Browsing by Subject "Authenticity"
Now showing items 1-3 of 3
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(2023)Terry Pratchett (1948-2015) oli yksi Englannin tunnetuimmista kirjailijoista. Maailmalla erityisen tunnettu on Discworld-sarja (suom. Kiekkomaailma), joka käsittää yli 40 romaania sekä liudan muita lyhyempiä teoksia. Pratchett on tunnettu humanistina ja satiirikkona ja on pitkän uransa aikana julkaissut kirjallisia tuotoksiaan aina scifistä fantasiaan. Pratchettin työt ovat usein hyvin kantaaottavia ja yhteiskuntakriittisiä, niiden aiheet ja teemat ovat vaivatta rinnastettavissa kirjojen kirjoitusajan ilmapiiriin ja yhteiskunnalliseen diskurssiin. Tutkielman tavoite on selvittää, kuinka autenttinen usko rakentuu Discworldissa niin uskonnon, kulttuurin, kuin ammatti-identiteetinkin kautta. Erityistarkastelun kohteena ovat vartioston komentaja Sam Vimes, noitien de facto johtaja Esmerelda Weatherwax, Ankh-Morporkin kaupunkivaltion laillinen kuningas Carrot, ammattirikollinen Moist von Lipwig sekä kuoleman henkilöitymä Death. Apuvälineenä käytän Erving Goffmanin teatterivertausta, jossa yhteiskunta vertautuu näyttämön (stage), kulissien (backstage) ja yksityiselämän (offstage) kautta yleisöön ja esiintyjiin. Jaan löydökseni temaattisen analyysin avulla eri teemoihin, joiden kautta määrittelen autenttisuuden rakentumisen: • Doing it for others • Lies both big and small • Remaining Analyysissä peilaan autenttisen toiminnan eettistä ulottuvuutta Charles Taylorin kolmen “mielipahan” (englanniksi malaise) kautta. Vaikka autenttinen käytös on vaikeaa määritellä ulkoisin keinoin, sen puute on helposti tunnistettavissa. Autenttisuus kumpuaa itsevarmuudesta, joka syntyy suurelta osin siitä, että on sinut itsensä kanssa. Tämä on tutkielmani ytimessä: on liki mahdotonta olla autenttinen toimija, mikäli ei tunne itseään ja paikkaansa maailmassa. Tutkielmani sijoittuu osaksi keskustelua, jonka keskiössä on uusmodernin fantasiakirjallisuuden asenteet järjestäytynyttä uskontoa kohtaan. Tämä on joskus ilmaistu ytimekkäästi, joskin hieman kieli poskessa, “kirkko paha, lohikäärmeet hyvä”.
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(2021)Hip-Hop in the global context has worked as a music genre that strives to bring to the centre of discussion inequalities lived by its actors through a visibility of the margins. In this regard, Hip-Hop developed by Indigenous artists highlights the re-negotiation of their ethnic identity within their own societies and in the global scenario. Sámi Hip-Hop in the Nordic region follows this logic as it takes inspiration from both global trends and local issues in the Sámi current world. In that context, this thesis aims to analyse the constitution of Sámi Hip-Hop as a music genre from the viewpoint of the artists engaged within it. The study draws from the question “What are the motivations for Sámi artists to engage with Hip-Hop and create a music genre in its own terms?”. This work proposes that global creativity and cultural sovereignty come together as the basis for Sámi artists to engage with this music genre. Global creativity refers to the influences of cultural trends (mainly the global Hip-Hop music) towards the development of creativity among Sámi artists, whereas cultural sovereignty here operates as the music created by Sámi Hip-Hop artists that praises for a multi-faceted perspective on what “Indigenous music” is, where the individual creativity of artists plays an instrumental role. The analysis of the phenomenon is based on the career of Amoc and Ailu Valle, two of the major contributors on the development of Sámi Hip-Hop as a genre. The sources for the inquiry are two documentaries, two qualitative interviews conducted with the artists in question through a conversational method and online journalistic material. The theoretical framework follows a Decolonial approach to the narratives of the margins in the European context, and completed with a “global viewpoint” from the development of Hip-Hop in different Indigenous latitudes worldwide. In so doing, Indigenous Hip-Hop genre is proposed here as an innovative contribution to contemporary global music. Concepts that are used for this Decolonial analysis are ‘Indigenous epistemes’, ‘Indigeneity’ and ‘Cultural Sovereignty’. As a conclusion, I state that Sámi Hip-Hop is a genre that is constituted by the local creativity of those individuals that nurture the genre, operating as a transcultural phenomenon where ‘Indigeneity’ and the positionality of Indigenous youth in music production are re-negotiated.
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(2019)This study investigates the term authenticity and how it is used when applied to restaurants. In this thesis I explore the process of determining a restaurant’s authenticity and the numerous factors involved in defining whether or not a restaurant may be deemed authentic. Along with considering whether a restaurant can develop their authenticity using none-taste related elements, as well as what are the customer’s expectations for an authentic restaurant. The study observes the various interior modes (audible, visual and textual) of a selected restaurant from a major metropolitan area in the United States, as well as interviews with members of the restaurant’s staff. In order to offer the perspective of the customer and their understanding of authenticity reviews from the restaurant’s page on a popular travel website were collected and are discussed. Using a theoretical framework rooted in the concepts of multiculturalism, orientalism and place I explore the relationship of “us and them”, a common narrative in gastronomic discourse, and then discuss the concepts of ethnic food and authenticity. The selected restaurant weaves together different modes, identified in three separate modal categories, to create the overall visual look and feel of their restaurant. Often these modes result in the restaurant self-orientalizing or displaying general otherness in order to create a transportative experience for their diners. This study identifies that authenticity as a concept is multifaceted and its meaning is determined by both who is using the term and for what purpose they are identifying a restaurant as authentic.
Now showing items 1-3 of 3