Semiotics of Mass Culture

Informations du Cours
TitreΣημειωτική της δημοφιλούς κουλτούρας / Semiotics of Mass Culture
CodeΕΜ-19
Interdepartmental ProgrammeSīmeiōtikī, Politismós kai Epikoinōnía
Collaborating SchoolsLangue et Litterature Francaises


Cycle / Niveau2e cycle / Master
Semestre de l’annéeWinter/Spring
CommonNon
StatutActif
Course ID600015002

Programme d' Études: Sīmeiōtikī, Politismós kai Epikoinōnía

Registered students: 21
OrientationAttendance TypeSemesterAnnéeECTS
KORMOSEPILOGĪSWinter/Spring-7.5

Informations de la Classe
Année Académique2025 – 2026
Semestre de l’AnnéeWinter
Instructors from Other Categories
Class ID
600290449
Mode d’Enseignement
  • En présentiel
Language of Instruction
  • Grec (Enseignement, Examens)
Aptitudes Générales
  • Application des connaissances à la pratique
  • Recherche, analyse et synthèse de données et d’informations, avec utilisation des technologies adéquates
  • Prise de décision
  • Travail en autonomie
  • Travail d’équipe
  • Travail en environnement pluridisciplinaire
  • Production de nouvelles idées de recherche
  • Respect de l’altérité et du multiculturalisme
  • Responsabilité sociale, professionnelle et morale, sensibilité à la question du genre
  • Promotion de la pensée libre, créatrice et inductive
Type de Matériels Éducatifs
  • Vidéoconférences
  • Son
  • Matériel multimédia
Use of Information and Communication Technologies
Use of ICT
  • Emploi de TIC pour communiquer avec les étudiants
Organisation du Cours
ActivitésCharge de travailECTSIndividuelEn groupeErasmus
Conferences
Etude & analyse bibliographiques
Redaction de travaux
Total
Student Assessment
Student Assessment methods
  • Examen écrit : résolution de problèmes (Formative, Sommative)
Bibliography
Additional bibliography for study
• Aarseth, E. J., (1997). Cybertext: Perspectives on Ergodic Literature. Βaltimore: Johns Hopkins University Press. (Σελ. 1-57). • Austin, J., 2001. Taking the Train: How Graffiti Art Became an Urban Crisis in New York City. New York: Columbia University Press. • Baudrillard J. 1991. Two Essays: Simulacra and Science Fiction. https://www.depauw.edu/sfs/backissues/55/baudrillard55art.htm • Baudrillard, J. 1993. Symbolic Exchange and Death. London: Sage Publications. • Bell D. & Kennedy M.B. 2000. The Cybercultures Reader. London & New York. Routledge. • Bogost, I. (2007). Persuasive games: The Expressive Power of Videogames (Σελ. 1-54). Cambridge, ΜΑ: MIT Press. • Chang, Jeff. 2005. Can't stop, won't stop: a history of the hip-hop generation. New York: St. Martin's Press. • Danica Jovanovic & Theo Van Leeuwen (2018) Multimodal dialogue on social media, Social Semiotics, 28:5, 683-699. • Elisabetta Adami (2018) Styling the self online: semiotic technologization in weblog publishing, Social Semiotics, 28:5, 601-622. • Fisher, Mark. 2012. «What Is Hauntology?». Film Quarterly 66(1), 16-24. • Frølunde, L. 2011. «Animated war: Perspectives on resemiosis and authorship applied to two DIY film projects». Convergence: The International Journal of Research into New Media Technologies, 18(1), σελ. 93–103. • Frank, Thomas. 1997. The conquest of cool: business culture, counterculture, and the rise of hip consumerism. Chicago: University of Chicago Press. • Gair, Christopher. 2007. The American counterculture. Edinburgh: Edinburgh University Press. • Glitsos, Laura. 2017. «Vaporwave, or music optimized for abandoned malls». Popular Music 37(1), 100-118. • Hall, Stuart, and Tony Jefferson. 1976. Resistance through rituals: youth subcultures in post-war Britain. London: Hutchinson. • Hebdige, D. 1979. Subculture. The meaning of style. London: Routledge. • Jameson, Fredric. 1991. Postmodernism, or, the Cultural Logic of Late Capitalism. Λονδίνο & Νέα Υόρκη: Verso. • Jenkins, H. 2012. Textual poachers: Television fans and participatory culture. London & New York. Routledge. • Leone M. (2015). Longing for the past: a semiotic reading of the role of nostalgia in present-day consumption trends. Social Semiotics, 25(1), 1-15. • Murray, J. H. (1998). Hamlet on the Holodeck: The Future of Narrative in Cyberspace (Σελ. 53-96). Cambridge, MA: The MIT Press. • Pangalos, Orestis, “The Dimitrios Shipwreck in Gytheion examined as an accidental monument” (2021). Στο διαδικτυακό́ περιοδικό́ Interartive, https://interartive.org/2021/01/dimitrios-shipwreck-gytheion-examined-accidental-monument-orestis-pangalos • Pangalos, Orestis, “Two Museum Visits in Lund, Sweden and the Streets between Them: Accidental Monuments between Public and Curated Spaces.” Thessaloniki: Punctum. International Journal of Semiotics. 5.2 (2019): 155-181 http://punctum.gr/?download=two-museum-visits-in-lund-sweden-and-the-streets-between-them-accidental-monuments-between-public-and-curated-spaces • Ruffino P. (2015). A Theory of Non-existent Video Games: Semiotic and Video Game Theory. In Fromme Johannes & Unger Alexander (Eds.) Computer Games and New Media Cultures: A Handbook of Digital Games Studies (107-124). New York & London, Springer. • Roszak, Theodore. 1969. The making of a counter culture; reflections on the technocratic society and its youthful opposition. Garden City, N.Y.: Doubleday. • Scott F. Aikin (2012): Poe's Law, group polarization, and argumentative failure in religious and political discourse, Social Semiotics. • Sennett, Richard. 1977. The fall of public man. New York: Knopf. • Shifman L. 2014. The Cultural Logic of Photo-Based Meme Genres, (σελ. 340-358). Journal of Visual Culture 13 (3). • Søren Vigild Poulsen, Gunhild Kvåle & Theo van Leeuwen (2018) Special issue: Social media as semiotic technology, Social Semiotics, 28:5, 593-600. • Strachan, Robert. 2017. Sonic Technologies: Popular Music, Digital Culture and the Creative Process. Νέα Υόρκη & Λονδίνο. Bloomsbury. • Sumin Zhao & Michele Zappavigna (2018) The interplay of (semiotic) technologies and genre: the case of the selfie, Social Semiotics, 28:5, 665-682 • Thornton, Sarah. 1996. Club cultures: music, media, and subcultural capital. Hanover: University Press of New England. • Whelan, Andrew & Nowak, Raphaël. 2018. «“Vaporwave Is (Not) a Critique of Capitalism”: Genre Work in An Online Music Scene». Open Cultural Studies 2: 451-462. • Williams, Raymond. 1958. Culture and society, 1780-1950. New York: Columbia University Press. • Wiggins, B. 2019. The Discursive Power of Memes in Digital Culture: Ideology, Semiotics, and Intertextuality. New York & London. Routledge. • Πετρίδης, Πέτρος. 2020. «Μουσικές πρακτικές των φαν των anime στην Ελλάδα. Οι περιπτώσεις των κοινοτήτων AMV και nightcore στο YouTube», στο Καλλιμοπούλου Ε. & Θεοδοσίου Σ. (επιμ.), Μουσικές κοινότητες στην Ελλάδα του 21ου αιώνα: εθνογραφικές ματιές και ακροάσεις. (σελ. 487-512). Αθήνα. Πεδίο. • Πετρίδης, Πέτρος. 2021. «Αναπαριστώντας και αναπαράγοντας το παρελθόν: Machinima, ψηφιακή πειρατεία και νοσταλγία στα μαζικά διαδικτυακά παιχνίδια», στο Μπούνια Α. και Καταπότη Δ. (επιμ.), Αναδυόμενες Τεχνολογίες και Πολιτιστική Κληρονομιά. (σελ. 61-83). Αθήνα. Εκδόσεις Αλεξάνδρεια.
Last Update
04-12-2023