<p>Tema ovog rada jeste poezija britanske popularne kulture dvadesetog veka, odnosno, stihovi pop i rok pesama britanskih muzičkih autora. Polazna teza disertacije jeste to da se tekstovi popularnih pesama mogu smatrati poezijom, te da se uobičajene metode koje se koriste pri analizi tradicionalnog pesničkog stvarala&scaron;tva mogu upotrebiti i kada je reč o pop i rok tekstu.<br />Iako se popularna muzika odavno posmatra kao bitan činilac u kulturi dvadesetog i dvadeset prvog veka, i kao takva jeste predmet brojnih kritičkih studija, primećuje se iznenađujuća činjenica da se te studije uglavnom bave njenom kulturolo&scaron;ko-sociolo&scaron;kom ulogom, zbog čega je i istražuju upravo iz tog ugla. Za razliku od njih, ovaj rad se usredsređuje na pesničke elemente popularne muzike (poetika), i to tako &scaron;to ih tumači kao i svaki drugi književni tekst (hermeneutika). Ponekad se ovoj analizi dodaje i muzikolo&scaron;ka, jer se značenje popularnih pesama stvara kombinacijom tekstualnog i muzičkog aspekta.<br />U odabiru bendova koji su postavljeni u sredi&scaron;te analize od velike koristi bila je teorija Kira Kitlija (Keir Keightley) o romantičarkoj i modernističkoj autentičnosti popularne muzike. S obzirom na to da su studije popularne muzike uglavnom posvećene romantičarsko autentičnim stvaraocima, predmet istraživanja ove disertacije jesu tri modernističko autentične grupe, a to su Bitlsi (The Beatles), Kvin (Queen) i Mjuz (Muse). Njihovi tekstovi su tematski podeljeni u četiri grupe: pesme o ljubavi, narativne pesme, pesme o unutra&scaron;njem svetu i pesme o spolja&scaron;njem svetu; i analizirani su u skladu sa takvom podelom.<br />Nakon izvr&scaron;ene analize, izveden je zaključak da se tekstovi rok i pop pesama uistinu mogu smatrati poezijom, čak i kada stihovni element neke pesme služi pre svega kao pratnja muzičkom. Na ovaj način, utvrđeno je da pop i rok poeziji i te kako pripada mesto u &scaron;irokoj i raznorodnoj oblasti pesničkog stvarala&scaron;tva.</p> / <p>The topic of this research was the poetry of 20th century British popular culture, i.e., the lyrics of pop and rock songs written by British authors. The basic thesis of the dissertation was the idea that popular music lyrics can be considered to be poetry, and that the usual methods used to analyse traditional poetry can thus also be used in the analysis of pop and rock lyrics.<br />Even though popular music has long been considered a valuable factor in the 20th and 21st century culture, therefore being the topic of numerous critical studies, most of these studies have, surprisingly, been focused almost exclusively on the culturological and sociological importance of popular music and have thus approached it accordingly. This research is instead focused on its poetical elements (poetics), interpreting them as it would any other kind of literary text (hermeneutics). Sometimes, musicological element is also added to the analysis, given that the meaning of popular songs is created by the combination of both text and music.<br />Keir Keightley&rsquo;s theory of Romantic and Modernist authenticity in music has been greatly helpful in choosing the bands on which the research was to focus. Since popular music studies mostly deal with Romantic authenticity, three bands which display Modernist<br />vii<br />authenticity &ndash; The Beatles, Queen, and Muse &ndash; were here chosen as subjects instead. Their lyrics were divided into four thematic groups: songs about love, narrative songs, songs about the inner world, and songs about the outer world; they were analysed according to these thematic focuses.<br />After the analysis was done, the following conclusion was drawn: pop and rock lyrics can indeed be considered poetry, even when the textual element is only secondary to the musical one. It has thus been proved that pop and rock texts should be regarded as part of the vast and varied area of poetry in general</p>

No description available.

Made available in DSpace on 2015-04-14T14:41:00Z (GMT). No. of bitstreams: 1 412887.pdf: 10529793 bytes, checksum: 2ad00e5343ed8a8e0492b2157f9a46cb (MD5) Previous issue date: 2009-04-28 / Esta tese analisa a comunica??o visual dos Beatles como sedu??o no imagin?rio social e cultural, tomando como base o material iconogr?fico que comp?e parte do registro visual j? reunido at? hoje sobre o conjunto. ? atrav?s dele que se mostra como a imagem p?blica de uma banda surgida na d?cada de 1960 do s?culo XX, cuja hist?ria est? imbricada com as origens e a evolu??o do rock and roll, foi capaz de revolucionar a ind?stria cultural e o imagin?rio de uma gera??o, bem como contradizer a sociedade da ?poca nos seus diferentes aspectos: uso de drogas, cabelos compridos, gestos irreverentes, liberdade sexual, liberdade de pensamento, liberdade no agir, liberdade no vestir. O surgimento dos Beatles ocorre num momento de transi??o entre a modernidade e a p?s-modernidade, tamb?m denominada contemporaneidade, quando sua perman?ncia, como sedu??o no imagin?rio social e cultural se d? na forma de mito; ? o caminho percorrido para estruturar esta pesquisa qualitativa, descritiva e interpretativa, que se leva a efeito atrav?s do referencial metodol?gico da Hermen?utica de Profundidade de John B. Thompson (1995).

This study examines the public relations efforts surrounding the popular music group the Beatles’ first United States tour in February of 1964. The evidence, acquired through the composition of a thorough case study of events, suggests that a combination of factors is responsible for their unprecedented international success: the group’s innate talent (both in terms of their craft and their ability to interact with key and intercessory publics); cultivation and maintenance of a specifically-designed image emphasizing their physical appearance, musicianship, wit, and working class background; understanding by the group’s management of the necessity of record label and major media support; the expert knowledge by said management of the media landscape, publicity opportunities, and a keen sense of appropriate timing by which significant publicity is attained. / Department of Journalism

God never died as scholars of secularization theory from the 1960s and 1970s proposed that he eventually would, but He rather reappeared within the context of Pop music. This work analyzes the lives and music of Yusuf Islam a.k.a. Cat Stevens, Kanye West, Bob Dylan, and George Harrison in order to see how their inner quest for peace brought upon by religious conversion affected their supreme message. Once the artists realized the phenomenal peace found in experiencing personal relationships with the Divine, their music changed so as to inspire others to seek the same greater freedoms from which they benefited upon turning within. These four elite members of secular society did not privatize their faiths, and by sharing their new found beliefs with the world, they turned the minds of millions Godwards.

Made available in DSpace on 2016-06-02T19:16:38Z (GMT). No. of bitstreams: 1 5563.pdf: 5205677 bytes, checksum: f776b64ca9a47cc274cb74ae6f4e493c (MD5) Previous issue date: 2013-09-25 / In 1966, began several comments about the possibility of the death of Paul McCartney, The Beatles band member allegedly occurred in a car accident. This event went beyond the scope of the comments sparse, took shape in various media and entered the scientific field. The objective was to understand aspects of the discourse theory, as proposed by Michel Foucault, applying it in web texts in view the need of organizing collections in the field of Information Science. As a sample, we apply some of the principles of this theory in a corpus of artistic imprint, and analyze texts found on the web from the statement "death of Paul McCartney." Therefore, we adopted the Foucault´s concepts Science and Knowledge , Comment and Archive . The mobilization of the Foucault´s theory allowed the description of the documents correlates and composed a specific discursive archive on the subject, coming from various genres, media and materiality. As a result, the discursive archive presented in this work, such as sampling, on the theme death of Paul McCartney , was represented by infographic, showing the relationships among multiple documents. From the discussions undertaken around the field of Discourse Analysis of Foucault and some parameters of how information have been made available on the web with subsidies arising from theories of Information Science was still possible to trace relationships aiming possibilities of this science is to bolster also in Discourse Analysis of Foucault, in search of a new way to analyze, organize and make available content on the web universe. / Em 1966, iniciaram-se comentários diversos sobre a possibilidade da morte de Paul McCartney, integrante da banda The Beatles, supostamente ocorrida em um acidente de carro. Este acontecimento extravazou o âmbito dos comentários esparsos, tomou corpo em diversas mídias e adentrou o campo científico. O objetivo foi compreender aspectos sobre a teoria discursiva, como proposta por Michel Foucault, aplicando-a em textos da web, tendo em vista a necessidade da organização de acervos no campo da Ciência da Informação. Como amostragem, aplicamos alguns dos princípios deste teórico em um corpus de cunho artístico, e analisamos textos encontrados na web a partir do enunciado morte de Paul McCartney . Para tanto, foram adotados os conceitos foucaultianos sobre Ciência e Saber , Comentário e Arquivo . A mobilização desta teoria foucaultiana permitiu que a descrição dos documentos se correlacionasse e compusesse um arquivo discursivo específico sobre o tema, oriundo de diversos gêneros, suportes e materialidades. Como resultado, o arquivo discursivo apresentado neste trabalho, como amostragem, sobre o tema morte de Paul McCartney , foi representado através de infográfico, demonstrando as relações entre os múltiplos documentos. A partir das discussões empreendidas em torno do campo da Análise do Discurso de Foucault e de alguns parâmetros de como a informação vêm sendo disponibilizada na web com subsídios advindos de teorias da Ciência da Informação foi possível, ainda, traçar relações visando possibilidades desta Ciência se amparar também na Análise do Discurso de Foucault, em busca de uma nova maneira de analisar, organizar e disponibilizar conteúdos disponíveis no universo da web.

Made available in DSpace on 2013-08-07T18:47:10Z (GMT). No. of bitstreams: 1 000422971-Texto+Completo-0.pdf: 11451859 bytes, checksum: 44bc7be3ae741cfa3dea015f7c22c587 (MD5) Previous issue date: 2010 / This present paper presents an analisys and history of the emergence, in British Media, of the bands The Beatles and The Rolling Stones, using the agenda-setting hypothesis, framing and construction of imaginary. This study is fixed in time during the years 1963 to 1967, in England – period of emergence and media explosion of the two groups – through the covering of The Times and The Guardian. This research has the objective of finding facts in newspapers articles, based in the construction of their images, through the publication of these articles. / Análise e história do surgimento, na mídia britânica, das bandas The Beatles e The Rolling Stones, utilizando as hipóteses de agenda setting, enquadramento e construção do imaginário. O estudo fixou-se entre os anos 1963 e 1967, na Inglaterra – período de surgimento e explosão midiática dos dois grupos – vista pela cobertura dos jornais The Times e The Guardian. A pesquisa busca fatos em artigos e matérias jornalísticas da imprensa britânica, baseadas na construção de suas imagens, através da publicação dessas reportagens.

“Big in Japan: The Novel” chronicles the struggles of American Kent Richman, has-been gaijin-tarento. The novel alternates between a collage of tabloid articles, letters, YouTube video, excerpts from an unfinished memoir, manga story boards, botched interviews, notes scribbled on napkins, and a third-person narrative. Set primarily in central Japan, “Big in Japan” is at once a satire of celebrity, a study of personality, a romance and a mystery. Kent Richman—John Lennon look-a-like known as RI-CHU-MAN-SAN! and husband to popular model Kumiko Sato—was a regular on the nightly game show The Strange Bonanza, despite having little talent beyond his resemblance to the popular Beatle. Following a foolish affair with a young Quebecois named Monique Martine, Kent and Kumi’s celebrity world is shattered when Monique’s husband, Australian Denis Ozman—an edgy, violent shock comic—seeks his revenge on Kent and, by default, Kumi. The “Ozman Incident,” as it becomes known in the Asian press, escalates Kent and Kumi to new levels of celebrity, but impels them to abandon stardom and Japan for a new beginning on an island in the Gulf of Thailand. In Thailand, Kent and Kumi try to make a new start, but Kumi is unable to forgive Kent for what Ozman did to them and paradise quickly goes sour. In the frenzy of a passing storm, Kumi disappears with a local entrepreneur named Darren. Kent’s search for her leads him to Bangkok and a painful but puzzling discovery. When we first meet Kent, he has returned from Thailand without Kumi, who has vanished. He is unemployed, abandoned by his once adoring public, and penniless, living in a capsule hotel. Kent’s failings are aggravated by a minor drug habit that leads him to often comical, painful, and revealing extremes. At the heart of Kent’s troubles are the unanswered questions about Kumi’s disappearance and his fall from grace. Once a star, he both abhors and misses his former life. What begins as an attempt to exorcise nagging questions becomes an aimless and dangerous plunge into obsession: why did Kumi disappear, where did she go and what will he do now?

This thesis deals with Czechoslovak Beat Festivals which were held in the years 1967, 1968 and 1971. The work presents a musical atmosphere which prevailed in Czechoslovakia in the days of their birth and depicts the conditions in which our musicians built their first bands and started with their own music production. Emphasis is placed on Western musical models whose influence on Czechoslovak artists and authors is undeniable. The paper is processed using oral history on the basis of which interviews with co- organizers, journalists, musicians and spectators were recorded. Their findings and impressions are integrated into the information drawn from historical materials and literature. Therefore, they serve as a supplement to known information and bring a new and sometimes unexpected view of events nearly fifty years ago. Key words Czechoslovak Beat Festival, beat and "big beat", Anglo-American music, The Beatles, rhythm & blues, oral history.

No description available.