There is an aversion within the field of Appalachian Studies to addressing the cultural formulations of the Appalachian/hillbilly/mountaineer as an icon of aggressive resistance. The aversion is understandable, as for far too long images of the irrationally and savagely violent mountaineer were integral to the most gross popular culture stereotypes of Appalachia. Media consumers often take pleasure or comfort in these images, which usually occur in a reactionary context with the hillbilly as either a type of nationally necessary savage OR as an unregenerate barbarian against whom a national civilization will triumph and benefit by the struggle. I bookend my study with two artifacts of Appalachian representation, linked in specific subject matter, but separated by twenty years. The 1991 West Virginia Public Television-produced documentary film The Dancing Outlaw quickly became an underground cult classic—an object of both absurdist delight and cultural identification within the punk subculture, particularly among those with both a punk sensibility and personal connections to the Appalachian region (birth, upbringing, residency, ancestry). In 2009, MTV and the resources of its wildly popular Jackass franchise revisited the locale and family featured in this earlier documentary and produced the sophisticated and polished film The Wild, Wonderful Whites of West Virginia. The core purpose of this project, however, is to examine why Appalachia and/or the hillbilly, as constructed within and across these subcultures, possessed such appeal during this historical moment. My hypothesis is that such appeal lies primarily (but not exclusively) in the negative characteristics of the region and its inhabitants that are represented throughout a variety of subcultural texts: documentary film, art house cinema, niche regional literature, and independent zine publishing and early blogging. For both those identifying themselves as Appalachians/hillbillies (or some related variation thereof) and those “playing” as Appalachians/hillbillies, these images become statements of resistance and survival to challenge the national mass culture and the political ideologies supporting it.

台灣在文化與流行方面一向受鄰近國日本的影響，舉凡服飾流行、音樂、電影、動漫等，其中影響青少年最大的應該可以說是動漫畫，近幾十年來，動漫畫中的「耽美文學」，又可以說是一股在台灣出版界新興的文體類型。 「BL」漫畫即指「Boy's Love」，又稱耽美漫畫。原本是指女性漫畫家創作給女性讀者看的「少年愛」漫畫，內容以美貌男子之間的愛情為主。BL漫畫算是少女漫畫中比較另類的內容類型，內容唯美浪漫，而「耽美」的日文原意就是「唯美主義」。日本耽美漫畫在台灣從單純的閱讀，到現在發展出作家、網站、同人團體、甚至還有專門的商業出版社；而出版的物品，也從當初的日文翻譯漫畫、動畫到現在國人自行創作的漫畫、小說、周邊產品等。在台灣的耽美迷中，可以初分為兩種：一種只是純粹的耽美文本閱聽人，另一種除了閱聽文本外，還會主動衍生新的創作與文本，而在這些耽美迷的衍生文本中，居然有大半是台灣本土霹靂布袋戲迷所創作的耽美文本。 台灣的本土布袋戲為何會跟耽美牽上關係？日本式的耽美到了台灣又有什麼樣的變化？而這在台灣本土形成的新型耽美中佔最大比率的文本─「霹靂耽美文本」，竟也被日本耽美迷所承認，在日本有了台灣霹靂耽美文本的閱聽人。本研究將從日本的耽美文化在台灣的演化，以及文化逆流的現象，勾勒出一個屬於台灣在地耽美文化的輪廓。 關鍵字：漫畫、動漫、同人誌、Boy's Love(BL)、霹靂布袋戲 / The culture and fashion of Taiwan are historically influenced by Japan. Among many, the Slash Literature, or ‘Boy’s Love’ (BL), is one of rising style in recent decades. BL, which originally means ‘aestheticism’ in Japanese, features aesthetic and romantic in its content. While it is an alternative to mainstream style, BL allures remarkable amount of audience. The audience can be distinguished into two types: passive receiver on the one hand and active creator on the other. Surprisingly, most of the active creator of derivative BL context comes from enthusiasts of Pili Hand Puppet Show, a traditional Taiwanese culture. The locally shaped ‘Pili BL context’ not only is the most popular one in derivative BL context in Taiwan, but is recognized by Japanese BL enthusiasts. Thus, ‘Pili BL context’ is the countercurrent of BL culture back to Japan. This phenomenon prompts research questions of this study: how does Taiwanese Hand Puppet Show relate to BL? What are the transformations of Japanese BL adapted in Taiwan? To answer these questions, this study will investigate the evolution of Japanese BL culture in Taiwan and the countercurrent of ‘Pili BL context’ and will seek to contour the local BL culture of Taiwan. Keywords: Slash Literature, BL, Aestheticism, Subculture, Pili Hand Puppet Show.

No description available.

Abstract Porsfelt, Dan (2001) Management trainee – Möten med förhinder. Written in Swedish with an English summary. ISSN: 1402 – 1544, ISRN: LTU - DT - - 01/24 - - SE, Institutionen för Arbetsveten-skap, Luleå Tekniska Universitet 2001:24. This doctoral thesis in Human Work Science is a study of the participants in a management trainee program, carried out in a large Swedish company in 1997-1998. The aim of the thesis is to formulate theory around the complexity of a secondary socialisation process where organ-isational culture is externalised and internalised and individual self-identities of leaders-to-be in organisations are developed. The thesis is based on an ethnographic description of the entry of six newly graduated economists into an organisation, called ‘Distro’, and their encounters with existing organisational cultures. The data material has mainly been gathered through par-ticipant observation in the everyday life in the organisation, but also in events outside the or-ganisational frame. An official pan-organisational culture with its related stories, cultures of the shop-floor and a managerial culture in the regional organisation are described, as well as the development of the self-identities of the management trainees in relation to these cultures. The partiality of the internalisation of the different organisational cultures and the conscious acting in contrast to aspects of the internalised managerial culture is emphasised and the great complexity of the transition- and socialisation processes in the specific case is pointed at. This complexity is most likely to exist also in similar cases. The complexity is understood as a room of differences or room of relations. A number of circumstances, demands, structures, possi-bilities, values and practices in relation to one another constructs a sort of zone for reflection and as a consequence also development, movement and action. This zone is labelled interspace. Interspace is thus, a theme that, in different forms, can be found in the previous descriptive chapters of the thesis. The interspace simultaneously makes learning and development of both individual and, in the end, the organisation, possible as it may hinder the individual objective career or that of a group. It is, as a consequence, important for individual or groups finding themselves in the interspace to try to manage the impression that the interspace does not exist. Management trainee programs as a social phenomenon is, finally, seen as an aspect of a pro-fessionalisation process on the work place level, and as a modern institution colliding with post-modern values in the elite groups normally recruited to such programs. Keywords: socialisation, internalisation, organisational culture, micro culture, subculture, leadership, management, trainee, management training, management learning, transition, self-identity, pro-fessionalisation Dan Porsfelt, School of Social Sciences, Växjö University, SE-351 95 VÄXJÖ, Sweden. E-mail: Dan.Porsfelt@svi.vxu.se

La tesi ha come oggetto la street art italiana. Questa, sebbene comunemente associata a realtà contro o subculturali, specie nell’ultimo decennio ha visto diversi suoi esponenti percorrere una parabola che da un underground riservato a una nicchia di appassionati, li ha portati a confrontarsi tanto con il mondo dell'arte quanto con il mercato. Una parabola che, in senso diacronico, questa tesi ha cercato di ripercorrere, servendosi degli strumenti propri delle teorie della produzione culturale, analizzando quindi la molteplicità di trasformazioni sociali e culturali che l'hanno accompagnata e resa possibile. Allo stesso tempo, attraverso una metodologia “grounded”, si è tentato di dare conto, su un piano sincronico, dello scenario attuale della street art nazionale, attraversato da tensioni che, di fatto, hanno portato il ricercatore a misurarsi con il processo di crescente “individualizzazione” e “de-standardizzazione” del mercato del lavoro. La tesi si suddivide quindi in quattro macro-sezioni: la prima finalizzata alla descrizione del processo di ricerca; la seconda tesa a ricostruire l’“emersione” dei fenomeni subculturali da cui gli street artists provengono; la terza, volta alla descrizione del panorama contemporaneo della street art italiana, attraverso l'individuazione di “profili” nelle cui caratteristiche si è cercato di far luce su quello che, a tutti gli effetti, può considerarsi un modello di “socialità reticolare”; la quarta, in cui si sono messi a confronto l'attuale fisionomia agerarchica della street art, caratterizzata da una differente distribuzione di opportunità a seconda del diverso capitale sociale posseduto dai suoi protagonisti, e alcune ipotetiche “soluzioni” a tali squilibri. / Street art has always been associated with underground phenomena like sub or counter-cultures. But, especially during the last ten years, many street artists got more and more involved in the institutional field of cultural production, also working for marketing, advertising and graphic design agencies. Starting from a perspective close to the theories of cultural production, the dissertation focused on the social, cultural and economic transformations that have contributed to such an “explosion” of the street art movement. At the same time, using a “grounded” approach, it studied the contemporary world of the Italian street art, as a field crossed by my many tensions, generated by a different distribution of what Pierre Bourdieu defined “social capital”.

This report chronicles the process of investigating social theories and their relation to music experience in order to create a specific online community. The purpose of this community focuses on an historical perspective of music while facilitating the formation of varied knowledge-networks and relationship levels. Social theories are correlated with web applications and tools to support design choices that will appeal to users by providing opportunities for specific social functions. This research allows for an organized, detailed, and theoretical approach to the design of the online music community, Vinylsqueegee.com. / text

published_or_final_version / Education / Master / Master of Education

published_or_final_version / Architecture / Master / Master of Architecture

Syfte och Forskningsfrågor: Syftet med uppsatsen är att fördjupa förståelsen för musikens kulturella betydelse när den används tillsammans med ett retailvarumärkes identitet. För att nå vårt syfte har vi arbetat med följande forskningsfrågor: • Hur är musik integrerat i organisationers marknadskommunikationer och brand management? • Vilka följder får musikanvändningen på varumärkets identitet och målgrupp? Hur är denna identitet sedan internaliserad av kunder som konsumerar varumärket? • Hur kan en bättre förståelse för dessa frågor leda till en mer relevant musikanvändning inom brand management? • Vilka är sedan möjligheterna att bygga relationer med kunder genom användningen av musik? Metod: Vi har jobbat abduktivt med uppsatsen där teorin och empirin har ständigt skänkt nya insikter och tolkningsmöjligheter åt varandra. Vi har också använt oss av en kvalitativ metod som vi anser bättre lämpad för undersökning av kulturella kontexter än vad en kvantitativ metod är. Slutsatser: Vi har sett att det finns flera sätt att använda musik i retailupplevelsen och på olika nivåer. Musik kan förstärka redan existerande teman eller genom sina sociala egenskaper hjälpa kunder att förstå varumärkesidentitet. En kund kommer alltid att internalisera ett varumärkes kommunikation och tolka dessa genom sina egna sociala konstruktioner och övertygelser för att sedan kasta tillbaka en avkodad bild. Genom denna förståelse och tolkning byggs relationer mellan retailföretag och kunder. Med en utökad förståelse för dessa frågor kan retailvarumärken öka relevansen i sin musikanvändning och möjliggöra att varumärket blir en del i kunders identitetsskapandeprocess. / SAMMANFATTNING Titel: Musikidentiteter inom retailbranding: Hur förståelse för musikgenrer skapar förståelse för varumärkesidentitet Författare: Grant Murdoch Purdy och Johan Plambeck Handledare: Olle Duhlin Kurs: Kandidatuppsats inom företagsekonomi, inriktning marknadsföring, HT-2013 Music & Event Management, Linnéuniversitetet Nyckelord: varumärke, retailvarumärke, varumärkesidentitet, identitet, identitetsskapande, sinnesmarknadsföring, musik, kultur, subkultur Syfte och Forskningsfrågor: Syftet med uppsatsen är att fördjupa förståelsen för musikens kulturella betydelse när den används tillsammans med ett retailvarumärkes identitet. För att nå vårt syfte har vi arbetat med följande forskningsfrågor: • Hur är musik integrerat i organisationers marknadskommunikationer och brand management? • Vilka följder får musikanvändningen på varumärkets identitet och målgrupp? Hur är denna identitet sedan internaliserad av kunder som konsumerar varumärket? • Hur kan en bättre förståelse för dessa frågor leda till en mer relevant musikanvändning inom brand management? • Vilka är sedan möjligheterna att bygga relationer med kunder genom användningen av musik? Metod: Vi har jobbat abduktivt med uppsatsen där teorin och empirin har ständigt skänkt nya insikter och tolkningsmöjligheter åt varandra. Vi har också använt oss av en kvalitativ metod som vi anser bättre lämpad för undersökning av kulturella kontexter än vad en kvantitativ metod är.  Slutsatser: Vi har sett att det finns flera sätt att använda musik i retailupplevelsen och på olika nivåer. Musik kan förstärka redan existerande teman eller genom sina sociala egenskaper hjälpa kunder att förstå varumärkesidentitet. En kund kommer alltid att internalisera ett varumärkes kommunikation och tolka dessa genom sina egna sociala konstruktioner och övertygelser för att sedan kasta tillbaka en avkodad bild. Genom denna förståelse och tolkning byggs relationer mellan retailföretag och kunder. Med en utökad förståelse för dessa frågor kan retailvarumärken öka relevansen i sin musikanvändning och möjliggöra att varumärket blir en del i kunders identitetsskapandeprocess. / ABSTRACT Title: Music identities in retail branding: How genre rules form understandings of brand identity Key words: branding, retail branding, sensory marketing, brand identity, identity creation, identity, music, music genres, subculture The purpose of this thesis is to better understand the social ramifications of using music together with retail branding. The key point of interest is how understandings of brand identities are connected to (sub)cultural understandings of music identities. To do this the authors examine two Swedish retail brands, both of whom have clearly defined music profiles, but also have decidedly different target audiences active within decidedly different subcultural realms. To address the dynamic social exchange inherent in identity creation the paper uses both a theoretical brand management framework as well as an ethnological approach. The paper is divided into three areas of interest that address different facets of the branding process in relation to identity. First, how brand identity is communicated and the different communication points where music is used. Second, how brand identity is understood by consumers and how consumers in turn understand music-based brand identities with the help of genre rules. Third, how brand identity helps build relationships, how this is connected to retail brand loyalty and what role music has within these two processes. The authors conclude by presenting a new model for better understanding how the formation of brand identity and individual (sub)cultural identities are interconnected, as well as how these findings can be used by retail brands in the future to better engage target audiences with music.

This mixed-method case study examined effects of high school musicians' participation in the jam session, a student-directed, extracurricular music activity. The single case study site was a rural British Columbia high school exceptional for its support of jamming. Forty-four subjects, including 21 who fully met stated criteria for jammers, and 13 non-jamming subjects, were studied over a period of four months. The general research question was: Does participation in a band room jam session benefit students cognitively and motivationally? Specific research questions were: Do students who informally jam on various forms of music enhance their music skills in the perception and meaningful manipulation of music elements, and if so, how? In what ways does Csikszentmihalyi's flow theory explain the continued participation of students in the jam session? Three quantitative instruments were administered to 13 jammers capable of playing a Bb Concert scale on a melody instrument as well as to a comparable group of 13 non-jammers. These instruments included Gordon's Advanced Measures of Music Audiation (AMMA), Froseth's Test of Melodic Ear-to-Hand Coordination (TMEHC), and a researcher-developed test of ear-to-hand coordination (SOR). An ANOVA test showed no significant difference between jammer and non-jammer groups on AMMA scores (p<0.05). ANOVA showed a notable but not significant difference (p<0.056) between groups on the TMEHC, while a Repeated Measures Analysis of pre/post test TMEHC scores showed no effect of jamming over a period of 10 weeks. ANOVA showed a very clear difference between groups on the SOR (p<0.001). Qualitative data collected via journaling, interviews, observation, and participant-observer tasks indicated that jammers were perceiving and manipulating music elements in meaningful ways, and also supported Csikszentmihalyi's flow theory as an explanation for jam session participation. In particular, flow characteristics including transformation of time, loss of self-consciousness, and challenge/skill balance were both observed and reported. The role of the teacher, the presence of a music subculture, and the pseudo-curricular nature of jamming were noted as possible topics for further research.