Browsing by Subject "popular culture"
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Item Adult education, popular culture, and women's identity development: self-directed learning with The Avengers(2009-06-02) Wright, Robin RedmonThe purpose of this study was to investigate the impact of popular culture, especially prime-time television, on women learner-viewers? identity development. More specifically, this study explores one specific television show, the 1962-64 Cathy Gale episodes of The Avengers as a portal to adult learning. It further explores the ways in which television, as a form of public pedagogy, can help facilitate the formation of a critical or feminist identity among adult learner viewers. The research questions guiding this study were: 1) How and what did women learn from watching The Avengers? 2) How did women incorporate that learning into their lives and into their identities? and 3) How did women interpret and accommodate the feminist example of Cathy Gale? Data for this study was collected over a two-and-a-half year period. Data consisted of interviews with contemporaneous viewers of the Cathy Gale Avengers episodes, interviews with scriptwriters and the actor who played Cathy Gale, Honor Blackman, numerous documents from statistics obtained at the British Film Institute, fanzines, and newspaper articles of the period. Analysis revealed that in particular historical times and situations television viewing can become a form of public pedagogy, facilitating transformational learning in adult viewers that produces lasting, life-changing effects. The investigation revealed that not only did biologically-born women incorporate Cathy Gale?s feminist example into their identities and actions, but biologically born males whose core gender identity was female did also. This dissertation is written in article format. Each of the six sections has been designed as stand-alone pieces to aid accessibility and enhance readers? engagement with the study.Item Latinas in the city: a discussion of how young Mexican women identify and engage with Sex and the City(2009-05-15) Cantu, Elizabeth AngelicaGlobalization trends and treaties, such as the North American Free Trade Agreement (NAFTA), have increased the access and flow of United States media and popular culture products in Mexico. Limited research has been done examining the exposure of Mexican audiences to U.S. media products and the possibility of mass media?s impact on Mexican cultural identity. This qualitative study examines how twenty college-educated Mexican women identify and engage with the transnational popular culture text of Sex and the City (SATC). A multi-disciplinary theoretical approach, mainly from cultural studies and media studies, provides the backbone for my study of a foreign audience?s identification and engagement with a U.S. popular culture text. Thematic categorization of my interview data showed that genre, gender, class and location all played a role in the media engagement process. SATC enabled these twenty women to examine their lived experiences in Mexican society and be exposed to alternative viewpoints. The women interviewed were active audience members that discussed their experiences as college-educated, career driven women associated with modernity but living in the traditional, patriarchal society of Mexico. The women interviewed preferred watching television from other countries, such as the U.S., because it resonated with their lived experiences more than the telenovelas, which are the most common form of television programming in Latin America. In terms of discussing the representation of women on SATC, women talked about the gender roles, myths and structural forces of Mexican society to engage in resistive pleasure and to talk about gender politics. For these Mexican women, discussing SATC allowed them to express concerns over the representation of women in telenovelas, the importance of having alternative viewpoints available to women, and the experiences that have allowed them to foster spaces for change based on SATC?s content and characters. While factors, such as education, socioeconomics and geographic location framed the respondent comments, SATC was a source of strategic knowledge and cultural capital for women to open up new discussions with friends and family, new ways of looking and living out their sexuality, and ideas of the female body.Item Profiles in Courage: Practicing and Performing at Musical Open Mics and Scenes(2010-10-12) Aldredge, Marcus DavidThis dissertation explores the social patterns and cultural layers of musical "open mics" in New York City. The study uses a qualitative approach which includes methods such as ethnography, in-depth interviewing, historical and discourse analyses focusing on open mics and the popular musicians who attend and perform them. Open mics, short for "open microphones," are public events that allow musicians to perform songs without a pre-planned, formal booking with a club or venue. Owing a historical and discursive connection to the folk hootenannies and jazz jam sessions of the past, these events have proliferated and spread considerably across the United States since the 1990s since their development, by name, in the late 1970s. Open mics not only reflect a do-it-yourself and participatory cultural ethos manifested with other recent expressive cultural activities, but also demonstrate a growing interstitial "musical third place" residing between private practicing and public performance. Musical open mics as musical third places provide musicians and singer/songwriters to network with other musicians, practice new musical compositions and play when other performance opportunities are not readily available. It provides a means for musicians to "hone their craft" in terms of performance methods and also construct musical identities in the almost exclusive company of other working singer/songwriters. This "backstage region" is thus framed and keyed by the musicians onto a continuum between two theoretical poles: performance practicing and practicing performance. Performance practicing as defined in this study frames a more performance-oriented display for musicians in locations called "closed open mics" or COMs. These settings, also residing on a theoretical continuum are socially more exclusive in terms of performance types, the aesthetic careers of the performers, the genres represented and the sociological makeup of the setting participants in general. OOMs or "open open mics," on the other hand, usually have a more fluid, diverse sociological composition of musical performers, performance types, and musical genres played and represented in these mainly weekly events. Closed open mics align into more homogeneous, isomorphic settings comprising "local open mic scenes" and open open mics remain more heterogeneous, socially inclusive, and unsettled as "pre-scenes."