The relationship between popular culture awareness and socialization in the deaf/hard of hearing and hearing populations

A sample of deaf/hard of hearing students and hearing students ages 11-14 were surveyed to examine social perceptions about intellect and popularity related to popular culture knowledge. Participants also provided descriptive responses to their popular culture favorites.

Moving American progress westward images of Denver and the Rockies in popular culture

"From the 1859 gold rush through the early 1900s, popular press images linked Denver’s civic development, capitalist values and culture to the Rocky Mountains. These prints of a wilderness city sending pioneers and prospectors into the Rockies appeared in national newspapers, magazines, settlement manifestos, railroad guidebooks and tourist pamphlets. Readers were saturated with illustrations associating Denver with prosperity and rejuvenated health"-

Judicial Selection, Lay Participation, and Judicial Culture in the Czech Republic: A Study in a Central European (Non)Transformation. College of Europe Research Paper in Law 03/2014

Introduction. The idea that “merit” should be the guiding principle of judicial selections is a universal principle, unlikely to be contested in whatever legal system. What differs considerably across legal cultures, however, is the way in which “merit” is defined. For deeper cultural and historical reasons, the current definition of “merit” in the process of judicial selections in the Czech Republic, at least in the way it is implemented in the institutional settings, is an odd mongrel. The old technocratic Austrian judicial heritage has in some aspects merged with, in others was altered or destroyed, by the Communist past. After 1989, some aspects of the judicial organisation were amended, with the most problematic elements removed. Furthermore, several old as well as new provisions relating to the judiciary were struck down by the Constitutional Court. However, apart from these rather haphazard interventions, there has been neither a sustained discussion as to how a new judicial architecture and system of judicial appointments ought to look like nor much of broader, conceptual reform in this regard. Thus, some twenty five years after the Velvet Revolution of 1989, the guiding principles for judicial selection and appointments are still a debate to be had.

A dictionary of select and popular quotations : which are in daily use: taken from the Latin, French, Greek, Spanish and Italian languages: together with a copious collection of law-maxims and law-terms / translated into English, with illustrations historical and idiomatic.

Mode of access: Internet.

A dictionary of select and popular quotations, which are in daily use: taken from the Latin, French, Greek, Spanish and Italian languages: together with a copious collection of law-maxims and law-terms; translated into English, with illustrations historical and idiomatic.

English edition has title: A dictionary of quotations in most frequent use ...

Soccer, South Africa and celebrity status:Mark Fish, popular culture and the post-apartheid state

The rise of celebrity culture is a theme that has attracted a significant amount of attention within both mainstream sociology and cultural studies in more recent times. Ensuing debate has identified contemporary sports figures as an important facet of the celebrity‐media nexus and as possible signifiers of cultural change. In this paper we take one particular sports celebrity, South African soccer star Mark Fish, and evaluate his image in relation to debates surrounding sport, politics and the post‐apartheid state. We argue that because Fish appears to enjoy all the benefits of celebrity status (within his home country at least), an analysis of his career and identity provide a useful means by which to think about the changing political and nationalistic values within South African society.

"I Forbid You To Like It:" The Smiths, David Cameron, and the Politics of (Mis)appropriating Popular Culture

The Smiths were a critically acclaimed 1980s “indie” band that achieved cult-status within the five years they were musically active. Several studies on fandom have focused on The Smiths, particularly its frontman Morrissey, whose “apostles” are among the most committed on the popular music circuit. Yet British Prime Minister David Cameron’s repeated claims to Smiths fandom have been rebuked by fans, and the band themselves, as being incompatible with his right-wing political program; former Smiths guitarist and songwriter Johnny Marr tweeted: “David Cameron, stop saying you like The Smiths, no you don’t. I forbid you to like it.”

This article proceeds from the possibility that David Cameron was not being cynical in professing his admiration for The Smiths and considers music’s role in the embodiment of a social identity. Drawing on recent examples in the UK and the US, the article explores politicians’ problematic relationship with popular culture, alongside the notion that when an artist’s music is appropriated, they themselves are appropriated.

Viral Bodies: Uncontrollable Blackness in Popular Culture and Everyday Life

Viral Bodies: Uncontrollable Blackness in Popular Culture and Everyday Life maps rapidly circulated performances of Blackness across visual media that collapse Black bodies into ubiquitous “things.” Throughout my dissertation, I use viral performance to describe the uncontrollable discursive circulation of bodies, their behaviors, and the ideas around them. In particular, viral performance is employed to describe the complicated ways that (mis)understandings of Black bodies spread and are often transformed into common-sense beliefs. As viral performances, Black bodies are often made more visible, while simultaneously becoming more opaque. This dissertation examines the recurrence of viral performances of Blackness in viral videos online, film, and photography/images. I argue that viral performances make products that reinscribe stereotypical notions of Blackness while also generating paths of alterity—which contradict the normalized clichés and provide desirable possibilities for Black performance. Viral Bodies forges a new dialogue between visual and aural technologies, performance, and larger historic discourses that script Black bodies as visually (and sonically) deviant subjects. I am interested in how technologies complicate the re-presentation of images, ideas, and ideologies—producing a necessity for new decipherings of performances of Blackness in popular culture and everyday life.