This work focuses on the social practice of recollection, the so-called standardization in public sphere and possibilities to grasp this subject in history teaching. The aim is to describe this practice and at the same time, to define effective methods of its thematization in school environment. In the first part, I am concerned with the concepts of memory from Maurice Halbwachs to Alison Landsberg and I emphasize my preference for the concept of media memory as the basis for my further researches. Furthermore, I analyse models of historical education in Anglo-American environment on the one hand and German environment on the other hand. I analyse the strong and weak points of these models based on the concept of "historical thinking" and "historical consciousness". In the second part, I analyse the resemblance of memoir characters to the so-called standardization in movie presentations and their perception by users of the movie site www.csfd.cz. The objective of this analysis was to point out to the fact how we communicate about movies and which values are associated with watching movies. I linked the analysis of movie images and their perception to the idea of dominant cultural formations of the Czech society in Michael Kennedy's mind. I have analysed four movies, which, in my opinion, represent...

Orientador: Silvio César Camargo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T07:07:27Z (GMT). No. of bitstreams: 1 Lima_CamilaTeixeira_M.pdf: 6770171 bytes, checksum: 94c456c1b121180785ca943dcc093355 (MD5) Previous issue date: 2014 / Resumo: Nesta pesquisa estive preocupada em refletir sobre uma questão de grande interesse para os estudos sociológicos da cultura: a investigação de uma manifestação da cultura popular. Busquei entender qual o lugar reservado para a experiência tradicional nesta cultura, mais especificamente, nos almanaques, cordéis e xilogravuras produzidas por José Costa Leite (JCL). A problemática formulada pelo teórico crítico Walter Benjamin para pensar as transformações da experiência (Erfahrung) e consolidação de uma forma privada de relação com mundo, que o autor chamou de vivência (Erlebnis), me pareceu um caminho interessante para analisar a produção popular de Costa Leite. Como materialista histórico, Benjamin analisa os fenômenos articulados ao contexto histórico em que eles se configuram. A metodologia empregada nesta pesquisa foi análoga à empregada pelo interlocutor teórico em questão, para que a investigação sobre a presença ou ausência da experiência tradicional na produção de Costa Leite possa ser entendida como desaparecimento ou não da experiência no mundo moderno e não como expressão de um outro fenômeno qualquer. A metodologia empregada nesta pesquisa, portanto, é o materialismo histórico. Como a minha hipótese inicial era a de que a produção de Costa Leite ainda era capaz de comunicar experiência foi necessário fazer o mesmo caminho que Benjamin realizou para elaborar o seu diagnóstico, ou seja, foi necessário pensar em que medida o contexto de produção de Costa Leite difere daquele em que Benjamin afirmou a morte da Erfahrung para que a produção de JCL possa não só ser considerada como uma forma de transmissão de saberes que também caminha na contramão do conhecimento especializado (e massificado), mas que se configure como uma possibilidade de comunicar Erfahrung / Abstract: In this research I've been dedicated on thinking about a question of great interest to the sociological studies on culture: the investigation of popular culture manifestation. I have intended to understand the locus reserved to the traditional experience in this culture, specifically in almanaques, cordéis e xilogravuras produced by José Costa Leite (JCL). The problematics formulated by critical theorist Walter Benjamin to think about the transformations of experience (Erfahrung) and the consolidation of a private form of relationship with the world, which the author called experience (Erlebnis), seemed to me a interesting path to analyse the popular production of Costa Leite. As a historical matherialist, Benajmin analyses the phenomena articulated to the historical context in which they configurate themselves. The methodology followed on this research was similar to the one folowwed by the theorectical interlocutor, Walter Benjamin, so that the investigation about the presence (or absence) of the traditional experience in the production of Costa Leite could be understood as disappearance (or not) of the experience in modern world, not as the expression of another phenomena. Therefore, the methodology followed in this research is the historical matherialism. As the initial hypothesis was that the production of Costa Leite was capable of communicate experience, it was necessary to follow the same path that Benjamin made to elaborate his diagnosis, in other words, this research had to think about at what extent the context of production of Costa Leite differs from that from which Benjamin postulated the death of Erfahrung, so that the production of Costa Leite could be viewed as a form of transmission of knowledge that also go in against hand of specialized and massified knowledge and translate as a possibility of communicate Erfahrung / Mestrado / Sociologia / Mestra em Sociologia

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[pt] Essa tese analisa a narrativa da toy art, com foco na sua história e relações com a cultura Pop. A análise propõe questões sobre seu papel no enfrentamento aos mi-tos urbanos contemporâneos, assim como dialoga e se relaciona com a manifesta-ção dos Bate-bolas dos subúrbios do Rio de Janeiro. A toy art é um suporte ex-pressivo contemporâneo que contém elementos do grafite, do design, e da street art. Apresenta uma narrativa da cidade com violência e humor ácido. O consu-mismo e a pós modernidade são necessariamente investigados ao se estudar o uni-verso da toy art, ou designer toy, assim como as tribos urbanas. Sua forma é a de um brinquedo e sua narrativa é explicitamente adulta. A pesquisa aplicada produz uma linha de toy arts baseados na estética dos Bate-bolas do subúrbio carioca, uma manifestação cultural tradicional do carnaval. O intuito é conhecer os processos que envolvem a produção do objeto assim como as possibilidades de conexões entre o universo pop e a cultura urbana em uma dimensão regional e nacional. / [en] This thesis analyzes the narrative of toy art, focusing on its history and relations with Pop culture. The analysis proposes questions about its role in confronting contemporary urban myths, as well as dialogues and relates to the manifestation of the Bate-bolas in the suburbs from Rio de Janeiro. Toy art is a contemporary expressive medium that contains elements of graffiti, design, and street art. It pre-sents a narrative of the city with violence and acid humor. Consumerism and postmodernity are necessarily investigated when studying the universe of toy art, or designer toy, as well as urban tribes. Its shape is a toy shape and its narrative is explicitly adult. The applied research produces a line of toys based on the aesthetics of Bate-bolas in the suburb of Rio, a traditional cultural manifestation of carnival. The aim is to know the processes that involve the production of the object, as well as the possi-bilities of connections between the pop universe and urban culture in a regional and national dimension.

Denna kvalitativa studie syftade till att studera barns perspektiv på genus utifrån fyraDisney-karaktärer. Studien riktar sig till verksamma pedagoger inom förskolan ochkan bidra till en förståelse om genus och barns könsföreställningar. Genom att sepopulärkulturen som ett verktyg kan pedagoger i förskolan ta vara på barns intresseoch utgå ifrån dessa i sin undervisning. Studien belyser barns könsföreställningar ochhur de utrycks i fokusgruppsintervjuer. Intervjuerna med barnen gjordes ifokusgrupper och var semistrukturerade. I studien har barnen visat på ett stortengagemang, lust och nyfikenhet att diskutera genus tillsammans med varandra samtmed oss vuxna. Utifrån de teman som växte fram under studiens analysprocesstenderade barnen att ha stereotypiska könsföreställningar och barnen har ocksåanvänt sig utav liknande begrepp för att beskriva och könsdefinieramediakaraktärer.Nyckelord: genus, barn, förskola, populärkultur, fokusgrupper, genusordning,könsföreställningar, könsskillnader, Disney / This qualitative study aimed to study children’s perspective on gender when talkingabout four Disney characters. The study is aimed towards working educators inpreschools and can contribute to an understanding of gender and children’s genderperceptions. By seeing popular culture as a tool, preschool educators can takeadvantage of children’s interests and base their teaching on them. The study has shedlight on children’s gender beliefs, further how they are expressed in focus groupinterviews. The interviews with the children were in focusgroups and was semistructured. In this study children have shown great commitment, desire, and curiosityto discuss gender, both together with each other and also with us adults. Based on thethemes that emerged during the analysis process, children had tendencies ofstereotypical gender beliefs and the children used similar concepts to describe anddefine the gender on media characters.

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The topic of this dissertation is the anatomical, psychological, and cultural examination of a human face in order to effectively construct an anatomy-driven 3D virtual face customization and action model. In order to gain a broad perspective of all aspects of a face, theories and methodology from the fields of art, engineering, anatomy, psychology, and cultural studies have been analyzed and implemented. The computer generated facial customization and action model were designed based on the collected data. Using this customization system, culturally-specific attractive face in Korean popular culture, “kot-mi-nam (flower-like beautiful guy),” was modeled and analyzed as a case study. The “kot-mi-nam” phenomenon is overviewed in textual, visual, and contextual aspects, which reveals the gender- and sexuality-fluidity of its masculinity. The analysis and the actual development of the model organically co-construct each other requiring an interwoven process. Chapter 1 introduces anatomical studies of a human face, psychological theories of face recognition and an attractive face, and state-of-the-art face construction projects in the various fields. Chapter 2 and 3 present the Bezier curve-based 3D facial customization (BCFC) and Multi-layered Facial Action Model (MFAF) based on the analysis of human anatomy, to achieve a cost-effective yet realistic quality of facial animation without using 3D scanned data. In the experiments, results for the facial customization for gender, race, fat, and age showed that BCFC achieved enhanced performance of 25.20% compared to existing program Facegen , and 44.12% compared to Facial Studio. The experimental results also proved the realistic quality and effectiveness of MFAM compared with blend shape technique by enhancing 2.87% and 0.03% of facial area for happiness and anger expressions per second, respectively. In Chapter 4, according to the analysis based on BCFC, the 3D face of an average kot-mi-nam is close to gender neutral (male: 50.38%, female: 49.62%), and Caucasian (66.42-66.40%). Culturally-specific images can be misinterpreted in different cultures, due to their different languages, histories, and contexts. This research demonstrates that facial images can be affected by the cultural tastes of the makers and can also be interpreted differently by viewers in different cultures.

The subject of this thesis is a genre analysis of Soviet film comedies of the late 60s and the 70s that is based on the reception and production history data. The aim of this research is to grasp this type of comedy as a specific political and socially-cultural phenomenon of the Eastern bloc and its relation to Soviet popular culture. A methodology of the genre analysis will derive from Rick Altman's semantic-syntactic approach, which will allow us to describe the chosen genre group as a complex genre trend set in the unique social, cultural, economic and in this particular case also ideological context, to follow the development and fluidity of the genre trend, as well as to find and to compare mutual attributes of the chosen films. The analysis will not be based solely on the group of the most watched films, but also on the production data focusing mostly on the films' budget, as well as dramaturgic supervision and censorship. Another part of the diploma thesis will be based on the gathered reception data such as contemporary media response and viewer ratings, focusing on the important role that Soviet film comedies played in the period and partially continue to play in the present-day Russian popular culture. Fusion of all analytic parts shall bring us to the basic definition of the Soviet film...

As Richard Thomas writes, “there is nothing like Star Trek…Of all the universes of science fiction, the Star Trek universe is the most varied and extensive, and by all accounts the series is the most popular science fiction ever” (1). Ever growing (the latest Star Trek film will be released in Spring 2013) and embodied in hundreds of novels and slash fanfiction, decades of television and film, conventions, replicas, toys, and a complete Klingon language Star Trek is nothing short of a cultural phenomenon. As Harrison et al argue in Enterprise Zones: Critical Positions on Star Trek, the economic and cultural link embodied in the production of the Star Trek phenomena “more than anything else, perhaps, makes Star Trek a cultural production worth criticizing” (3). A utopian universe, Star Trek invites its audience to imagine a future of amicable human and alien life, often pictured without the ravages of racism, sexism, capitalism and poverty. However, beyond the pleasure of watching, I would ask what do the representations within Star Trek reveal about our popular culture? In essence, what are the values, meaning and beliefs about gender, race, sexuality and disability being communicated in the text? I will explore the ways that the Star Trek universe simultaneously encourages and discourages us from thinking about race, gender, sexuality and disability and their intersections. In other words, this work will examine the ways that representations of identity are challenged and reinforced by Star Trek: The Next Generation and Star Trek: Voyager. This work will situate Star Trek specifically within the science fiction genre and explore the importance of its utopian standpoint as a frame for representational politics. Following Inness, (1999), I argue that science fiction is particularly rich textual space to explore ideas of women and gender (104). As Sharona Ben-Tov suggests in The Artificial Paradise: Science Fiction and American Reality (1995) science fiction’s “position at a unique intersection of science and technology, mass media, popular culture, literature, and secular ritual” offers critical insight into social change (ctd. in Inness 104). I extend Inness and Ben-Tov here to assert that the ways in which science fiction’s rich and “synthetic language of metaphor” illustrate and re-envision contemporary gender roles also offers a re-imagination of assumptions regarding race, sexuality and disability (Inness 104). Extending current scholarship (Roberts 1999, Richards 1997, Gregory 2000, Bernardi 1998, Adare 2005, Greven 2009, Wagner and Lundeen 1998, Relke 2006, and Harrison et all 1996), I intend to break from traditions of dichotomous views of The Next Generation and Voyager as either essentially progressive or conservative. In this sense, I hope to complicate and question simplistic conclusions about Star Trek’s ideological centre. Moreover, as feminist media theorist Mia Consalvo notes, previous analyses of Star Trek have explored how the show constructs and comments on conceptions of gender and race as well as commenting on economic systems and political ideologies (2004). As such, my analysis intends to apply an intersectional approach as well as offer a ‘cripped’ (McRuer 2006) reading of Star Trek in order to provide a deeper understanding of how identities are represented both in science fiction and in popular culture. Both critical approaches – especially the emphasis on disability, sexuality and intersectional identities are largely ignored by past Trek readings. That is to say, while there is critical research on representations in Star Trek (Roberts 1999, Bernardi 1998) much of it is somewhat uni-dimensional in its analysis, focusing exclusively on gender or racialized representation and notably excluding dimensions of sexuality and ability. Moreover, as much of the writing on the Star Trek phenomena has focused on The Original Series (TOS) and The Next Generation this work will bring the same critical analysis to the Voyager series. To perform this research a feminist discourse analysis will be employed. While all seven seasons and 178 episodes of The Next Generation series as well as all seven seasons and 172 episodes of Voyager have been viewed particular episodes will be selected for their illustrative value.