Semiotics of popular culture:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Kassel
Kassel Univ. Press
2015
|
| Schlagworte: | |
| Online-Zugang: | Inhaltstext Inhaltstext Inhaltsverzeichnis |
| Beschreibung: | XI, 181 S. Ill., graph. Darst. |
| ISBN: | 9783862195565 |
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Datensatz im Suchindex
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TABLE OF CONTENTS
INTRODUCTION VII
CHAPTER 1: LADY GAGA AS (DIS)SIMULACRUM OF MONSTROSITY 1
1.1 INTRODUCTION: LADY GAGA, THE WORLD'S MOST INFLUENTIAL ARTIST 1
1.2 IS LADY GAGA, THE MOTHER MONSTER, REALLY MONSTROUS? 2
1.3 GAGA IS FAKE MONSTROSITY, LONG LIVE MONSTER GAGA 6
1.4 ON THE MULTIPLE REGIMES OF LADY GAGA AS SIGN SYSTEM 11
1.5 CONCLUSIONS: HYPERDIFFERENTIATION IS NOT MONSTROSITY 21
APPENDIX 1.1. LADY GAGA'S ORIGINAL MANIFESTO OF LITTLE MONSTERS 22
APPENDIX 1.2. SCREENSHOT OF LITTLEMONSTERS.COM 22
REFERENCES 23
CHAPTER 2: FETISH, TABOO, SIMULACRUM: AN APPLIED 25
PSYCHOANALYTIC/SEMIOTIC APPROACH TO THE EXPERIENTIAL CONSUMPTION OF
MUSIC PRODUCTS
2.1 INTRODUCTION: AIMS AND SCOPE OF THIS STUDY 25
2.2 PSYCHOANALYSIS AND SEMIOTICS 26
2.3 FETISH, TABOO, SIMULACRUM: THE TRIADIC DEFINITION OF THE MUSIC
PRODUCT 26
2.3.1 SIMULACRUM AND PHANTASM 27
2.3.2 FETISH AND PETIT OBJET A 28
233TABOO AND THE ARCHE-SIGNIFIER OF THE PHALLUS 30
2.4 FROM EGO-CENTRISM TO INTER-SUBJECTIVITY: THE ROLE OF LANGUAGE AS
OTHER IN 32
CONDITIONING COLLECTIVE EXPERIENCES
2.5 MIRROR-MIRROR ON THE . RECORD-COVER: THE PRIMACY OF THE
MIRROR-STAGE IN 34
INTER-SUBJECTIVE SPECULAR EXPERIENTIAL CONSUMPTION
2.6 HEDONISM VS. JOUISSANCE: THE EC-STATIC FACET OF EXPERIENTIAL
CONSUMPTION 38
2.7 METHODOLOGY 40
2.7.1 AIM AND OBJECTIVES 40
2.7.2 DATA COLLECTION METHODS 41
2.7.3 DISCOURSE ANALYSIS AS DATA ANALYSIS METHOD 42
2.8 DISCUSSION OF RESEARCH FINDINGS 43
2.8.1 THE FUNCTION OF MUSIC PRODUCTS AS FETISHES OR SMALL OBJECTS A: THE
CASE 43
FOR LIBIDINALLY CATHECTED CULTURAL PRODUCTS
2.8.2 THE FUNCTION OF MUSIC PRODUCTS AS TABOOS: [NO] ACCESS TO THE REAL
44
2.8.3 THE FUNCTION OF MUSIC PRODUCTS AS SIMULACRA: VISUAL AND ORAL
SIGNIFIERS 46
AS CULTURAL GLUE FOR COLLECTIVE NEO-TRIBAL EXPERIENCES
2.9 CONCLUSIONS AND RECOMMENDATIONS FOR FUTURE RESEARCH 48
APPENDIX 2.1. FOCUS GROUPS INFORMANTS' PROFILE 50
REFERENCES
51
CHAPTER 3: A DIO: A SOCIOSEMIOTIC/PHENOMENOLOGICAL ACCOUNT OF THE 55
FORMATION OF COLLECTIVE NARRATIVE IDENTITY IN THE CONTEXT OF A ROCK
LEGEND'S
MEMORIAL
3.1 INTRODUCTION: THE MEMORIAL EVENT AS SEMIOTIC RESOURCE FOR SHAPING 55
COLLECTIVE NARRATIVE IDENTITY
3.2 COLLECTIVE NARRATIVE IDENTITY AS THE OUTCOME OF A SEMIOTIC
RESOURCE'S 56
INTERPERSONAL METAFUNCTION
3.3 THE DEATH OF A ROCK LEGEND AS IDEATIONAL SUBSTRATUM FOR SOLIDIFYING
THE 60
FANDOM'S COLLECTIVE IDENTITY
3.4 THE TEXTUAL UNDERPINNINGS OF DIO'S MEMORIAL EVENT 64
3.4.1 CULTURAL ARTIFACTS OR ICONIC SEMIOTIC RESOURCES INSCRIBED IN
EXTERNAL 65
PARAPHERNALIA
3.4.2 THE RITUALISTIC GESTURE OF THE DEVIL HORN 67
3.4.3 THE MEDIATIZATION OF THE RITUALISTIC GAZE 69
3.4.4 THE MEMORIAL SPACE AS DIVISION OF THE MOURNING'S LABOR 71
3.4.5 THE NARRATIVE AND RHETORICAL STRUCTURE OF THE FEATURED
COMMEMORATIVE 73
SPEECHES
3.5 CONCLUSIONS: FOR A PHENOMENOLOGICALLY ENRICHED SOCIOSEMIOTIC STUDY
OF 82
ICONIC ARTISTS' MEMORIALS
HTTP://D-NB.INFO/1064845517
REFERENCES
CHAPTER 4: RAPUNZEL, BENJAMIN BUTTON AND LITTLE RED RIDING HOOD IN THIA
AND ANY OTHER PO88IBLE WORLD: PHILO8OPHICAL, RHETORICAL AND TEXTUAL
8EMIOTIC EXCURSIONS IN INTER-TEXTUAL FORMATIONS AMONGST ADVERTISING,
LITERARY AND FILMIC TEXTS
4.1 INTRODUCTION: METALINGUISTIC AND POSSIBLE WORLDS APPROACHES TO
COUNTERFACTUALS
4.2 HOW TO GET THERE FROM HERE IN 2 BASIC STEPS: TEXTUAL SEMIOTIC
TICKET-TO-RIDE
4.3 RHETORICAL OPERATIONS AND PREPOSITIONAL ATTITUDES AS CONDITIONS OF
POSSIBILITY OF OTHER WORLDS
4.4 RAPUNZEL FOR.LIFE(WORLD): HAIR-EXTENSION /SFABULAR
4.5.CONCLUSION: IMPLICATIONS FOR BRAND TEXTUALITY
REFERENCES
CHAPTER 5: IS THE SEMIOSPHERE POST-MODERNIST?
5.1 INTRODUCTION
5.2. WHAT IS THE SEMIOSPHERE (AND WHAT IS NOT 'IF)?
5.2.1 SEMIOSPHERE(S) VS. SPHERE(S)
5.2.2 SEMIOTIC SPACE(S)
5.2.3 MARKERS OF SPATIAL ORIENTATION (INSIDE/OUTSIDE, CENTRE/PERIPHERY)
5.2.4 DEMARCATION MARKERS (BOUNDARY/IES)
5.3 KANFS MODERNIST CONCEPTUALIZATION OF SPACE AS PURE FORM OF INTUITION
5.4 WHY THE SEMIOSPHERE IS AND IS NOT MODERNIST
5.5 POST-MODERNIST CONCEPTIONS OF SPACE, DISCURSIVITY AND SUBJECTIVITY'.
FOUCAULT AND OELEUZE IN FOCUS
5.5.1 LOTMAN VS. FOUCAULT
5.5.2 LOTMAN VS. DELEUZE (& GUATTARI)
5.6 CONCLUSION
REFERENCES
CHAPTER 6: FOR A SEMIOTIC MODEL OF CULTURAL BRANDING AND THE DYNAMIC
MANAGEMENT OF A BRANDOSPHERE IN THE FACE OF USER-GENERATED
ADVERTISING
6.1 LOTMAN'S CULTURAL SEMIOTICS AS CONCEPTUAL PLATFORM FOR EDIFYING THE
BRANDOSPHERE
6.2 THE PRINCIPAL AIMS OF THE CULTURAL BRANDING MODEL OF BRANDOSPHERE
6.3 USER-GENERATED ADVERTISING IN FOCUS
6.3.1 THE ROLE OF UGC AND UGA IN A DIVERSE SOCIAL-MEDIA LANDSCAPE
6.3.2 WHY DRAW ON THE SEMIOTIC CONCEPTUAL HERITAGE FOR EDIFYING THE
CULTURAL
BRANDING MODEL OF THE BRANDOSPHERE, RATHER THAN USE A CULTURAL BRANDING
MODEL ALREADY ON OFFER IN THE MARKETING LITERATURE WHILE EXAMINING UGA?
6.4 EXPECTED CONTRIBUTIONS OF THE BRANDOSPHERE TO THE EXTANT MARKETING
(SEMIOTIC) LITERATURE AND PRACTICE
REFERENCES
CHAPTER 7: THE ICE-BUCKET CHALLENGE: THE LEGITIMACY OF THE MEMETIC
MODE OF CULTURAL REPRODUCTION IS THE MESSAGE
7.1 MEMES AS MINIMAL UNITS OF CULTURAL REPRODUCTION
7.2 DECONSTRUCTING THE FORMAL STRUCTURE OF THE ICE-BUCKET CHALLENGE
VIDEO
MEME
7.3 INTERPRETATION OF THE FUNCTION(S) OF THE VIDEO MEME AS EXCHANGES IN
A
STRUCTURAL EDIFICE
7.4 CONCLUSIONS AND AREAS FOR FURTHER RESEARCH
REFERENCES
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| dewey-full | 306.4 |
| dewey-hundreds | 300 - Social sciences |
| dewey-ones | 306 - Culture and institutions |
| dewey-raw | 306.4 |
| dewey-search | 306.4 |
| dewey-sort | 3306.4 |
| dewey-tens | 300 - Social sciences |
| discipline | Soziologie |
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