El presente trabajo de investigación evidencia la migración del mundo entorno a los chamánico a las redes sociales. Esa migración ha permitido una mercantilización de la cultura; es decir, ha hecho más fácil la venta de este mundo entorno a lo chamánico a través web. Cada uno de los personajes analizados en la investigación difunde un determinado discurso entorno a lo chamánico que se construye a través de diversos elementos como la vestimenta, los instrumentos musicales, un determinado tono de voz o gestos. Estos discursos antes podían ser difundidos en espacios físicos; sin embargo, gracias a las redes sociales ahora pueden ser anunciados de manera virtual. En la actualidad, estos ‘’chamanes’’ difunden contenido en redes sociales que evidencia un trabajo de producción, edición y conocimiento web, lo que les permite convertirse en creadores de contenido con un fin netamente mercantil. / This research work shows the migration of shamanic work shows the migration of shamanic world to social networks. This migration has allowed a commodification of culture; that´s to say, it has made it easier to sell this world around the shamanic through the web. Each of the characters analyzed in the research disseminates a certain discourse around the shamanic that is constructed through various elements such as clothing, musical instruments, a certain tone of voice or gestures. These discourses could previously be broadcast in physical spaces, however, social networks can now be advertised virtually. Currently, these ´´shamans´´ disseminate content n social networks that evidences a production, editing and web knowledge, allowing them to become content creators for a purely commercial purpose. / Trabajo de investigación

Maori and Pacific Island youth are the 'it kids' of Aotearoa New Zealand television today, as the exceptional success of the television series bro'Town attests. Corporate sponsors clamour to associate their brands with the hit programme, from international heavyweights including Coke and Vodafone to local players such as G-Force. Likewise, celebrities from at home and abroad proclaim their support for bro'Town in guest appearances on the show. But, what is at stake when the visibility of Polynesian youth in the media is so inextricably intertwined with the commercial imperatives of major corporations and pop-culture celebrities? This paper attends to an absence of critical response regarding the role of commercial influences in the representation of Polynesian youth identity in bro'Town. In striving to be popular, contemporary television in Aotearoa New Zealand often addresses the preconceptions of its target audience. The commodification of Polynesian youth identity in bro'Town, therefore, may be interpreted as a marketing strategy to tap into a popular ideological shift towards multiculturalism in Aotearoa New Zealand without disrupting the dominant ideology of white, middle-class masculinity from which capitalism derives. Although bro'Town offers specific challenges to popular stereotypes of Polynesian youth culture, the discursive construction of Maori and Pacific youth identities in the show is still circumscribed by a consumerist ethos that demands adherence to Western capitalist culture in Aotearoa New Zealand. Bro'Town operates in complicity with pre-existing binaries between masculinity/femininity and heterosexual/homosexual and thus implicitly reinscribes the status quo for youth in Aotearoa New Zealand today. Moreover, bro'Town's multicultural ethic is largely contrary because the series fails to contest popular stereotypes about other ethnic minorities. In Brand New Zealanders, it is argued that the corporate co-option of Polynesian youth culture in bro'Town ultimately does less to pry open new discursive spaces for the development of youth identity than to operate as a vehicle for the deliberate shrinking of consumer choice.

KULLMANOVÁ, Katarína Bc.: Transformation of Golem in Popular Culture (diploma thesis) Charles University in Prague. Faculty: Institute of Ethnology. Supervisor: PhDc. Peter Janecek, Ph.D. Praha, 2015-08-16 The aim of the study is to outline the Golem legend, through the work of Alois Jirasek: Old Czech Legends (1894) a film by Martin Fric: The Emperor's Baker and Baker's Emperor (1951), which enables got Golem today's visually similar. Subsequent demonstration on how much above two sources affect people's perceptions on the topic. The aim of this work is also to show the gradual disappearance of the original legends of the 16th century and approach the area where the phenomenon Golem applied later: literature, film, tourism and the transformation of the 19th-21st centuries.

This thesis deals with the musical and dance style known as "Salsa" which roots can be traced to the Caribbean of Latin America. In this work, salsa is investigated as a global phenomenon in the local context of Prague and at the same time as a commercialized product. In terms of salsa as a global phenomenon, the work deals with the characteristics of salsa as a social dance in the local context and tries to trace its social functions. In addition to the effects of the commercialization and tropicalized ideas of salsa and Latin American cultures on its form, the thesis also touches on topics such as internal negotiation and external construction of Latin American identity (latinidad), which are related to salsa as a global phenomenon and its commercialization. The work is based on several months of ethnographic research and semi- structured interviews conducted mainly with salseros from Latin America, the Czech Republic and others, not only European countries. Key words: salsa, social dance, global phenomenon, commercialization, product, commodification of culture, Latin American identity, latinidad , tropicalization, imagination