Global ETD Search

41	De la constellation Marconi au métissage hypermédiatique : comment évaluer l’évolution découlant de la « conversion numérique » ? Marcoux, Fabrice 01 1900 (has links) No description available. Théorie des médias Culture numérique Marshall McLuhan Milad Doueihi Littérature Humanisme numérique Écologie des médias Espace Temps Identité Jeu Media theory Digital culture Literature Space Time Identity Play Media ecology Digital humanism
42	Cinema e identidade cultural : David Cronenberg questionando limites Medeiros, Rosângela Fachel de January 2008 (has links) O presente trabalho investiga a marca anglo-canadense na obra do cineasta David Cronenberg a partir do diálogo que instaura com as tradições culturais e teóricas do país que dizem respeito, ao tecnicismo, centrado nos meios de comunicação, propagado pelos teóricos da comunicação da Escola de Toronto e, especialmente, por Marshall Mcluhan e levando em consideração a tendência dos protagonistas canadenses a serem não-heróis, apontada por Margaret Atwood. E com o objetivo de contextualizar sua produção artística, mercadológica e culturalmente, no interior do sistema cinematográfico do Canadá, apresenta uma breve historiografia do cinema do país. Em relação à notória recorrência na obra do cineasta em questionar os limites do corpo humano, este trabalho analisa sua confluência com tradições teóricas e artísticas, que centramse nessa questão. E destaca as considerações referentes à abjeção e ao disgust, sentimentos diretamente associados ao temor frente ao rompimento dos limites corporais. O objetivo central deste trabalho é então desvelar como essas heranças da tradição cultural canadense estão relacionadas às obsessões cronenberguianas, principalmente em relação ao corpo, e à forma como esses elementos se amalgamam na configuração de sua obra extrema e única. / This dissertation investigates the Anglo-Canadian trademark in the work of cinematographer David Cronenberg through his dialogue with the cultural and theoretical traditions of the country which concern technicism, centred on the means of communication, disseminated by the theoreticians of communication from the School of Toronto, and specially by Marshall McLuhan and taking into consideration the tendency on the part of the Canadian protagonists to be non-heroes, pointed out by Margaret Atwood. Also aiming to contextualize his artistic production, commercially and culturally, in the Canadian cinematographic system, it presents a brief historiography of cinema in Canada. As to the notorious recurrence of on investigation concerning the limits of the body, this dissertation analyses its confluence with theoretical and artistic traditions focused on this theme. It points out the consideration concerning abjection and disgust, feelings which are directly associated with the fear which the exceeding of the corporeal limits provokes. The central aim of this dissertation is therefore to reveal how these heirlooms of the Canadian cultural tradition are related to Cronenberg's obsessions, notably these related to the human body, and to the way that such elements amalgamate to produce his extreme and unique work. Cronenberg, David, 1943- McLuhan, Marshall, 1911-1980 Atwood, Margaret, 1939- Literatura comparada Teoria literária Cinema e literatura Cinema canadense Cinema contemporâneo Crítica cinematográfica Cultura Historiografia Meios de comunicação Identidade nacional Imaginário
43	Communication is war by other means: a new perspective on war and communication in the thought of twentieth century selected communication scholars Sonderling, Stefan Prof. 11 1900 (has links) The September 11, 2001 Jihadists attack on the West and the subsequent wars on terrorism indicate that war may be a permanent condition of life in the contemporary world. This implies that to understand contemporary society, culture and communication requires an understanding of war because war could perhaps provide a perspective through which to understand the world. The aim of this study is to provide such a perspective and to critically explore the link between war and communication. However, in approaching a study of war one is confronted with a pervasive pacifist anti-war ideological bias. To overcome the bias the study adopts a critical strategy: firstly it deconstructs the taken for granted assumptions about the positive value of peace and then it reconstructs and traces the contours of a Western tradition of philosophical thought that considers war as being an integral and formative aspect of human identity and communication. Chapter 2 uncovers the limitations of the pacifists' discourse on war. Chapter 3 traces the Western tradition originating in Heraclitus that considers war as formative experience of being human. Chapter 4 traces war and killing as formative of language and communication. Using these insights a careful reading and interpretation of how war informs the thought and functions in the texts of selected social theorists of the twentieth century. Chapter 5 traces war as an agonistic structure in the works of Johan Huizinga on the role of play and in the political theory of Carl Schmitt. Chapter 6 explores the idea of war as a model of society in the works of Foucault. Chapter 7 investigates the central influence of real and imagined war on Marshall McLuhan’s theory of the media. Chapter 8 explores the way war structures the thought of Lyotard on the postmodern condition. Chapter 9 concludes by drawing implications on how a perspective on war contributes to development of communication theory and understanding life in the postmodern condition. / Communication Science / D. Litt. et Phil. Communication ) War Battle Agonistic Killing Death Play Peace Peace discourse Huizinga Schmitt Foucault McLuhan Lyotard 320.0140904 War -- Communication -- 20th century Communication -- 20th century
44	Cinema e identidade cultural : David Cronenberg questionando limites Medeiros, Rosângela Fachel de January 2008 (has links) O presente trabalho investiga a marca anglo-canadense na obra do cineasta David Cronenberg a partir do diálogo que instaura com as tradições culturais e teóricas do país que dizem respeito, ao tecnicismo, centrado nos meios de comunicação, propagado pelos teóricos da comunicação da Escola de Toronto e, especialmente, por Marshall Mcluhan e levando em consideração a tendência dos protagonistas canadenses a serem não-heróis, apontada por Margaret Atwood. E com o objetivo de contextualizar sua produção artística, mercadológica e culturalmente, no interior do sistema cinematográfico do Canadá, apresenta uma breve historiografia do cinema do país. Em relação à notória recorrência na obra do cineasta em questionar os limites do corpo humano, este trabalho analisa sua confluência com tradições teóricas e artísticas, que centramse nessa questão. E destaca as considerações referentes à abjeção e ao disgust, sentimentos diretamente associados ao temor frente ao rompimento dos limites corporais. O objetivo central deste trabalho é então desvelar como essas heranças da tradição cultural canadense estão relacionadas às obsessões cronenberguianas, principalmente em relação ao corpo, e à forma como esses elementos se amalgamam na configuração de sua obra extrema e única. / This dissertation investigates the Anglo-Canadian trademark in the work of cinematographer David Cronenberg through his dialogue with the cultural and theoretical traditions of the country which concern technicism, centred on the means of communication, disseminated by the theoreticians of communication from the School of Toronto, and specially by Marshall McLuhan and taking into consideration the tendency on the part of the Canadian protagonists to be non-heroes, pointed out by Margaret Atwood. Also aiming to contextualize his artistic production, commercially and culturally, in the Canadian cinematographic system, it presents a brief historiography of cinema in Canada. As to the notorious recurrence of on investigation concerning the limits of the body, this dissertation analyses its confluence with theoretical and artistic traditions focused on this theme. It points out the consideration concerning abjection and disgust, feelings which are directly associated with the fear which the exceeding of the corporeal limits provokes. The central aim of this dissertation is therefore to reveal how these heirlooms of the Canadian cultural tradition are related to Cronenberg's obsessions, notably these related to the human body, and to the way that such elements amalgamate to produce his extreme and unique work. Cronenberg, David, 1943- McLuhan, Marshall, 1911-1980 Atwood, Margaret, 1939- Literatura comparada Teoria literária Cinema e literatura Cinema canadense Cinema contemporâneo Crítica cinematográfica Cultura Historiografia Meios de comunicação Identidade nacional Imaginário
45	Cinema e identidade cultural : David Cronenberg questionando limites Medeiros, Rosângela Fachel de January 2008 (has links) O presente trabalho investiga a marca anglo-canadense na obra do cineasta David Cronenberg a partir do diálogo que instaura com as tradições culturais e teóricas do país que dizem respeito, ao tecnicismo, centrado nos meios de comunicação, propagado pelos teóricos da comunicação da Escola de Toronto e, especialmente, por Marshall Mcluhan e levando em consideração a tendência dos protagonistas canadenses a serem não-heróis, apontada por Margaret Atwood. E com o objetivo de contextualizar sua produção artística, mercadológica e culturalmente, no interior do sistema cinematográfico do Canadá, apresenta uma breve historiografia do cinema do país. Em relação à notória recorrência na obra do cineasta em questionar os limites do corpo humano, este trabalho analisa sua confluência com tradições teóricas e artísticas, que centramse nessa questão. E destaca as considerações referentes à abjeção e ao disgust, sentimentos diretamente associados ao temor frente ao rompimento dos limites corporais. O objetivo central deste trabalho é então desvelar como essas heranças da tradição cultural canadense estão relacionadas às obsessões cronenberguianas, principalmente em relação ao corpo, e à forma como esses elementos se amalgamam na configuração de sua obra extrema e única. / This dissertation investigates the Anglo-Canadian trademark in the work of cinematographer David Cronenberg through his dialogue with the cultural and theoretical traditions of the country which concern technicism, centred on the means of communication, disseminated by the theoreticians of communication from the School of Toronto, and specially by Marshall McLuhan and taking into consideration the tendency on the part of the Canadian protagonists to be non-heroes, pointed out by Margaret Atwood. Also aiming to contextualize his artistic production, commercially and culturally, in the Canadian cinematographic system, it presents a brief historiography of cinema in Canada. As to the notorious recurrence of on investigation concerning the limits of the body, this dissertation analyses its confluence with theoretical and artistic traditions focused on this theme. It points out the consideration concerning abjection and disgust, feelings which are directly associated with the fear which the exceeding of the corporeal limits provokes. The central aim of this dissertation is therefore to reveal how these heirlooms of the Canadian cultural tradition are related to Cronenberg's obsessions, notably these related to the human body, and to the way that such elements amalgamate to produce his extreme and unique work. Cronenberg, David, 1943- McLuhan, Marshall, 1911-1980 Atwood, Margaret, 1939- Literatura comparada Teoria literária Cinema e literatura Cinema canadense Cinema contemporâneo Crítica cinematográfica Cultura Historiografia Meios de comunicação Identidade nacional Imaginário
46	The Lost Boy Hayes, Leda, Hayes 04 December 2017 (has links) No description available. American Studies American Literature British and Irish Literature Film Studies Gender Studies Gender Information Technology Literature Modern Literature Motion Pictures Web Studies Womens Studies masculinity masculinitites American Culture 21st Century network Futurama lost boy Peter Pan remasculinization McLuhan Jeffords Kleinrock
47	Global/Airport Denicke, Lars 23 September 2015 (has links) Ausgehend von der These, Luftverkehr finde am Boden statt, entwickelt die am Institut für Kulturwissenschaft verteidigte Dissertation eine spezifische Geopolitik des Luftverkehrs. Der Luftverkehr wird dabei über seine Operationen am Boden und an Flughäfen untersucht. Der genaue Blick auf die technischen Details bei der Implementierung dieser Anlagen in machthistorisch entscheidenden Momenten des 20. Jahrhunderts ermöglicht eine Revision geopolitischen Denkens und eröffnet einen innovativen Zugang für eine Genealogie der Globalisierung. Die Dissertation analysiert die Bewegungen in der Luft auf ihre stets lokalen und immanent territorialen Dimensionen – und widerlegt so den vermeintlichen und häufig wiederholten Anspruch an den Luftverkehr, er sei das globale, raumvernichtende Verkehrssystem par excellence (Carl Schmitt, Paul Virilio, Martin Heidegger). Die Dissertation ist auch ein Beitrag zur Genealogie von Medientheorie, insofern sie unter Rückgriff auf Harold A. Innis die Übertragung nicht von Zeichen, sondern von Personen und Gütern zum Gegenstand hat. Historisch geht sie von der Kriegslogistik der USA im Zweiten Weltkrieg aus. Sie bezieht heterogene Quellen ein: politische Programme und Debatten, internationale Beziehungen; philosophische, juridische, ökonomische und urbanistische Diskurse; ingenieurstechnische Entwicklungen und militärische Doktrinen. Sie nimmt den Leser mit auf eine Reise über alle Meere und Kontinente mit Fokus auf Saudi-Arabien, Zentral- und Südafrika, Brasilien und den Nahen Osten, untersucht Ereignisse von den 1930er bis 1970er Jahren und endet mit einem Epilog zu den Anschlägen vom 9. September 2011. / This dissertation develops a specific geopolitics of aviation, taking an original perspective as it starts with the assumption that air travel happens on the ground. The focus is on a thorough examination of the technical details for implementing the facilities of airports at moments decisive for the distribution of power in the 20th century. Geopolitical discourses are revised to enable an original understanding for the genealogy of globalisation. The dissertation analyses movements in the air with view on their immanent local and territorial dimensions. It breaks with the overcome understanding of aviation as a traffic system that is global and that destroys space as no other (Carl Schmitt, Paul Virilio, Martin Heidegger). The dissertation was disputed at the Institute for Cultural Studies. It is also a contribution to the genealogy of media theory, following in the footsteps of Harold A. Innis, as it focuses on the neglected transmission of goods and people instead of signs and codes. Starting point is the US military logistics in World War II. The heterogeneous material under review includes political programmes and debates; international relations; philosophical, juridical and economic discourses; urbanism, engineering and military doctrines. It takes the reader on a journey around the world, with focus on Saudi-Arabia, Central and Southern Africa, Brazil and the Near East, taking into account events from the 1930s to 1970s, and concluding with an epilogue on the events of 9/11. Paul Virilio Terrorismus Globalisierung Souveränität Südafrika Modernisierung Medientheorie Militärgeschichte Brasilien Zweiter Weltkrieg 9/11 Geopolitik Luftverkehr Akteur-Netzwerk-Theorie (ANT) Kalter Krieg Dekolonisierung Carl Schmitt Harold A. Innis Marshall McLuhan Hans Morgenthau Saudi-Arabien Zentralafrika Flugzeugentführungen Paul Virilio Terrorism 9/11 South Africa Globalisation Military History Brazil Geopolitics Aviation Actor-Network Theory (ANT) World War II Cold War Decolonisation Media Theory Carl Schmitt Harold A. Innis Marshall McLuhan Hans Morgenthau Saudi-Arabia Central Africa Aircraft Hijacking Modernisation Sovereignty 900 Geschichte 01 Wissenschaft und Kultur allgemein QR 840 ddc:900
48	First person theatre : how performative tactics and frameworks (re)emerging in the digital age are forming a new personal-as-political Nicklin, Hannah January 2014 (has links) This study sets out to explore first person theatre as a means of opening the individual to the problems of contemporary capitalism and its increasing pervasion of the personal in an era of embeddedness enabled by networked pervasive technology. Firstly setting out key definitions and a theoretical analysis of the problems of being in the digital age in chapter 1, and then setting this against the history of interaction in performance in chapter 2. The study then goes on (in chapters 3-5) to investigate three key aspects of first person performance as personal-as-political; sound and the city, play and games, and interactive theatre. In the final chapter, The Umbrella Project develops a piece of first person theatre as practice, a method of investigation that is vital to a thesis that discusses politics, late capitalism, and the means to resist the message-sending of private interests as fundamentally only to be understood in practice. For this reason, too, chapters 3, 4 and 5 are supported by key case studies discussing other first person theatre practice. By placing the participant at the centre of the world-constituting process of theatre in the hot space between what is and what if this study suggests that first person theatre is able to open the contemporary individual to an inbetween where they might re-see, reflect and react to what is. To imagine and, if wished, act upon a what if. In an age of the disrupted near and far, the vanishing of the interface, of the false rhetoric of choice of personalisation , and the often false rhetoric of agency at the end of the era of broadcast, first person theatre offers the subject a route to individual agency, an understanding of the urban environment as construct, and to their relationship with the subjective other something which this thesis suggests is a personal-as-political practice to rival the Spectacle of late capitalism. 792
49	Myth ascendant : issues of culture, media, and identity in the celebrity career of Glenn Gould Campbell, Alasdair James Islay January 2018 (has links) This thesis applies a sociological framework to the North American celebrity career of Canadian pianist and broadcaster Glenn Gould (1932-1982) to account for Gould's iconic status as an artist in modern musical culture. Despite the persistent cultural fascination with Gould, as evidenced in the seemingly endless supply of biographies, films, novels, and fan texts which narrate and celebrate his life and work, modern Gould scholarship has consistently neglected issues relating to his artistic reception. This thesis proposes that the modern Gould phenomenon is productively analysed in terms of the contexts of its historical production in North America, where it first originated. Focusing on the circumstances of Gould's career during his lifetime, it identifies three areas of overlapping conceptual interest that provide the basis for an explanatory account of his modern mythology: i) Gould's relationship to the culture of his time, particularly in Canada; ii) Gould's relationship to the mass media; iii) Gould's relationship to his own artistic identity. This approach is refined through the application of Stuart Hall's 'Circuit of Culture' model, which yields an understanding of Gould's celebrity in terms of the processes of its representation, production, regulation, and consumption. Against this theoretical backdrop, and consistent with the premise of my thesis, I ask some key questions: what was Gould's relationship to Canadian cultural nationalism and, specifically, a nationalist discourse of public broadcasting? How did media institutions brand his image, and for what commercial purposes? How did Gould mobilise understandings of his genius and Canadian identity through his artistic discourse and experimental media self-representations as a 'Northerner' and a technologist? Based on this analysis, the thesis concludes that Gould continues to fascinate because of the unique ideological work performed by his cultural identities, and because of the highly mediated nature of his celebrity. The ubiquity of his image on video-sharing websites and social media platforms is a vindication of his radical belief in the validity of a musical career pursued primarily through the electronic media.
50	Jazz music: the technological mediation of an aural tradition Jarvis, Brent 28 September 2021 (has links) Jazz music is transmitted by aural and oral means. As recording and broadcast mediums became increasingly ubiquitous, starting in the mid twentieth-century, an ever greater proportion of jazz’s aural transmission would be mediated by these developing technologies. Many commentators address sound’s mediation from one state to another by identifying the resulting recording as an object. This object transcends temporal and spacial proximity, possessing inherent authority with implications for authorship, related work-concepts, and even issues of cultural assimilation. From a perspective informed by writings in musicology, philosophy, and sound studies, I examine recorded jazz music from the twentieth-century. I begin by positioning the history of jazz music in relation to the emergence of recording technologies to establish recordings as authoritative texts. I then translate (by transcription) primarily non-literate jazz recordings into the primarily literate discourse of musicology. In the course of examining music by James Moody, Eddie Jefferson, Bud Powell, Chick Corea, and others, I conclude that they all exemplify musical intertextuality. In some cases, technological mediation connects the texts. I then turn to an examination of recordings specifically. I begin by questioning musical notation as an adequate description of sound and move to developing a broader analytical framework. This thesis culminates with a comparison of Bud Powell’s 1949 recording of Bouncin’ With Bud and Chick Corea’s 1997 recording. Using the framework mentioned, disparate potentialities afforded by each recording’s mediation are connected to musical characteristics. / Graduate Bud Powell Blossom Dearie Blue Note Bouncin' with Bud Chick Corea Christian McBride Eddie Jefferson I'm In The Mood For Love James Moody jazz King Pleasure media music Moody's Mood For Love Marshall McLuhan musicology recording Ron Carter Roy Haynes Rudy Van Gelder sound studies The Flight of the Bopple Bee

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