This thesis makes a comparative study of cultural differences and similarities between Chinese and Western outlaw heroes. It examines this cultural phenomenon from eight angles: the outlaw hero as constructed by history, literature and folklore; outlaws constructed as archetypal heroes; social and cultural contexts; outlaw heroes and revolution; a comparative case study of outlaws in Northeast China and Australia; underground cultural products (the "lore" and 'law"); ballads and proverbs reflecting values of outlaw heroism; and the fate of outlaws and the outlaw hero.Historical and folkloric explanatory frameworks are applied to outlaw hero traditions. Archetypal outlaw heroes and their successors, praised or criticised, are all constructed through a long process which combines reality recreated and fiction made real. Characteristics of archetypal outlaw heroes are inherited by later outlaws in China and the West. Though there are common codes and values of outlaw heroes in China and the West, different attributes are manifested in their attitudes towards brotherhood, organisation and women, and also in bandit sources and bandit categories.Western outlaw heroes are seldom involved in revolution, but their Chinese counterparts are connected with the Taiping revolutionary movement, the republican revolution and the Communist revolution. Some Communists are no more than outlaw heroes in the eyes of the poor and bandits in the eyes of the Kuomintang However, the alliance between outlaw heroes and revolutionaries is a fragile one.Northeast China and Australia have some parallels in their outlaw hero traditions. Convicts and immigrants play an important part in frontier banditry. The environment of both provides fertile soil for banditry and immigration. Among modem outlaws in Northeast China are chivalrous bandits and bandits who heroically fight against foreign Invaders. ++ / Bandit culture is valuable heritage in China. Bandits' ceremonies, argot, internal regulations, worship and superstition, and routine and recreational activities are all important facets of Chinese outlaw culture.Outlaw heroes never bend their bodies under pressure; they rebel rather than wait for death; and they never rob the locals. This is all reflected in bandit ballads, proverbs and other lore discussed in the thesis. Death is what most outlaws have to face, and how to fade it is a significant element in the construction of the outlaw hero. The arguments of this thesis are based on folkloric, historic and literary sources, many of which are here translated into English for the first time.

Since the early 1990s, maritime routes have been considered to be the main method used by Colombian smugglers to transport illicit drugs to consumer or transhipment countries. Smugglers purchase off the shelf solutions to transport illicit drugs, such as go-fast boats and communication equipment, but also invest in developing their own artefacts, such as makeshift submersible and semisubmersible artefacts, narcosubmarines. The Colombian Navy has adopted several strategies and adapted several technologies in their attempt to control the flows of illicit drugs. In this research I present an overview of the ‘co-evolution’ of drug trafficking technologies and the techniques and technologies used by the Colombian Navy to counter the activities of drug smugglers, emphasizing the process of self-building artefacts by smugglers and local responses by the Navy personnel. The diversity of smugglers artefacts are analysed as a result of local knowledge and dispersed peer-innovation. Novel uses of old technologies and practices of interdiction arise as the result of different forms of learning, among them a local form of knowledge ‘malicia indigena’ (local cunning). The procurement and use of interdiction boats and operational strategies by the Navy are shaped by interaction of two arenas: the arena of practice - the knowledge and experience of local commanders and their perceptions of interdiction events; and, the arena of command, which focuses on producing tangible results in order to reassert the Navy as a capable counterdrug agency. This thesis offers insights from Science and Technology Studies to the understanding of the ‘War on Drugs, and in particular the Biography of Artefacts and Practices, perspective that combines historical and to ethnographic methods to engage different moments and locales. Special attention was given to the uneven access to information between different settings and the consequences of this asymmetry both for the research and also for the actors involved in the process. The empirical findings and theoretical insights contribute to understanding drug smuggling and military organisations and Enforcement Agencies in ways that can inform public policies regarding illicit drug control.

In The Jew of Malta and The Merchant of Venice, both Christopher Marlowe and William Shakespeare question anti-Semitism, Christian presumption, and socially constructed gender roles. Often compared, the two plays have obvious similarities: both plots center on rich, Jewish protagonists---Barabas in The Jew of Malta and Shylock in The Merchant of Venice---who are vilified and then destroyed by a merciless Gentile society. On the surface, the protagonists' daughters---Abigail in The Jew of Malta and Jessica in The Merchant of Venice---also share many similarities. Both are the young, beautiful daughters of rich and much maligned Jews; both love Gentile men; both flee from their religion and convert to Christianity; most importantly, both are presented as "different" from their fathers---somehow less "Jewish." However, despite their similarities, they represent polarities of early modern concepts of femininity. Employing Marilyn French's concept of gender principles, as presented in Shakespeare's Division of Experience, I argue that Abigail and Jessica embody the inlaw and outlaw feminine principles respectively, and that their importance in the two plays in which they appear has been critically overlooked. As James Shapiro points out in his study of the Jewish presence in England, a sixteenth century audience would hardly be familiar with practicing Jews, although they might have encountered representations ofJews in the drama of the period. Abigail and Jessica, the only Jewish characters in the two plays besides Barabas and Shylock, provide insight into the interaction between anti-Semitism and gender politics. Moreover, these two daughters sway the audience's sympathies toward or away from their fathers inversely. If we pity Abigail, whose actions are reactions to her father's machinations, then we are gratified that Barabas gets what he deserves. If we are angry with Jessica for her betrayal and theft, then we sympathize with Shylock and see him constructed into a villain by both his society and his own daughter. In this thesis, I will explore the ways in which Marlowe and Shakespeare employ Abigail and Jessica to interrogate the traditional sixteenth century roles of women, daughters, wives, and citizens.

The purpose of this study was to add to the understanding of how teachers impact the emotional and behavioral development of kindergartners. This study looked at teacher beliefs, internal thought patterns about a student whose emotion regulation is immature, the behavior is disruptive, and challenging for his or her teacher. It examined multiple aspects of the teacher’s response to the student’s behavior in order answer the questions: Are the strategies used by the teacher for managing disruptive and challenging behavior consistent with her attachment style? How does this affect the academic trajectory of the student? Based on results of the Student-Teacher Relationship Scale (STRS) and the Teacher Relationship Interview (TRI), the primary findings of the study indicate that most of the teachers participating in the study were engaging with a challenging student from a secure attachment classification. The STRS provided information about the teacher’s concern for the ability of the student to make an adequate adjustment to school. Those students with high conflict and low total scores were most likely to have behavior problems in 2nd grade. Also, the level of stress produced by the highly conflictual relationship was at times destabilizing for the teacher. Depending on whether the attachment status of the teacher was secure-continuous, secure-earned, or insecure, the ability of the teacher to be resilient in the face of the stress was affected.

The project is a transnational study of how filmic representations of urban criminals and marginal figures transformed as Brazil, France, and the Maghreb shifted from military governments to liberal democracies. Beyond ideological productions that simply produce positive or negative portrayals, I examine how films made under military regimes invite audiences to identify with anti-heroes while films made under liberal democracies invite admiration of institutional figures, turning standards of good and evil on their head. The anti-authoritarian potential of violence in earlier periods is construed as a failed redemption in later ones. The theoretical background of the project rests on the oppositional and constitutive relationship between the outlaw and the state, the relationship between urban space and criminal personification, and the historical specificity of the transgressive figure's embodiment of socially un/desirable traits. I establish a geographic and conceptual continuity through a comparative postulation of urban citizenship--who belongs to the city and who does not, who is marked in their transgression and who is not, who is laudable bandit and who is condemned. In delving into a face-to-face relationship between the outlaw and the state following an aesthetic and historical tracing of a highly iconic figure at the margins of the law, the project brings statecraft into focus through the use of visual and representational forms.

Abstract New Zealand has had a visible recreational motorcycle culture since the 1920s, although the forerunners of the later 'outlaw' motorcycle clubs really only started to emerge as loose-knit biker cliques in the 1950s. The first recognised New Zealand 'outlaw club', the Auckland chapter of the Californian Hell's Angels M.C., was established on July 1961 (Veno 2003: 31). This was the Angels' first international chapter, and only their fifth chapter overall at that time. Further outlaw clubs emerged throughout both the North and the South Island of New Zealand from the early 1960s, and were firmly established in both islands by the end of 1975. Outlaw clubs continue to flourish to this day. The basic question that motivated this thesis was how (the extent to which) international film, literature, media reports and photographic images (circa 1950 - 1975) have influenced the generic identity adopted by 'outlaw' motorcycle clubs in New Zealand, with particular reference to the South Island clubs. The focus of the research was on how a number of South Island New Zealand outlaw bikers interpreted international mass media representations of 'outlaw' biker culture between 1950 - 1975. This time span was carefully chosen after considerable research, consultation and reflection. It encompasses a period when New Zealand experienced rapid development of a global mass media, where cultural images were routinely communicated internationally in (relatively) real time. Drawing on the work of Okely and Cohen, I argue that 'outlaw' motorcycle clubs, like many other subcultures, construct their communities symbolically, and that some of the rituals and symbolism seen in New Zealand outlaw biker clubs today are substantially similar to those observed in 'outlaw' clubs in other parts of the world (Thompson 1966, Okely 1983, Cohen 1985, Veno 2003). My fieldwork clearly established that representations of outlaw motorcycle clubs were being actively consumed by South Island bikers via the international mass media from the early - mid 1960s. However, my research also revealed that, whilst the globalisation of the mass media was integral to the evolution of the generic New Zealand 'outlaw' biker social identity, it was not their only influence. South Island outlaw bikers, like any other consumer of mass media, accepted and at times appropriated some of the international and regional representations of their subculture, whilst clearly rejecting others. I also established that like any other international subculture, there were regional differences that were often determined by factors contingent to the locality, and that the South Island outlaw clubs from that period that still exist today were also influenced by conflict with significant others, including the police, during their formative stages. This supports Lavigne's and Veno's contention that warfare is good for clubs during their formative stage, as violent conflict weeds out the weak, whilst bonding surviving members to their clubs and their club brothers (Lavigne 1987: 301, Veno 2003: 263). Key words: community; sub-cultures; media; identity; gangs; outlaw motorcycle clubs David Haslett School of Sociology and Anthropology University of Canterbury Private Bag 4800 Christchurch 8140 New Zealand

Orientador: Marcius Cesar Soares Freire / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T19:01:59Z (GMT). No. of bitstreams: 1 Tau_AnaClaudia_M.pdf: 364796 bytes, checksum: 363d266f552b150d090a1cb7c5cb693d (MD5) Previous issue date: 2005 / Resumo: O presente trabalho visa a entender como é constituída a imagem do bandido em filmes brasileiros recentes, comparando-a com a figura do bandido social do Cinema Novo e Marginal. O trabalho parte do pressuposto de que existe uma releitura da figura do bandido social dos anos 60 nos filmes brasileiros da atualidade. No percurso, busca compreender o recente quadro do nosso cinema que, impulsionado pela Lei do Audiovisual de 1993, vem se deparando com novos desafios estéticos, mercadológicos e tecnológicos provenientes do processo de globalização.Foram escolhidos para análise quatro filmes, todos de temática urbana, tendo como locação duas metrópoles brasileiras: São Paulo e Rio de Janeiro. Os filmes cujas histórias se passam na cidade do Rio de Janeiro são: A Grande Cidade (Cacá Diegues, 1966) e O Primeiro Dia (Walter Salles e Daniela Thomas, 1999). O Bandido da Luz Vermelha (Rogério Sganzerla, 1968) e O Invasor (Beto Brant, 2001) têm São Paulo como palco dos acontecimentos / Abstract: The present study aims at understanding how the image of the villain is composed in recent Brazilian movies, comparing it with the figure of the social criminal in the Cinema Novo (New Film) and Marginal Film. This work starts from the presupposition that there is a new reading of the social outlaw figure of the sixties in the current Brazilian movies. As it develops, it seeks to grasp the contemporary scenario of our movie industry that, prompted by the Audiovisual Law of 1993, has been facing new aesthetic, marketing and technological challenges derived from the globalization process. Four movies were chosen for analysis, all of them with an urban theme and having two Brazilian metropolises as location: São Paulo and Rio de Janeiro. The movies whose stories take place in Rio de Janeiro are: A Grande Cidade (The Great City) (Cacá Diegues, 1966) and O Primeiro Dia (The First Day) (Walter Salles and Daniela Thomas, 1999). O Bandido da Luz Vermelha (The Red Light Bandit) (Rogério Sganzerla, 1968) and O Invasor (The Invasor) (Beto Brant, 2001) have São Paulo as the stage for the events / Mestrado / Multimeios / Mestre em Multimeios

[pt] O presente trabalho busca investigar o mito do bandido urbano e as nuances de sua representação no cinema brasileiro. Analisa um conjunto de 11 filmes da produção cinematográfica dos últimos 50 anos, assim como a origem da construção desse mito na imprensa e sua exploração pela mídia contemporânea.Como pano de fundo, mostra as mudanças no perfil do bandido, a entrada de novos agentes no mundo da criminalidade e a escalada da violência como uma marca da sociedade brasileira. / [en] This study investigates the myth of the real urban outlaw and the nuances of its representation in Brazilian cinema. It analyses a set of eleven films from the cinematographic production of the past 50 years as well as the origin of the construction of such a myth in the press and its exploration by contemporary media. In the background it shows the changes of the outlaws profile, the appearance of new agents in the world of criminality and the escalation of violence as a characteristic of Brazilian Society.

With its appeal predicated upon what civilized society rejects, there has always been something hidden in plain sight when it comes to the outlaw figure as cultural myth. Damian A. Carpenter traverses the unsettled outlaw territory that is simultaneously a part of and apart from settled American society by examining outlaw myth, performance, and perception over time. Since the late nineteenth century, the outlaw voice has been most prominent in folk performance, the result being a cultural persona invested in an outlaw tradition that conflates the historic, folkloric, and social in a cultural act. Focusing on the works and guises of Lead Belly, Woody Guthrie, and Bob Dylan, Carpenter goes beyond the outlaw figure’s heroic associations and expands on its historical (Jesse James, Billy the Kid), folk (John Henry, Stagolee), and social (tramps, hoboes) forms. He argues that all three performers represent a culturally disruptive force, whether it be the bad outlaw Lead Belly represented to an urban bourgeoisie audience, the good outlaw Guthrie shaped to reflect the social concerns of marginalized people, or the honest outlaw Dylan offered audiences who responded to him as a promoter of clear-sighted self-evaluation. As Carpenter shows, the outlaw and the law as located in society are interdependent in terms of definition. His study provides an in-depth look at the outlaw figure’s self-reflexive commentary and critique of both the performer and society that reflects the times in which they played their outlaw roles. / https://dc.etsu.edu/etsu_books/1158/thumbnail.jpg

<p>In this thesis, Outlaw Motorcycle Gangs are used to measure the effects of organized crime on young men’s experience of narcotics. The study relies on panel data for Swedish counties stretching over the period 1995-2005, using results from conscript surveys to determine young men’s experience of narcotics. When applying a fixed effect model, the results show that Outlaw Motorcycle Gangs actually have a negative effect on the experience of narcotics among 18-year-old Swedish men. However, when lagging the time of establishment for the gangs one year, positive estimates are derived for individuals ever used, or been offered to use illicit narcotics. These findings are only significant on a ten percent level, but the results could implicate that it may take some time for the Outlaw Motorcycle Gangs to penetrate new markets; finding a profitable way of adapting to the new market conditions. Due to possible problems with endogeneity, it’s difficult to derive any definitive conclusions regarding the true effects of Outlaw Motorcycle Gangs. It’s possible that the location of a new OMG is partially determined by the use of narcotics, wherefore the results are to be taken with some caution.</p>