This thesis explores the history of European integration in the 1950s and 1960s from a popular cultural perspective anchored to a central figure from the era, Brigitte Bardot, in order to demonstrate that the peoples of Western Europe were engaged in processes of Europeanization that helped legitimize economic and political unions. Yet, official EU policy’s privileging of one (outdated) mode for understanding culture has handicapped alternative interpretations of a common European cultural heritage, failing to embrace a shared popular culture. Bardot is a suitable icon through which to begin an exploration into the diversity and significance of an integrating postwar European popular culture because she was a microcosm of several broad, transnational trends in postwar Europe including the rise of mass mobility, a major shift in European fashions, new gender constructions, and the explicit politicization of popular culture. Her films, career, lifestyle, and representation(s) provide key axes from which one can pivot into interrelated areas of European culture and societies in this era—pop culture; consumer culture; youth culture; mobility culture; media culture; political culture; and gender relations—demonstrating a widely integrating European popular cultural sphere. Within this context, Bardot was representative of broad postwar societal changes, served as a mass diffusion tool in relating these changes to the people of Europe, and functioned as a driving force in creating new transnational popular cultural forms. In addition, Bardot is a figure useful in understanding the relationship between Europe and the United States, while also demonstrating that economics is not separate from culture and popular culture. The Treaty of Rome, ostensibly about economic integration, further enabled the many circulations apparent in Bardot's career—people, goods, information, and ideas—that were already taking place. Furthermore, popular culture was not irrelevant to, or separate from politics and it helps to explain how the escapism and narcissism of European popular consumer culture could generate a rebellious, but sophisticated political consciousness. Western Europe does indeed have a distinct history of shared popular culture, which should be a factor in discussions of ‘Europeanization’ and the legitimacy of the European Union. It is necessary to explore the roots of this shared popular culture so that it does one day form the basis of a longstanding shared popular culture and can become a recognized element supporting the legitimacy of identities in the European Union in more fluid, dynamic ways.

Contemporary popular music is a ubiquitous social, cultural, and pedagogical force. Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted into our most public and private spaces. For this study, I present the Billboard music charts as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s theorizing on youth culture, I sound out messages and motives embedded within the hit parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that feature themes of marginalization, and consider the paradox presented by the juxtaposition of their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire. Before signing off, I consider the implications for school-based educators and pedagogy in regard to engaging marginalization, particularly the notion of implementing a curriculum with which students may participate and sing along.

Within contemporary performance arenas young people are fast becoming part of the vanguard of contemporary performance. Performativity, convergence and openness of form are key animating concepts in the landscape of Theatre for Young People (TYP). To ignore what is taking place in the making of performance for and by young people is to ignore the new possibilities in meaning-making and theatrical form. In this period of rapid technological change young people are embracing and manipulating technology (sound, image, music) to represent who they are and what they want to say. Positioned as &quotcultural catalysts", &quotthe new pioneers" and &quotfirst navigators" young people are using mediatised culture and digital technologies with ease, placing them at the forefront of a shift in cultural production. Performance commentators (Schnechner 2002; Shusterman 2000; Auslander 1999; Hill and Paris 2001; Phelan 1993 and Kershaw 1992) believe that there has been a profound shift in the nature of making theatre and performance works. The forces of globalisation, the new economy and advancements in new media technologies have affected young people's making of performance. Three key concepts animate contemporary young people's performance devising and presenting processes. These concepts can be defined as: performativity, convergence and openness of form. These three categories can be harnessed under the umbrella concept of deterritorialisation. The processes of deterritorialisation allows for the synthesis of new cultural and performance genres by fragmenting and hybridising traditional cultural categories and forms including the use of new media technologies. Almost half of all TYP performances now incorporate the technologies of reproduction. The relationship between live and mediated forms, the visceral and the virtual is allowing young people to navigate and make meaning of cultural codes and cultural forms as well as to engage in an open dialogue with their audiences. This thesis examines the way young people are using elements of deterritorialisation to become producers of new performance genres.

The Festival is a form that transcends cultures, histories and regimes. It is a construct that has been utilised in a variety of ways, for a variety of purposes, but its raison d'etre is always community, sometimes as celebrated from a popularist level, at other points manipulated by the wielders of power. In its modern context, the festival has similarly been deployed as either a means of celebrating a sense of local community, or embraced by governments as a symbol of sophisticated cosmopolitanism. This research aims to contextualise a particular kind of festival practice within both an historical and contemporary context. This is structured through three key areas: at the heart of the thesis is a study of a particular kind of contemporary festival model, the boutique festival, as produced by the Programming Unit of the Queensland Performing Arts Centre. This festival construct is significant in its positioning of the audience as both producer and consumer in a playful and intelligent manner. This kind of model is different from the more conventional high arts or community arts festival models. Secondly, the research explores how current renderings of the festival can be contextualised within historical functions, so as to highlight points of connection and departure. Thirdly, the study positions the boutique festival as but one example of a range of current local festival practices that highlight the manner in which the festival construct engages with contemporary life. This portion of the study places these local renderings within Creative Industries discourse, focussing on the notion of the Creative City. The thread that ties the areas of focus together is the role of the audience in the festival. The trope of community remains central to contemporary festival practice, but it is a term that is becoming increasingly problematic and opaque, especially within an urban context. Through a variety of constructs, contemporary festivals encourage a cultural discussion about what community means in a current context, and in so doing, invite explorations of space, identity and authenticity as well.

Over the last ten years Internet become substantial information and communication tool for all age and social groups of Society, but it has a specific status among the younger generations. This thesis understands the Internet as a virtual environment which supports the formation of new Youth subcultures and also the communication of currently existing subcultures. Theoretical part defines the basic terms and concepts (Youth, socialization, identity, culture, subculture, and counterculture) which correspond with the orientation in researched environment. The thesis characterizes also virtual environment, computer games and psychosocial aspects of these worlds. The practical part is based on qualitative research study (depth interviews) of the subculture of the on-line computer games players. The data gathered by depth interviews were processed on the basis of the methods of grounded theory.

Located on the West Zone of the city of Aracaju, State of Sergipe, Brazil, doorway of the capital, Aribé , as it s also known the eclectic suburb of Siqueira Campos, has already been considered in past decades to be an unhealthy, unsafe and prostituted area. During the 80 s of the 20th century, Siqueira Campos became the biggest suburb, in terms of population, of the city of Aracaju. In addition to a residential neighborhood, the practices that settled there, were gradually giving way to a broad business and leisure, where specific lifestyles are practiced through consumer spending and circulation of specific cultural goods, which happen due to the socialization of different lifestyles. This Dissertation aims to analyze the processes of identification and differentiation carried out by the young population with the applications of the leisure and sociability areas in Siqueira Campos suburb, from constructs of lifestyles related to music, which implies on the investigation of the practices and consume of specific goods related to youth culture. For that, the investigation keeps studying four young groups of great recognition in the suburb and that identify themselves as rock gang , reggae gang , hip hop gang and pagodeiros . / Localizado na Zona Oeste da cidade de Aracaju, Estado de Sergipe, Brasil, porta de entrada e saída da capital, o Aribé como também é conhecido o eclético Bairro Siqueira Campos, já foi considerado em décadas passadas uma área insalubre, de criminalidade e prostituição. Ao longo da década de oitenta, do século vinte, o Siqueira Campos passou a ser o maior bairro, em termos populacionais, da cidade de Aracaju. Além de um bairro residencial, as práticas que aí se estabeleceram, paulatinamente, foram cedendo espaço para uma ampla atividade comercial e de lazer, no qual determinados estilos de vida são praticados através do consumo e da circulação de bens culturais específicos, que se dão por meio da socialização de modos de vida distintos. Esta Dissertação objetiva analisar os processos de identificação e diferenciação realizados pelas populações juvenis nos usos dos lugares de lazer e sociabilidades no Bairro Siqueira Campos, a partir de construtos de estilos de vida associados à música, o que implica a investigação sobre as práticas e os consumos de determinados bens ligados às culturas juvenis. Para tal, a investigação segue a estudar quatro grupos juvenis de maior reconhecimento no bairro e que autoidentificam-se como galera do rock , do reggae , do hip hop e pagodeiros .

A proposta deste estudo foi conhecer a representação de violência que as crianças constroem nas relações sociais e com a mídia, a partir do desenho animado, desdobrando-se em dimensionar o impacto de suas representações no processo de socialização e de construção da subjetividade na infância, e em explicitar a possível relação entre violência na mídia e violência individual e social. Compreendeu um estudo descritivo, de natureza qualitativa e incluiu pesquisa bibliográfica e levantamento junto às crianças e adultos. A partir de um exercício de descrição, comparação e análise dos discursos de crianças e de seus pais, com suporte em referenciais teóricos sobre cultura contemporânea, violência e representação social, foi possível constatar que as crianças reconhecem diferentes dimensões do fenômeno, discriminam entre a violência real e ficcional e identificam gêneros televisivos e situações, às quais se sentem vulneráveis. Reconhecem imitar os personagens e seus comportamentos nas brincadeiras, porém afirmam que não matariam na vida real. / The purpose of this study is to investigate the representation of cartoon-related violence that children build into their social relationships and with the media. The study also aims to size the impact of their representations in the process of socializing and subjectivity building during childhood, and to show the possible relationship between violence in the media and individual and social violence. This is a descriptive and qualitative study which includes bibliographic research and surveys with children and adults. By describing, comparing and analyzing the language from children and their parents, theoretical references on contemporary culture, violence and social representation, it was possible to verify that children recognize different dimensions of the phenomenon, differentiate between real and fictional violence, and identify television genres and situations to which the feel vulnerable. Children recognize they emulate characters and their behavior, but claim they would not kill in real life.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-10T12:29:16Z No. of bitstreams: 1 giseledelimamelonepomuceno.pdf: 2735855 bytes, checksum: 0f4b774b69624c7a60d605c512a750af (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-10T13:18:32Z (GMT) No. of bitstreams: 1 giseledelimamelonepomuceno.pdf: 2735855 bytes, checksum: 0f4b774b69624c7a60d605c512a750af (MD5) / Made available in DSpace on 2018-04-10T13:18:32Z (GMT). No. of bitstreams: 1 giseledelimamelonepomuceno.pdf: 2735855 bytes, checksum: 0f4b774b69624c7a60d605c512a750af (MD5) Previous issue date: 2017-05-05 / Essa dissertação investiga o desenvolvimento da indústria têxtil e de confecção a partir da produção do jeans nas décadas de 1960 a 1980 no Brasil. Tal análise servirá de base para compreender como o advento da cultura juvenil na década de 1960 — e o uso generalizado do jeans, que figurou importante papel como uniforme juvenil, popularizando-se para todas as outras gerações — pode contribuir para a maior profissionalização e desenvolvimento da indústria de confecção nacional. Para além da modernização da indústria têxtil brasileira — que exigia um maquinário adequado e mão de obra mais qualificada —, o advento do jeans como traje para todas as ocasiões encontrou na propaganda de moda um suporte também mais modernizado para a divulgação do material como ícone do comportamento juvenil. Essa imagem da valorização da produção nacional, que antes era destinada quase exclusivamente às classes populares e a partir de uma modelagem que ressalta a sensualidade passa a ser um produto aceito em todas as classes vai evoluir nas décadas de 1970 e 1980 para um modelo não só ligado ao público jovem. com a expansão do uso do jeans para outras faixas etárias. Mas focado no corpo e na sensualidade e, justamente associado à imagem do erotismo, que se tornará característico da produção do jeans tipicamente brasileiro. / This thesis investigates the development of the textile and clothing industry from the production of jeans in the 1960s and 1980s in Brazil. The analysis can be a basis to how the growth of youth culture in the 1960´s — and the general use of jeans, that became the youth uniform clothing, making it´s way to all the next generations — contributed to professionalization and development to the brazilian clothing industry. Beyond the modernization of brazilian textile industry, as it demanded better machines and qualified employees, the growth of jeans use to an all ocasions clothing, found in the fashion marketing a modernized support for making this garment into a youth behavior statement. This image of the valorization of national production, which was previously destined almost exclusively to the popular classes and from a modeling that emphasizes sensuality, becomes an accepted product in all classes. It will evolve in the 1970s and 1980s to a model not only Connected to young audiences. With the expansion of the use of jeans for other age groups. But focused on body and sensuality, and precisely associated with the image of eroticism, which will become characteristic of the production of typically Brazilian jeans.

This thesis explores the history of European integration in the 1950s and 1960s from a popular cultural perspective anchored to a central figure from the era, Brigitte Bardot, in order to demonstrate that the peoples of Western Europe were engaged in processes of Europeanization that helped legitimize economic and political unions. Yet, official EU policy’s privileging of one (outdated) mode for understanding culture has handicapped alternative interpretations of a common European cultural heritage, failing to embrace a shared popular culture. Bardot is a suitable icon through which to begin an exploration into the diversity and significance of an integrating postwar European popular culture because she was a microcosm of several broad, transnational trends in postwar Europe including the rise of mass mobility, a major shift in European fashions, new gender constructions, and the explicit politicization of popular culture. Her films, career, lifestyle, and representation(s) provide key axes from which one can pivot into interrelated areas of European culture and societies in this era—pop culture; consumer culture; youth culture; mobility culture; media culture; political culture; and gender relations—demonstrating a widely integrating European popular cultural sphere. Within this context, Bardot was representative of broad postwar societal changes, served as a mass diffusion tool in relating these changes to the people of Europe, and functioned as a driving force in creating new transnational popular cultural forms. In addition, Bardot is a figure useful in understanding the relationship between Europe and the United States, while also demonstrating that economics is not separate from culture and popular culture. The Treaty of Rome, ostensibly about economic integration, further enabled the many circulations apparent in Bardot's career—people, goods, information, and ideas—that were already taking place. Furthermore, popular culture was not irrelevant to, or separate from politics and it helps to explain how the escapism and narcissism of European popular consumer culture could generate a rebellious, but sophisticated political consciousness. Western Europe does indeed have a distinct history of shared popular culture, which should be a factor in discussions of ‘Europeanization’ and the legitimacy of the European Union. It is necessary to explore the roots of this shared popular culture so that it does one day form the basis of a longstanding shared popular culture and can become a recognized element supporting the legitimacy of identities in the European Union in more fluid, dynamic ways.

Contemporary popular music is a ubiquitous social, cultural, and pedagogical force. Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted into our most public and private spaces. For this study, I present the Billboard music charts as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s theorizing on youth culture, I sound out messages and motives embedded within the hit parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that feature themes of marginalization, and consider the paradox presented by the juxtaposition of their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire. Before signing off, I consider the implications for school-based educators and pedagogy in regard to engaging marginalization, particularly the notion of implementing a curriculum with which students may participate and sing along.