a) Identify the omnipresence of the cultural dimension across all contemporary expressions;
b) Understand how these cannot be detached from social and technical conditions pf production;
c) Assimilate the evolution of the critical approaches to the concept of culture, and specifically the rhetoric of
exclusion/inclusion surrounding non-erudite culture;
d) Use a set of theoretical and methodological tools that allow their interpretation, provided there is an adequacy between these tools and the object they are supposed to analyse;
e) Apply, with a critical stance, the acquired knowledge to the understanding of contemporary realities;
f) Apply all this knowledge, in an original and autonomous way, to a specific research, and present the results, in oral and written form, in a clear and logically sustained way.
Jorge Manuel Martins Rosa
Weekly - 3
Total - 280
CÁDIMA, Francisco Rui e ROSA, Jorge Martins (orgs.) (2001). Revista de Comunicação e Linguagens, n.º 30 («Pop»). Lisboa: Relógio dÁgua.
FISKE, John (2010). Reading the Popular, Londres, Routledge.
SPIGEL, Lynn (2001). Welcome to the Dreamhouse: Popular Media and Postwar Suburbs, Durham (NC), Duke University Press.
STOREY, John (1994). Cultural Theory and Popular Culture: A Reader. Hertfordshire, Prentice Hall, 1998.
WILLIAMS, Raymond (1995). The Sociology of Culture. Chicago, University Of Chicago Press.
Being a post-graduate seminar, the teachers presentations must be previously prepared by the students, that must read the supporting bibliography to potentiate critical discussion. The students presentations will enrich the seminar, by introducing other cases and perspectives related to the syllabus contents.
Oral presentation in class and its discussion(30%), Preparation and execution of a final research paper, in three stages: a written project, with a workplan and preliminary bibliography(20%), Written essay(50%)
0. The (In)Definitions of the Concept of Culture.
1. From «Mass Culture» to Cultural Studies: Evolution and rehabilitation of the concept.
2. Pop Culture: Culture without art or everyday culture? From interpretation to reception.
2.1. Between Nature and Culture: The invention of everyday life.
2.2. Between the colonial gaze and its inversion.
2.3. Reinforcement or autodeconstruction of genre stereotypes?
2.4. The receiver as producer, between parody and irony.
3. Multiple media, multiple cultures? Case studies.
Programs where the course is taught: