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Mean Green: A Visual Cultural Analysis of the National Border Patrol MuseumMoreno, Gabriela Elena January 2012 (has links)
The National Border Patrol Museum (NBPM) in El Paso, Texas presents a view of the history, culture and life along the U.S.-Mexico border that no other museum in the world can offer. Moreover, it provides an opportunity to study and understand people and life in the border through the different forms in which they are representing themselves and how others view them as well. Mean Green: A Visual Cultural Analysis of the National Border Patrol Museum is a visual cultural analysis of the museum that deploys theoretical approaches in the disciplines of visual and cultural studies, Border Studies, Ethnic Studies, discourse analysis, museology, and spatial theory. The objectives of this dissertation are: 1) to study the varied representations, i.e., the hypermasculine white American male and the disenfranchised "illegal" immigrant, that reinforce and challenge the dominant discourse present in the hegemonic state and which are deconstructed when rearticulated in everyday border life; 2) to analyze why the museum represents a homotopia within the limits of a heterotopia; 3) to learn how the museum creates imagined communities through the use of its historical patrimony; 4) to observe the practices in relations of power by employing the notion of panopticon in their design and impose power over its visitors; and finally 5) to understand how the museum is providing a commodification of symbols to promote the hegemonic state. I reference historical events to frame the research for this project: history of the border, especially the El Paso border region, the creation of The Fraternal Order of Retired Border Patrol Officers, the history of the Border Patrol and the NBPM. Altogether, this work shows how the National Border Patrol Museum's exhibits and artifact displays are a reflection of what is happening in the border region.
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Miljöpartiet och medierna : Idécirkulationen i Miljöpartiets möten med massmedier 1980–1982Cederqvist, Johan January 2015 (has links)
The aim of this master’s thesis in history of ideas is to investigate the idea circulation in the Swedish Green Party’s meetings with mass media 1980–1982. The study is based upon a series of theoretical premises. It is presumed that cultural expressions, such as speech, media use and visual representation, can be understood through studying how people think about society’s history, contemporary development and conceivable futures. Since ideas about society’s ongoing development also are presumed to be intertwined with social and cultural positions and practices, and may be expressed differently given different social and cultural circumstances, it is relevant to investigate on the one hand the Green Party’s political vision, and on the other hand how the formulation and reception of ideas took place between them and journalists. The Green Party’s communication to the Swedish public is studied through on the one hand their own media channels, and on the other hand a selection of events where they were covered in mass media, communicating to the public via journalists. The study shows that the Green Party expected society’s ongoing development to lead to an environmental and human disaster, if not their vision of a democratic society, built on small-scale production, came true. These two conceivable futures were used to motivate political action in their present time. History, on the other hand, was used to criticize the present society built on economical growth and hierarchies. In the Green Party’s visionary society, mankind would embrace a natural lifestyle and thereby reunite with her, in growth society, lost democratic, accountable and creative nature. These ideas were related to societal processes, events and circulating ideas at the time. To get their messages across to the broad Swedish public, the Green Party arranged a press conference. Partly adapting to journalistic working methods for covering politics, the Green Party staged their alternative, small-scale ideology materially, musically and visually. The Green Party’s mass media appearance, along with their growth in membership numbers, made mass media coverage about them increase. In a parliamentary uncertain and politically hostile time, the party’s presented parliamentary strategies and political proposals awoke journalistic speculation. However, journalists’ news telling about the Green Party’s politics circulated, in different ways, around their parliamentary goal, prospects and future obligations. Thereby conceivable futures, as formulated by journalists, gave meaning to the Green Party’s formation, development and politics. These ideas were expressed in journalistic media use and interview praxis. Since around two decades, journalists were reporting more independently and confrontational on politics than previously. Covering the Green Party, photographers, camera men and writers created meanings by using mediums, which sometimes were transferred between media forms, to support news narratives. Consequently, a political party trying to change a political lifestyle and exercise reached the Swedish public through mass media as a party mainly competing for parliamentary representation. These results contribute to ongoing research on how, and on what premises, political voices have reached the public through mass media throughout modern history.
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Ao sabor das narrativas: sujeitos, cotidiano e práticas de cozinha / To the flavor of narratives: subjects, everyday life and kitchen practicesSilveira, Juzelia de Moraes 26 February 2015 (has links)
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Previous issue date: 2015-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present thesis consists in reports of four participants as well as my own personal
reports in order to think how these subjects produce themselves and are produced
through their cooking practices. This way, it departs from the perspective of narrative
inquiry as methodological approach. As main authors to subsidize the methodological
web, I highlight Brockemeier and Harré (2003), Bruner (1990; 1995), Connelly and
Clandinin (1990; 1995) and Ellingson and Ellis (2008). I adopt the purposes of
Quotidian and Visual Culture Studies to think how the participants’ narratives bring
argumentations and notes about how their quotidian is marked by micro-resistances
that individuals developed by means of their ways of doing. Thus, I understand that
subjects are constituted by references and discourses, which structure their
sociocultural contexts, creating with their distinct ways of relating to a practice ways
of playing with normative and homogenizing principles. I consider micro-resistances
above all through considerations of Michel de Certeau and Luce Giard (2000; 2003)
drawn from “A invenção do Cotidiano”, which comprehend the plurality of ways of
doing as potencies for subverting the sociocultural impositions. As research
references on Everyday life Studies I dialogue mainly with Alves (1998; 2001; 2009;
2012), Victorio Filho (2005; 2007; 2013) and Pais (2003; 2007). Through the reports
produced by participants and myself the “visual events” (ILLERIS; ARVEDSEN,
2011) that constituted the experiences that derived from the cooking practices are
recovered and observed, thinking how the relation between seeing and being seen is
mediated by the whole visual system that composes each lived context. Before this
conception, I find the theoretical framework in the writings of Mitchell (2002; 2005),
Mirzoeff (2003) and Hernández (2007; 2013). In the chapters developed along this
dissertation, I approach issues which, due to being more recurrent in the notes taken
by the participants, figure as theme of analysis. These are: “Swiss Lemonade or
Micro-resistances through micro-existences”, in which I discuss how small narratives
that inhabit the quotidian are constituted as modes of resistance through the way the
subjects construct themselves in dialogue with the environment; “Baião de dois – or
Kitchen and gender production”, in which I argue on how discursive constructions on
gender surround and reinforce the norms that base as well as question them;
“Filhoses – or Kitchens as space of affection and socialization”, which traces a
reflection on the constant relation between the referred practice and the interaction
processes between family and friends through cooking and feeding along with other
subjects. / A presente tese desenha-se a partir dos relatos de quatro participantes, bem como
de meus relatos pessoais, para pensar como os sujeitos produzem-se e são
produzidos a partir de suas práticas de cozinha. Para tanto, parto da perspectiva da
Investigação Narrativa como viés metodológico. Como principais autores que
subsidiaram a rede metodológica destaco Brockemeier e Harré (2003), Bruner
(1990, 1995), Connelly e Clandinin (1990, 1995) e Ellingson e Ellis (2008). Valho-me
dos propósitos dos Estudos do Cotidiano e da Cultura Visual para pensar como as
narrativas dos sujeitos da pesquisa trazem argumentações e apontamentos sobre
como os cotidianos são marcados por microrresistências que os indivíduos
desenvolvem a partir de suas formas de fazer. Para tanto, compreendo que os
sujeitos são constituídos mediante referências e discursos que estruturam seus
contextos socioculturais, criando com seus modos distintos de relacionar-se com
uma prática, maneiras de jogar com normativas e preceitos homogeneizadores.
Penso as microrresistências partindo, sobretudo, das considerações de Michel de
Certeau e Luce Giard (2000, 2003) traçadas em “A invenção do Cotidiano”, que
compreendem a pluralidade de maneiras de fazer como potências de subversão das
imposições socioculturais. Como referências da pesquisa sobre os Estudos do
Cotidiano dialogo principalmente com Alves (1998, 2001, 2009, 2012), Victorio Filho
(2005, 2007, 2013) e Pais (2003, 2007). A partir dos relatos produzidos pelos
colaboradores e por mim são retomados e observados os “eventos visuais” (ILLERIS
E ARVEDSEN, 2011) que constituíram as experiências derivadas das práticas de
cozinhas, pensando como a relação do ver e ser visto é mediada e oriunda de todo o
sistema visual que compõe cada contexto vivido. Diante dessa concepção, busco
aporte teórico nos escritos de Mitchell (2002, 2005), Mirzoeff (2003) e Hernández
(2007, 2013). Nos capítulos desenvolvidos ao longo da tese abordo as questões
que, por serem mais recorrentes nos apontamentos realizados pelos participantes,
configuram-se como mote de análise. São eles: “Limonada Suíça ou
Microrresistências a partir de microexistências”, em que discuto como as pequenas
narrativas que habitam o cotidiano constituem-se como formas de resistência, a
partir da forma com que o sujeito constrói a si mesmo em diálogo com seu meio;
“Baião de dois – ou A cozinha e produção de gêneros”, no qual argumento sobre
como as construções discursivas sobre gênero circundam e reiteram as normativas
que os fundamentam, tanto quanto as indagam; “Filhoses – ou As cozinhas como
espaço de afeto e socialização”, que traça uma reflexão sobre a relação constante
entre a referida prática e os processos de interação entre família e amigos, a partir
do cozinhar e alimentar-se com outros sujeitos.
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Petit Trianon and Marie Antoinette : representation, interpretation, perceptionMaior-Barron, Denise Cristina Ioana January 2015 (has links)
This interdisciplinary thesis belongs to Marie Antoinette studies. The contemporary dissonant commodification of the controversial historical character of the last Queen of France, detected at her former home, Petit Trianon, drives the course of the thesis research. Considering the complexity and controversy of the subject, the thesis seeks to make a contribution to extant scholarship by clarifying important modern history issues through a fresh approach: by using art history as an indicator in assessing the historical truth of the narrative of Petit Trianon, the residence identified as home to the last Queen of France. The thesis examines Petit Trianon and Marie Antoinette in the context of four major narratives - the historical, cinematic, architectural and heritage narratives - relevant to the contemporary heritage interpretation of Petit Trianon as well as its visitor perceptions. In addition to sourcing evidence for the arguments originating in art history information, the thesis relies on the data collection provided by a tailor-made survey for the topic, placing the results in the wider context of a hermeneutical interpretation of data found in either history or contemporary popular culture. The array of Marie Antoinette’s images detected by the analysis charts the commodification of this historical character at Petit Trianon: its production and consumption. It is through the assessment of this commodification that the present thesis reveals the misconceptions surrounding the historical character best known as Marie Antoinette. The thesis argues that the true role of the last Queen of France was successfully obscured through juxtaposition with her perception by the French collective memory. In other words, the perception of Marie Antoinette had subverted historical truth. Furthermore, the commodification of her historical character is perpetuated in an endless chain of representations fuelled by postmodern consumerism.
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Trans Cinema and Its Exit Scapes : A Transfeminist Reading of Utopian Sensibility and Gender Dissidence in Contemporary FilmStraube, Wibke January 2014 (has links)
Trans Cinema and its Exit Scapes offers a critical and creative intervention into cultural representations of gendered body dissidence in contemporary film. The study argues for the possibility of finding spaces of “disidentification”, so-called “exit scapes” within the films. Exit scapes disrupt the dominant cinematic regime set up for the trans character, which ties them into stories of discrimination, humiliation and violence. In Trans Cinema, for instance films such as Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), scenes of singing, dancing and dreaming allow a different form of engagement with the films. As argued here, they allow a critical re-reading and an affirmative re-imagining of trans embodiment. The aim of this study is to investigate the utopian and hopeful potential within Trans Cinema from a critical transfeminist perspective. While focusing in particular on trans entrants as “spectators” or readers, this study draws on the work of a wide range of feminist and cultural scholars, such as Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad and Donna Haraway. The thesis etches out cinematic spatiotemporalities that unfold possibilities of utopian worlding and trans becoming through a set of conceptual innovations. By utilising a critical approach to audio-visuality and feminist film theory, the thesis re-conceptualises haptic spectatorship theory and its critique in western modernist ocularcentricism through a set of conceptual innovations. The methodological tools developed in this thesis, such as the “entrant”, the “exit scape” and “sensible cinematic intra-activity”, feature here as a multisensorial methodology for transdisciplinary transgender studies and feminist film theory as well as visual culture at large. / Trans Cinema and its Exit Scapes är en kritisk och kreativ intervention med fokus på kulturella representationer av kroppar som bryter mot en könsbinär ordning i samtida film. Studien argumenterar för möjligheten att hitta utrymmen för “disidentification”, så kallade “exit scapes” inom filmerna. Exit scapes stör den dominanta filmiska ordning som skapats för transkaraktären, en ordning som är förbunden med berättelser om diskriminering, förödmjukelse och våld. Inom Trans Cinema, i filmer som exempelvis Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), öppnar scener med sång, dans och drömmar upp för andra former av engagemang med filmerna. Som det argumenteras för i avhandlingen tillåter dessa ett kritiskt omformulerande av, och ett nytt affirmativt sätt att föreställa sig, transkroppslighet. Syftet med den här studien är att undersöka den utopiska och hoppfulla potential som finns inom transfilm utifrån ett kritiskt transfeministiskt perspektiv. Även om studien främst riktar sig till trans entrants som “åskådare” eller läsare, så har den en bred teoretisk bas hämtad från verk av en lång rad feministiska forskare inom kulturfältet, såsom Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad och Donna Haraway. Denna avhandling skissar filmiska spatiotemporaliteter, vilka öppnar för möjligheter av utopiska värdsliga och transsubjektiva tillblivelser genom utvecklandet av olika teoretiska begrepp. Genom ett kritiskt förhållningssätt till audiovisualitet och feministisk filmteori, revideras och omformuleras haptisk åskådarskapsteori och dess kritik i en västerländsk okularcentrism genom olika teoretiska innovationer. De metodologiska verktygen som utvecklas i avhandlingen, såsom “the entrant”, “the exit scape” samt “sensible cinematic intra-activity” utgör här funktionen som multisensorisk metodologi för transdisciplinära transstudier, feministisk filmteori samt för visuell kultur i stort.
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Trans Cinema and Its Exit Scapes : A Transfeminist Reading of Utopian Sensibility and Gender Dissidence in Contemporary FilmStraube, Wibke January 2014 (has links)
Trans Cinema and its Exit Scapes offers a critical and creative intervention into cultural representations of gendered body dissidence in contemporary film. The study argues for the possibility of finding spaces of “disidentification”, so-called “exit scapes” within the films. Exit scapes disrupt the dominant cinematic regime set up for the trans character, which ties them into stories of discrimination, humiliation and violence. In Trans Cinema, for instance films such as Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), scenes of singing, dancing and dreaming allow a different form of engagement with the films. As argued here, they allow a critical re-reading and an affirmative re-imagining of trans embodiment. The aim of this study is to investigate the utopian and hopeful potential within Trans Cinema from a critical transfeminist perspective. While focusing in particular on trans entrants as “spectators” or readers, this study draws on the work of a wide range of feminist and cultural scholars, such as Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad and Donna Haraway. The thesis etches out cinematic spatiotemporalities that unfold possibilities of utopian worlding and trans becoming through a set of conceptual innovations. By utilising a critical approach to audio-visuality and feminist film theory, the thesis re-conceptualises haptic spectatorship theory and its critique in western modernist ocularcentricism through a set of conceptual innovations. The methodological tools developed in this thesis, such as the “entrant”, the “exit scape” and “sensible cinematic intra-activity”, feature here as a multisensorial methodology for transdisciplinary transgender studies and feminist film theory as well as visual culture at large. / Trans Cinema and its Exit Scapes är en kritisk och kreativ intervention med fokus på kulturella representationer av kroppar som bryter mot en könsbinär ordning i samtida film. Studien argumenterar för möjligheten att hitta utrymmen för “disidentification”, så kallade “exit scapes” inom filmerna. Exit scapes stör den dominanta filmiska ordning som skapats för transkaraktären, en ordning som är förbunden med berättelser om diskriminering, förödmjukelse och våld. Inom Trans Cinema, i filmer som exempelvis Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), öppnar scener med sång, dans och drömmar upp för andra former av engagemang med filmerna. Som det argumenteras för i avhandlingen tillåter dessa ett kritiskt omformulerande av, och ett nytt affirmativt sätt att föreställa sig, transkroppslighet. Syftet med den här studien är att undersöka den utopiska och hoppfulla potential som finns inom transfilm utifrån ett kritiskt transfeministiskt perspektiv. Även om studien främst riktar sig till trans entrants som “åskådare” eller läsare, så har den en bred teoretisk bas hämtad från verk av en lång rad feministiska forskare inom kulturfältet, såsom Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad och Donna Haraway. Denna avhandling skissar filmiska spatiotemporaliteter, vilka öppnar för möjligheter av utopiska värdsliga och transsubjektiva tillblivelser genom utvecklandet av olika teoretiska begrepp. Genom ett kritiskt förhållningssätt till audiovisualitet och feministisk filmteori, revideras och omformuleras haptisk åskådarskapsteori och dess kritik i en västerländsk okularcentrism genom olika teoretiska innovationer. De metodologiska verktygen som utvecklas i avhandlingen, såsom “the entrant”, “the exit scape” samt “sensible cinematic intra-activity” utgör här funktionen som multisensorisk metodologi för transdisciplinära transstudier, feministisk filmteori samt för visuell kultur i stort.
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