Popular_Culture

De modo recurrente, a lo largo de muchos años, los estudios académicos cuestionaron la existencia de una planificación cultural por parte de los primeros gobiernos peronistas. Sin embargo, las mismas fueron un proyecto concreto, donde se establecieron objetivos, fundamentos y organismos destinados a ejecutarlas, a la vez que se convocó a figuras representativas de la cultura argentina, algunas de ellas adherentes al peronismo y otras no. Asimismo, considerando los estudios recientes sobre las gestiones del primer peronismo a nivel provincial, observamos que las variantes dadas en distintas zonas de nuestro país fueron considerables.
Es el propósito de este trabajo analizar los lineamientos de las políticas culturales en la provincia de Buenos Aires durante el primer peronismo, centrándonos principalmente en la planificación correspondiente a la gestión del Coronel Domingo Mercante, desarrollada entre 1946 y 1952. Este trabajo se inserta en una investigación más amplia realizada en el marco del Archivo Histórico de la Provincia de Buenos Aires, que pretende dar cuenta de la actividad teatral y cultural en las diversas localidades bonaerenses durante los mandatos de los gobernadores mencionados.
Este estudio se propone observar los puntos de entrecruzamiento con las políticas culturales a nivel nacional, el rol de los agentes intervinientes, a la vez que la especificidad regional, motivo central que habilita la investigación en cuestión.

Graphic novels and comics have long provided a venue for visually portraying biblical narratives. While some provide a clever hook for devotees to capture the imagination in order to safely entertain the existing flock or to entice would-be converts into the fold, others are
not concerned primarily with any “faithful” visual rendering of biblical
narrative. These productions interrogate and/or appropriate biblical
narrative in a variety of ways while maintaining a high degree of
fidelity to the requirements of the art form and to the expectations of
its readers. This article investigates two works focused on the figure of
Jesus, both of which share and exploit the iconoclastic nature and marginal status of the genre, and find in the figure of Jesus a narrative and
character uniquely befitting of the form. While neither aims to render
Jesus directly, each manages to capture something of both the discursive
aspects of the gospel literature, and perhaps something of whatever
counter-cultural message and disposition the historical Jesus may
have had. Moreover, each manipulates the closure that readers provide
through recourse to the familiar biblical text. I contend that these
productions faithfully, if ironically, refract the subversive potential of
both the biblical narrative and the figure of Jesus precisely by their
infidelity to what might be loosely described as a more orthodox Christ.

Recent studies of peer review underscore that some facets of accepted evaluation methods have serious flaws. Assessments are often burdened by protectionist inclinations against new ideas, unstable editorial demographics, affiliational biases, and occasionally unethical and/or corrupt protocols, or the avoidance of protocols put in place to restrain biases. This article examines a solution to these dilemmas: the open-source peer review. This emerging evaluation system allows the readers of a journal to offer feedback on submissions before they are officially sanctioned by a publication. Thus, the concept allows journal-readers (who are conceivably experts, like the editors) to decide or make recommendations on which articles are appropriate to continue with further revisions and/or to publish. The concept promises to offer a more democratically and demographically stable evaluation system, one that has the potential to avoid some of the problems that are inherent to traditional scholarly reviews.

Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture, with ever more diverse representations of the undead being imagined. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. However, the notion of zombie sex has been largely unaddressed in scholarship.

This collection addresses that unexamined aspect of zombiedom, with essays engaging a variety of media texts, including graphic novels, films, television, pornography, literature, and internet meme culture. The essayists are scholars from a variety of disciplines, including history, theology, film studies, and gender and queer studies. Covering The Walking Dead, Warm Bodies, and Bruce LaBruce’s zombie-porn movies, this work investigates the cultural, political and philosophical issues raised by undead sex and zombie sexuality.

Americans have always been divided generationally, from the Lost Generation and the Greatest Generation to the Baby Boomers and Generation X. Until September 11, 2001, the Millennial Generation (“Millennials”) was only defined in relation to other demographic cohorts. A review of popular culture from 1998–2003, specifically television programming targeted to and embraced by the Millennials, demonstrates a search for legitimation at a time when this generation existed only in the context of others, with no obvious distinguishing characteristics. This paper will explore popular culture trends as a marker of broader social change in the context of the declining need of the Millennial Generation to define itself through popular culture (and earlier generations) when presented with its own “defining moment.” By comparing trends in youth-oriented programming at the end of the 21st century to shows that premiered following the September 11 terrorist attacks, it becomes clear that popular culture begins to transform from a means of legitimation to a mechanism for escapism.

Las representaciones y manifestaciones de contenido erótico son algo consustancial a todas las culturas y civilizaciones desde que tenemos vestigios, noticias o documentos históricos sobre ellas. Las formas de representación del erotismo han variado, sin embargo, de
acuerdo con los medios utilizados en cada momento. Desde los comienzos del cine pueden encontrarse escenas de contenido sexual, siguiendo la tradición de la fotografía licenciosa y las ilustraciones eróticas del siglo XIX...

Much has been said and written about the relationship between music and identity in Ireland, but very little has been attempted to academically explore Ireland’s rock and pop identity in detail, despite “the sheer volume of quality” on “a relatively insignificant popular musical market”, as defined by Martin McLoone and Noel McLaughlin. Their first collaboration for a 2000 article on “Hybridity and National Musics: the Case of Irish Rock” (Popular Music, Vol. 19/2), led to the publication of the present book, which offers a global revision of Irish rock and pop history, exploring 50 years of music-making in Ireland, from the very early days of the showbands to the streaming profusion of Myspace and Soundcloud, in 3 chronological segments...

Over ten years in the making, the Encyclopaedia of Music in Ireland (aka EMIR, pron. like Emer), is one of the many projects made possible by the Irish-American businessman Chuck Feeney, and notably co-funded by the Irish Research Council. Inspired by the 1980 New Grove Dictionary of Music and Musicians, and the 1981 Encyclopedia of Music in Canada, it aims at being “the first comprehensive attempt to chart Irish musical life across recorded history”, and was edited by two of the most distinguished professors of music in Ireland, Harry White and Barra Boydell...

Gerry Smyth, de l’Université John Moores de Liverpool est l’un des rares chercheurs en Europe à s’intéresser à la musique irlandaise, non pas en tant que musicologue ou que critique littéraire, mais en tant qu’historien de la culture.
Cet ouvrage, recueil d’une dizaine d’essais (dont cinq précédemment publiés) sur des thèmes très variés autour du fait musical irlandais, ouvre un certain nombre de débats particulièrement pertinents...

Né en 1919, Séamus Ennis est généralement considéré comme le plus grand joueur d’uilleann pipes du XXe siècle, et sans doute comme l’un des hommes de radio les plus éminents de sa génération. On sait moins qu’il débuta véritablement sa carrière professionnelle comme collecteur itinérant entre 1942 et 1947 pour le compte de l’Irish Folklore Commission, qui tentait de préserver le patrimoine musical irlandais...

Après l’engouement suscité par le collectage au XIXe siècle, des Irlandais
se regroupent afin de poursuivre et de prolonger ce travail en favorisant
diverses facettes de la culture irlandaise : ainsi naissent les associations ayant
pour objet la promotion de la musique traditionnelle irlandaise, dont la Ligue
Gaélique, fondée le 31 juillet 1893 par Douglas Hyde, futur premier président
de l’Irlande,
Au service de la langue gaélique, la musique, le chant et la danse furent
considérés dès le début comme des rouages essentiels. Le rôle de la Ligue
Gaélique dans le renouveau de la musique irlandaise peut donc apparaître
comme non négligeable. Au travers des choix effectués, du public visé

"Birth of a music industry in Ireland"
In the wake of the enthusiasm generated by "Celtic" music in the 70's, the music industry emerged in Ireland during the 80's, in traditional music circles as well as among rock-pop musicians. Groups like the Chieftains, who have been playing and recording for 40 years, or like U2, who have been loudly proclaiming their Irish origins around the world for 20 years,
give the most faithful images of the transformations the Irish society has gone through. In this case, globalisation stands for renewed self-confidence.
The first debates around the past and present lives of Irish music appeared during the 90's : Riverdance (1994) provided an extreme illustration of the tensions at work inside the country : an Ireland yearning for international recognition Vs an Ireland averse to cultural fusions. The question of copyrights, more recently evoked here than in the rest of Europe, also
opposes two tendencies : individual recognition and collective feelings. These social realities should therefore help us to understand why music has constantly been in the forefront of the renewal of Irish identity for 30 years.

Le point de départ de cette communication est le sentiment ancré parmi les protestants d'Irlande du Nord selon lequel la musique traditionnelle irlandaise ne lui appartient pas. Une dichotomie est
ainsi établie entre deux groupes sociaux, voire pour certains entre deux cultures séparées, avec d'un côté du "mur de la paix" les défilés des marching bands et les ballads orangistes, et de l'autre les jigs, les reels et les ballads républicaines. Entre les deux, point de salut.

Over the past thirty years, Irish music has spread all over the world and, on a par with Irish literature in the twentieth century, has “put Ireland on the map”. In 1981, Mícheál Ó Súilleabháin’s analysed the perception of Irish music through the concepts of creative reworking and music systems. Since then, Irish music has experienced a new degree of commodification, from local pub music to global stage music, and confirmed its natural disposition to adapt to its time as a vector of Irish culture. In what sense, then, can we speak of a redefinition or Irish music?
Another question that should be asked is “why should we study Irish music?”, whether one specialises in economic studies, media studies, gender studies, the question of languages or new technology. One should then recognise that, Irish music being culturally, socially and politically charged, one cannot fully understand Ireland without understanding its music. In that sense, music is a mirror, once again revealing the cultural and social fragmentation of Irish society.