Seasons, Family and Nation in American Horror Story

Arguably, the title of American Horror Story sets out an agenda for the program: this is not just a horror story, but it is a particularly American one. This chapter examines the way that the program uses seasonal celebrations as a way of expressing that national identity, with special emphasis on the importance of family to those celebrations. The particular seasonal celebrations focused on are those of Halloween and Christmas, each of which has associations with the supernatural. However, the use of the supernatural at those seasons is one which is particularly associated with the US, presenting Halloween as a time of supernatural incursion and horror, and of disruption to society and the normal order of things, while Christmas is presented more as a time of unity for the family. Where the supernatural emerges in American Christmas television, it is typically as a force to encourage togetherness and reconciliation, rather than as a dark reminder of the past. While these interpretations of these festivals have been broadcast abroad by American cultural products, not least American television, they have different associations and implications elsewhere, as will be shown. So the particular uses of these festivals is part of what marks American Horror Story out as American, as is the way that the program's narratives have been structured to fit in with US television scheduling. This chapter, then, argues that the structures of the narratives combines with their use of the festivals of Halloween and Christmas in order to enhance the sense of this series as a particularly American horror story.

Ghosts and Television

This chapter explores the ghost story on television, and particularly the tensions between the medium and the genre. Television has long been seen as a nearly-supernatural medium, an association that the very term 'medium' enhances. In particular, the very intimacy of television, and its domestic presence, have led to it being considered to be a suitable and effective venue for the ghost story, while at the same time concerns have risen over it being too effective at conveying horror into the home. The ghost story is thus one of the genres where the tensions between the medium's aesthetic possibilities and desire for censorship can be most clearly seen. As such, there is a recurring use of the ghost story in relation to different techniques of special effects and narrative on television, some more effective than others, and the presence of the ghost story on television waxes and wanes as different styles become more or less popular, and different narrative forms, such as single play or serial or series, become more or less dominant. Drawing on examples primarily from a British and US context, this chapter outlines the history of the ghost story on television and demonstrates how the tensions in presentation, narrative and considerations of the viewer have influenced the many changes that have taken place within the genre.

Barreirinhas em tempo de mudança: reconstrução de identidades nas rotas do turismo

A presente tese situa-se no campo dos Estudos Culturais, constituindo uma construção interdisciplinar, situada nas vertentes da teoria cultural, com foco no estudo das identidade. Tem, como fenômeno empírico, o cenário de Barreirinhas-Ma/Brasil, em seus processos de transformação, decorrentes dos circuitos turísticos do Parque Nacional dos Lençóis Maranhenses/ Brasil. O objeto de estudo incide na análise de reconstrução de identidades de segmentos sociais que constituíram o público-alvo do processo investigativo: Artesãs, Prestadores de Serviços Turísticos (Condutores Turísticos, Toyoteiros, Pilotos de Lancha), Pescadores/as Artesanais e Marisqueiras. Desenvolve, como eixo teórico fundante, a questão das identidades, concebidas como processos descentrados, descontínuos constituídos nas hibridações, a partir de vertentes teóricas contemporâneas, com destaque para os pensamentos de Stuart Hall e Homi Bhabha. O trabalho consubstancia um processo de investigação, de natureza qualitativa, em Barreirinhas-Ma, através da observação participativa, entrevistas e grupos focais com os segmentos sociais do sistema da vida cotidiana, com atores institucionais e dirigentes de entidades associativas e de classe a constituir um amplo e significativo material que proporcionou adentrar nos processos de construções identitárias em curso em um cenário de intensas transformações que se revelam contraditórias e desafiantes.

Velhice na cultura contemporânea: um estudo sobre a perda emocional profunda

A velhice é uma etapa da vida marcada por múltiplas perdas simbólicas e/ou concretas que, embora se apresentem inelutáveis e façam parte integrante do ciclo da vida, são, para o sujeito que as vivencia, experiências penosas que obrigam a novas formas de existir. As sociedades contemporâneas, sociedades hedonistas onde a morte é tabu e o tempo um bem precioso, condicionam amplamente a forma como as pessoas idosas, especialmente as institucionalizadas, lidam com a perda, uma vez que este processo implica a aceitação de uma nova vida e a (re)estruturação da identidade própria. Não alheias ao condicionamento social, a cultura e as mundividências culturais afetam, de forma decisiva, o modo como a adaptação à perda decorre na quotidianidade das instituições de acolhimento para pessoas idosas. A presente investigação, elaborada no âmbito dos Estudos Culturais, assume um carácter qualitativo, com contornos etnográficos, e analisa 15 “mini-histórias” de vida de indivíduos com mais de 75 anos de idade, residentes em estruturas residenciais, e que sofreram uma perda emocional profunda por morte do cônjuge, já na idade adulta avançada. Num momento em que a institucionalização permanente em estruturas de acolhimento é uma das respostas sociais mais utilizadas pelos indivíduos idosos e suas famílias, procuramos, com este estudo, conhecer as condições críticas presentes na interiorização de um perfil adaptativo ou não adaptativo à perda e que, consequentemente, condicionam a forma como se mobilizam as respostas adaptativas na (re)composição do quotidiano do sujeito idoso enlutado.

Revival: The Aesthetics of Revival Subcultures and Re-enactment Groups Explored Through Fashion Image-making

This research aims, through performance, fashion photography, video making and the theatrical devices that accompany such practice, to explore the style of a contemporary, largely male, subcultural collective. The common term that joins these loosely bound groups is revival as they appear driven by an impulse to simulate and re-enact the dress, rites and rituals of British and American subcultures from a perceived golden era. The similarities with re-enactment societies are also explored and exploited to the end of developing new style- based aesthetics in male fashion image-making formed around an elaborate re- enactment of Spartacus and the Third Servile Wars. Examined through comparative visuals (revivalists / re-enactors) a common thread is found in the wearing of leather as a metaphor for resistance, style and a pupa-like second skin. Subsequent findings of this research suggest that the cuirass of popular culture emerges as the motorcycle jacket of both the sword and sandal epic and the historical re-enactor. Addressing extremes in narcissistic dress and behaviour amongst certain individuals within these older male communities, this study also questions parts of established theory on subcultural development within the field of cultural studies and postulates on a metaphorical dandy gene. Citing two leading practitioners in the field of fashion photography the work of both Richard Prince and Bruce Weber is viewed through the lens of the subcultural aesthete and conclusions drawn as to their role as agents provocateurs in the development of the fashion image with a revival based narrative. In addition the often used term retro is examined, categorised and granted its own genre within fashion image- making and defined as being separate from the practice element of this research. Reflecting a multi-disciplinary approach that engages the researcher as Bricoleur and participant observer this research operates in the reflexive realm and uses simulation as a key method of enquiry. The practice-led outcome of this investigation takes the form of a final research exhibition that takes the form of a substantial installation of photography, video, clothing and textile prints. Key terms: dandy gene, historical re-enactment groups, internal theatre, narcissism, narrative image-making, reflexive practice, revival as theatre, subcultures,

“Should we all be on Marx’s side?” Contributions of post-marxist discourse theory to the historiography of communism

Drawing on post-marxist discourse theory inspired by the writings of Ernesto Laclau and Chantal Mouffe, this article puts the case for a literature on communism situated at the crossroads of critical theory, cultural studies and historiography. Specific illustration is provided by the author's own research on British communism and the Spanish Civil War. However, the scope of the article is much broader and it is intended as a contribution to the theoretical discussion of future possibilities for communist history-writing. The article concludes that discourse should be regarded neither as a flat surface of tightly knit signifiers nor as an impenetrable monolith of meaning systems. Rather, it should be seen as an inherently dynamic phenomenon, with its own condensations and dispersions along the historical continuum. In this lies its significance for historians of communism.

How the sublime became "now": time, modernity and aesthetics in Lyotard's rewriting of Kant

Writing in the late 1980s, Nancy gives as examples of the "recent fashion for the sublime" not only the theoreticians of Paris, but the artists of Los Angeles, Berlin, Rome, and Tokyo. At the beginning of the twenty-first century, the sublime may of course no longer seem quite so "now" as it did back then, whether in North America, Europe, or Japan. Simon Critchley, for one, has suggested that, at least as regards the issue of its conceptual coupling to "postmodernism," the "debate" concerning the sublime "has become rather stale and the discussion has moved on." Nonetheless, if that debate has indeed "moved on"-and thankfully so-it is not without its remainder, particularly in the very contemporary context of a resurgence of interest in explicitly philosophical accounts of art, in the wake of an emergent critique of cultural studies and of the apparent waning of poststructuralism's influence-a resurgence that has led to a certain "return to aesthetics" in recent Continental philosophy and to the work of Kant, Schelling, and the German Romantics. Moreover, as Nancy's precise formulations suggest, the "fashion" [mode] through which the sublime "offers itself"-as "a break within or from aesthetics"-clearly contains a significance that Critchley's more straightforward narration of shifts in theoretical chic cannot encompass. At stake in this would be the relation between the mode of fashion and art's "destiny" within modernity itself, from the late eighteenth century onwards. Such a conception of art's "destiny," as inextricably linked to that of the sublime, is not unique to recent French theory. In a brief passage in Aesthetic Theory, Adorno also suggests that the "sublime, which Kant reserved exclusively for nature, later became the historical constituent of art itself.... [I]n a subtle way, after the fall of formal beauty, the sublime was the only aesthetic idea left to modernism." As such, although the term has its classical origins in Longinus, its historical character for "us," both Nancy and Adorno argue, associates it specifically with the emergence of the modern. As another philosopher states: "It is around this name [of the sublime] that the destiny of classical poetics was hazarded and lost; it is in this name that ... romanticism, in other words, modernity, triumphed."

The frontiers of participatory public engagement

Currently missing from critical literature on public engagement with academic research is a public-centric analysis of the wider contemporary context of developments in the field of public engagement and participation. Drawing on three differently useful strands of the existing theoretical literature on the public, this article compares a diverse sample of 100 participatory public engagement initiatives in order to first, analyse a selection of the myriad ways that the public is being constituted and supported across this contemporary field and second, identify what socio-cultural researchers might learn from these developments. Emerging from this research is a preliminary map of the field of public engagement and participation. This map highlights relationships and divergences that exist among diverse forms of practice and brings into clearer view a set of tensions between different contemporary approaches to public engagement and participation. Two ‘frontiers’ of participatory public engagement that socio-cultural researchers should attend are also identified. At the first, scholars need to be critical regarding the particular versions of the public that their preferred approach to engagement and participation supports and concerning how their specific identifications with the public relate to those being addressed across the wider field. At the second frontier, researchers need to consider the possibilities for political intervention that public engagement and participation practice could open out, both in the settings they are already working and also in the much broader, rapidly developing and increasingly complicated contemporary field of public engagement and participation that this article explores.

Translation and Psychometric Evaluation of a Standard Chinese Version of the Body Appreciation Scale-2

The present study examined the factorial and construct validity of a Standard Chinese translation of the Body Appreciation Scale (BAS-2; Tylka & Wood-Barcalow, 2015b). Participants were 191 women and 154 men from mainland China who were resident in Hong Kong at the time of recruitment. Results of confirmatory factor analysis indicated that the one-dimensional model of the BAS-2, in which all 10 items loaded onto the same factor, had adequate fit and was invariant across sex. Body appreciation scores had good internal consistency and were significantly correlated with self-esteem and life satisfaction, and, in women, with weight discrepancy and body mass index. There were no significant differences in body appreciation scores between women and men. The present findings suggest that the Standard Chinese translation of the BAS-2 has the same one-dimensional factor structure as its parent scale and may facilitate cross-cultural studies of positive body image.

O casamento real de William e Kate : a cobertura jornalística nos jornais The Daily Mail, The Guardian e The Sun

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Jornalismo.

Representations of Portugal in Herman Hesse

The aim of my research is to answer the question: How is Portugal seen by non-Portuguese fictionists? The main reason why I chose this research line is the following: Portuguese essayists like Eduardo Lourenço and José Gil (2005) focus their attention on the image or representation of Portugal as conceived by the Portuguese; indeed there is a tendency in Portuguese cultural studies (and, to a certain extent, also in Portuguese philosophical studies) to focus on studying the so-called ‗portugalidade‘ (portugueseness), i.e., the essence of being Portuguese. In my view, the problem with the studies I have been referring to is that everything is self-referential, and if ‗portugueseness‘ is an issue, then it might be useful, when dealing with it, to separate subject from object of observation. That is the reason why we, in the CEI (Centro de Estudos Interculturais), decided to start this research line, which is an inversion in the current tendency of the studies about ‗portugueseness‘: instead of studying the image or representation of Portugal by the Portuguese, my task is to study the image or representation of Portugal by the non-Portuguese, in this case, in non-Portuguese fiction. For the present paper I selected three writers of the 20th century: the German Hermann Hesse and the North-Americans Philip Roth and Paul Auster

American Desi : representation and reproduction in diaspora /

This study explores ~ow South Asian diasporic film represents and reproduces South Asian identity in the diaspora. It commences with a review of the literature in cultural studies and post-colonial theory on identity in the diaspora. A textual analysis of three films: American Desi, Bollywood/Hollywood, and East Is East, helps frame the characteristics of South Asian diasporic film. Theoretical concepts of diaspora and identity are extended to this reading of the films. In-depth, open-ended, semi structured interviews were conducted with eight participants to test the validity of theoretical concepts through participants' own reading of American Desi. Findings indicate that while theoretical concepts of identity can be usefully applied at the level of the text, these perspectives do not always easily explain participants' interpretation of the film in relation to their everyday experiences.

Understanding the polyvocality of autism discourse : a critical autoethnographic approach

Currently, much of the autism literature supports the notion that Pervasive Developmental Disorder (PDD) is a deviation from what is considered "normal" and, accordingly, that it is in need of early remediation. This thesis explored alternative constructions of autism and pathology by drawing on theorists from other disciplines, such as cultural studies (Deleuze & Guattari, 1987, 1965, 1972, 1975,1980, 2003), critical psychology (Parker, 1995, 2002, 2005, 2007), disability studies (Danforth,1997, 1999, 2000; Skrtic, 1995, 1996) and anti-psychiatry (Basaglia, 1987). In an attempt to show how our accounts of the world encompass constructions rooted in language and our own histories of thinking about topics that interest us, this research took an autoethnographic approach to understanding autism discourse. Instead of denying the researcher's existence and personal investment in the research, the author attempted to implicate "the self in the research by acknowledging her own assumptions, biases and ideologies about autism discourse and practice. Thus, tensions between the self and other, personal and political become woven into the fabric, creating a personal, subjective, and partial account of the phenomenon. This research was intended to explicate and interrogate some of the taken-for-granted Truths which guide our practices with people with autism. This alternative critical framework focused on understanding autism as a discourse and explored the way these dominant autism constructions function in society. Furthermore, positioning "the self in the research was meant to illustrate the fundamental need for self-reflective practice in the social sciences.

The Clemente Course in the Humanities and critical pedagogy : a comparative analysis of Earl Shorris and bell hooks on poverty, racism, imperialism and patriarchy

The Clemente Course in the Humanities is an anti-poverty intervention for adults who self-identity as "poor" and humanities instructors. The course was created in 1995 by journalist Earl Shorris, who based the curriculum on a Socratic method of pedagogy and the "great books" canon of Robert Hutchins. It began as a community-based initiative in urban US settings, but since 1997 Mayan, Yup'ik and Cherokee iterations have been created, as well as on-campus bridge courses for non-traditional students to explore college-level education in Canada and the USA. The course potentially conflicts with critical pedagogy because the critical theories of Paulo Freire and contemporary cultural studies reject traditional notions of both the canon and teaching. However, a comparison between Shorris' and bell hooks' theories of oppression reveals significant similarities between his "surround of force" and her "capitalist imperialist white supremacist patriarchy," with implications for liberal studies and critical pedagogy.