Thesis (M.A.)--University of Wyoming, 2009. / Title from PDF title page (viewed on May 24, 2010). Includes bibliographical references (p. 129-132).

Thesis (Ph. D.) - University of Washington. / Bibliography: l.114-126.

Thesis (M.S.)--University of Wisconsin--Madison, 1972. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

The present study was designed to explore 1) the personality and attitude structures of adolescents belonging to the hip or underground subculture; 2) the family constellations within which these structures evolve; and 3) the evidence for and against the existence of the “generation gap." Several correlated indices of “hipness" were utilized to select 49 hip and 44 nonhip male, adolescent subjects. More than 80 percent of the subjects' parents also participated in the study. An extensive battery of personality, attitude and demographic questionnaires was administered to all subjects. The data revealed large, significant differences between hip and nonhip adolescent subjects on 14 of the 18 major variables measured in the study. Relative to their nonhip counterparts, the hip subjects scored significantly higher on the following variables: Thinking Introversion; Theoretical Orientation; Estheticism; Cognitive Complexity; Autonomy; Liberal Religious Orientation; Impulse Expression; Altruism; Liberal Attitudes Toward Children's Freedom; Women's Freedom; and Sexual Freedom. The hip subjects scored significantly lower on: Personal Integration; Practical Outlook; and Masculinity. The hip personality profile revealed in the findings was compared and contrasted with the profiles of other alienated groups, namely, radical activists and the Beats of the late Fifties. Particular attention was paid to the historical changes which have transpired in the Bohemian personality during the past decade. While hip and nonhip sons differed significantly on 14 of the 18 major variables, their parent's personality profiles appeared remarkably similar. Hip and nonhip fathers differed significantly on only two of the 18 variables (hip fathers were more permissive in their attitudes towards children's freedom and toward sexual freedom). Hip and nonhip mothers differed significantly on just one variable (hip mothers held more permissive sexual views). Irrespective of significance levels, however, the group means indicated a strong trend for the small differences between hip and nonhip parents to mirror in direction the large differences between their respective sons. On 16 of the 18 variables, both hip parents scored in the same direction relative to their nonhip counterparts as did their sons relative to the nonhip sons. The hypothesis was discussed that both the smallness and consistency of these parental differences are instrumental in the development of hip or nonhip values among adolescents. While the differences between hip adolescents and their parents was found to be considerably greater than the differences between nonhip adolescents and their parents, the data indicated strong support for a generation gap hypothesis. On 9 of the 18 variables, nonhip sons differed significantly from both parents in the same direction that hip sons differed significantly from theirs. Relative to their fathers and mothers, both son groups displayed: more complex cognitive orientations; greater impulse expression; lower personal integration; higher anxiety; lower altruism: lower response bias; a more cynical attitude toward people in general; and more liberal views regarding children's freedom and sexual freedom. The generation gap, as characterized by the foregoing cluster of traits, was discussed from a psycho-historical perspective, and predictions were entertained regarding the probable future of generational relations. / Arts, Faculty of / Psychology, Department of / Graduate

The purpose of this thesis is to consider three opposing statements regarding aesthetics in our popular culture. The first statement is that the youth of this age are demolishing the old standards of aesthetic taste and are creating a nonaesthetic; the second statement is that the youth are enlarging the vision and scope of the accepted standard of aesthetic and changing its direction; the thrid statement is that the creations of the youth in our popular culture of today are neither new nor nonaesthetic, but merely a continuation of aesthetics as they are accepted. One statement will be chosen as the most valid of the three.

This thesis discusses the reasons for the emergence of the American counterculture in the mid-1960s, and makes a significant contribution to the existing literature on the subject with an innovative methodology. Historians have neglected to study the counterculture?s grievances, the issues, and events that birthed it, employing a systematic year-by-year analysis. And few have used the sources most appropriate for drawing conclusions: the underground press, a medium hippies used to communicate with other like-minded individuals. This thesis does both. The most imperative factors that led to the emergence of the counterculture can be firmly placed in the first years of the 1960s. Students and dropouts feared the prospect of worldwide nuclear annihilation, and railed against the Cold War and the Cold War consensus that left little in the way of political alternatives. Old Guard liberals became targets, for they seemed to be complacent with America?s foreign policy, which prolonged and entrenched the Cold War world. American society and the Establishment frustrated and angered the young. It posed a danger to civil liberties and equality for minorities, while restricting freedom. Most grievously, American universities and those who ran them sought to assimilate youths into the military-industrial complex, threatening one?s individuality and humanity. Youths resisted becoming a part of the social machine, a cog in the system. These factors, combined with the assassination of Kennedy and the influence of musicians like Bob Dylan and the Beatles, put many on an alienation trajectory. Then, in 1965, Lyndon Johnson committed the first combat troops to Vietnam. America?s involvement in the war sent those who weathered the shocks of the early 1960s spiraling further off into alienation, but the war alone, affecting those coming of age in the mid to late 1960s, produced new hippies, hundreds of thousands, if not millions. The actions of the Establishment, including its war, campus paternalism and bureaucracy, police repression, lack of democracy, the capitalist system, and corrupt government leaders made the young more cynical, angry, disgusted, while the intolerant majority and the prospect of living a conventional lifestyle further alienated youths.

In this dissertation, I examine a former sixties era hippie commune from the things and memories its residents have left behind. I focus on the intersections of memories, materialities, identities and systems of signification in order to suggest the following: that we might consider through archaeological, anthropological, and oral historical analyses the value of a genealogy of the sixties alongside histories of the era; that plastic presents a challenging archaeological issue (one of method and curation) while simultaneously reifying a social sense of its artificiality as an artifact of New Buffalo and a present-fact of speech (i.e. referring metaphorically to things as ‘plastic’, meaning false or artificial); that considerations of a ‘hippie’ work ethic might be productively brought to bear upon contemporary concerns about work and labor, but also might unpack our understandings of work and labor in American history; that playing primitive is a performance of citation and appropriation, a process of the inauthentic mimesis creating an authentic new (problematic) identity; and that artifacts and other objects shape (even re-appropriate) memories as much as they are re-made by them, and that recent historical artifacts can open up interesting collaborative analytical spaces when brought into actual conversation with site inhabitants, residents, and visitors. I aim to synthesize a number of threads, a number of different thought clusters throughout this dissertation in an effort to unpack anew questions of authenticity, of performing primitive as a kind of ‘Indian play’, or cultural appropriation, while also articulating a kind of identity creation that is aesthetic, political and counter to hegemonic and dominant traditions and forms. This work combines original field research at the site of New Buffalo commune in Arroyo Hondo, NM (in Taos County) and among the New Buffalos.

No description available.

Submitted for the Degree of Master of Technology: Graphic Design, Durban Institute of Technology Durban, 2005. / This document discusses the motivation for and the process of making a 52 minute television Art documentary designed to inform and to create an awareness of the problem of modern culture and its impact on the environment. Drawing on qualitative research from a worldwide research journey, it investigates modern culture's socially conditioned state and how television has assisted to that end. It then explores the philosophical views and constructs behind the Sixties movement and Rainbow - an alternative social collective that evolved out of the Sixties Movement, and uses these findings to serve as the creative basis for the making of the film, The Search for Utopia. / M