the rules of genetics. At first, twelve individuals were created. They were all given characteristics – “genes”, handed out in a random way, decided by the toss of a dice. The individuals bred and were blended into a second generation, who thereafter procreated into a third. This third generation of eight characters, four females and four males, carry genes and features from their ancestors. They have been twisted, mutated and mixed, just like in nature. It is voluminous line-up with clashes between references, colours and styles. The challenge has been to let chance take decisions and to do something that was unexpected and was going to give an unpredictable result. Breed has not been done for a commercial destination but would be suitable for styling artists, editorials for fashion magazines, costumes in music videos or artistic films. The method is supposed to make people interested, the result is supposed to give the onlooker a smaller chock, a tingling sensation and the impression of a new subculture, a modern day tribe or a new breed. Or simply “What crazy person made this?”

This work focuses on the issue of the skinhead subculture in the former Czechoslovakia and monitors roots and developments, which are developed, especially in relation to social changes after 1989. Attempts to clarify the profiles of individual streams, characterized by its social and cultural positions. Finally, it deals with relationships and understandings of the subculture majority.

5 Abstract This thesis is focused on the poetics of czech hip hop lyrics. It deals with meanings lyrics can posess inside the frame of different models of youth subcultures or in context of dominant culture. The comparathive method showed being of good use because of cultural transfer, that lies in the very basics of hip hop music and culture. The relation between music and lyrics in a whole of single performance, whether is it concert or record, is also an important topic of this research. Key words hip hop, rap, popular culture, lyrics, subculture

Student Number : 9208006A - PhD thesis - School of Social Sciences - Faculty of Humanities / The term ‘ducktail’ was originally used to denote a hairstyle. In the Post World War Two period, ‘Ducktail’ became associated with a rebellious white youth gang subculture, which rose to prominence in the major urban centres throughout South Africa. Societal responses to the subculture’s identity resulted in the generation of a moral panic which demonised the movement branding it as – amongst other things – the ‘eendstert euwel’ [ducktail evil]. The major aim of this thesis is to account for the way in which members of the subculture constructed and practised their class, racial, ethnic, gendered and generational identities whilst highlighting how society responded to them. The relationship of conformity, conflict and control that emerged between the ducktails and more conventional members of society such as the authorities and academics is plotted. This relationship sets the context for the final part of the dissertation, which explores the moral guardians and rule creators that became involved in the designing of youth policies. Particular attention will be given to how the ‘problem of youth’ brought religion, working mothers, morality, the state of the nation and the preservation of white supremacy under question. In this process, the National Party government formulated policies to monitor, shape and construct an appropriate form of South African whiteness.