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INFORMATION TO USERS This manuscript has been reproduced from the microSlm master. UMI films the text directfy from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aity type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins and improper alignment cam adversety afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wül indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photogr^hs included in the original manuscript have been reproduced xerographicafly in this copy. Higher quality 6" % 9" black and white photographic prints are available for arty photogr^hs or illustrations appearing in this copy for an additional charge. Contact UMI directty to order. UMI A Bell & Howell Information Company 300 North Z e e b Road. Ann Arbor. Ml 48t06-t345 USA 313/761-A700 800/521-0600 THE NATURE OF DIALOGUE IN NON-EXPLOITATIVE APPROPRIATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Albert Anthony Osborne, B.A., M.S., M.A. ***** The Ohio State University 1995 Dissertation Committee: Approve Sonja Foss Joseph Pilotta TÂdvTFëF Karlis Racevskis jeârtme^ of Communication DMI Number: 9534043 Copyright 1995 by Osborne, Albert Anthony All rights reserved. DMI Microform 9534043 Copyright 1995, by DMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, Dnited States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Albert Anthonv Osborne 1995 To A.T . , M.B. & W.S. 11 ACKNOWLEDGMENTS Each of the members of my advisory committee shaped this text in manifold ways: my advisor. Dr. Joseph Pilotta helped frame my topic and stimulated my thinking throughout numerous discussions; Dr. Karlis Kacevskis' profound knowledge of French philosophy was invaluable; Dr. Sonja Foss' guidance in rhetorical criticism and her knowledge of contemporary art were extremely helpful. Thanks also go to Billiana Alexandrova for scouring the National Library in Sofia and sharing her profound knowledge of literature. Both David Durst and Mark Stefanovich shared their books and provided excellent ideas. Cheryl Lugg's reaction to the musical examples convinced me to proceed in that direction. Vince Berdayes represented me in my absence and provided constant encouragement. Ill VITA December 1, 1953 ........... Born - Casablanca, Morocco 1975 ........................ B.A., University of Michigan, Ann Arbor, Michigan 1976-1984 .................. Account Executive, AT&T Communications, Troy, Michigan 1985 ........................ M.S., Columbia University Graduate School of Journalism New York, New York 1985-1989 .................. Feature Writer, The Home News Newspaper, Inc. New Brunswick, New Jersey 1990 ........................ M.A., Kiplinger Fellowship, Ohio State University, Columbus, Ohio 1994-Present ............... Assistant Professor of Mass Communication and Journalism, American University in Bulgaria, Blagoevgrad, Bulgaria FIELDS OF STUDY Major Field: Communication Minor Field: Journalism IV TABLE OF CONTENTS ACKNOWLEDGMENTS ................................... ii VITA ............................................... iii CHAPTER PAGE I. STATEMENT OF THE PROBLEM ................... 1 Introduction ............................. 1 A Caveat ................................. 6 The Problem .............................. 7 Research Question ...................... 9 Project Rationale .................... 12 D a t a ...................................... 12 Methodology ............................. 15 Organization .......................... 21 II. THEORETICAL CONSIDERATIONS ............. 23 Introduction .......................... 23 Sensual Semiotics.........................24 Sensual Appropriation.................... 30 Dialogoic Appropriation.................. 34 Dialogue and Creativity ............. 44 Socratic Dialogue .................... 45 The Persona Effect ...................... 51 III. CODIFICATION ............................. 58 Introduction .......................... 58 Unraveling Modernism ............... 58 Truth/Power............................... 62 Codification of Language ............. 65 Polyglossia ........................... 68 Appropriation of the M a r g i n s ............74 Appropriation Cuts Both W a y s ............81 V IV. DIALOGUE AND IDEOLOGY .................... 87 Introduction .......................... 87 Dialogue and Democracy ............... 89 Ideology as C o n t e n t .................... 93 The Bangemann Report .................. 107 Ideology as F o r m ........................ 110 Loss of A u r a ............................ 113 The Street ............................ 119 V. POST-MODERNISM............................ 123 Appropriation as Social Comment • . • 123 Pop Antecedents ........................135 VI. M E M P H I S ................................... 146 Introduction .......................... 146 Birth of M e m p h i s ........................ 150 First Exhibition ........................ 152 Pre-Memphis: The Kandissi ........... 155 Beyond the Avant-Garde ............... 161 Reversing the Bauhaus ............... 163 Visual Polyglossia .................... 170 Mythic Poetic Nucleus ............... 177 B r i c o l a g e .............................. 181 R i t u a l ................................... 186 Less Inscribed .......................... 190 Recontextualization .................. 192 VII. THE WIND CRIES M A R Y ......................196 Introduction ........................... 196 Dialogic Appropriation as Unveiling . 198 A Tale of Two S o n g s ................... 201 The Wind Cries M a r y ................... 203 Johnny B. G o o d e ........................205 C o n c l u s i o n .............................. 208 VIII. CONCLUDING REMARKS ...................... 211 APPENDIX: Musical Phrasings............... 218 BIBLIOGRAPHY ............................. 219 VI CHAPTER I STATEMENT OF THE PROBLEM Introduction During the summer of 1994 I noticed two black and white placards that had been put on display at all the bus and tram stops in Brussels. Each depicted a life-sized American cultural icon from the Roaring Twenties "caught in the act" of doing what each did best. The grainy quality of the images indicated that the posters were blow-ups of old journalistic photographs. Although neither figure was identified by name, one poster showed Jimmy Foxx,^ the fearsome slugger of the Philadelphia Athletics, swinging at a pitch— without, however, the use of a bat. His bat had been "digitized-out" and in its place Foxx swung a ketchup bottle. "Heinz, le vrai gôut américain," proclaimed the poster. The companion advertisement showed a young Louis Armstrong— doubtless as familiar to Europeans as Foxx is unknown— up on the bandstand moving toward a microphone to take a vocal chorus. In one hand, in lieu of his trumpet. Âs best as I could ascertain— from memory and from scrutinizing photographs upon my return to the U.S.— the ballplayer was Foxx; however, I cannot say this with absolute certainty. Armstrong held a ketchup bottle. Across the bottom, the same refrain: "Heinz, le vrai gôut américain." Nothing today— no image, no word, no sound, no event, no matter how remote historically or geographically— is immune from appropriation by advertising and marketing forces, whose reach has become increasingly global. My focus in this project is on the process of appropriation as a communicative and creative practice and its affect on critical thinking. Specifically, I examine the transmogrification and circumscription in meaning that symbols undergo through appropriâtive recontextualization. My concern with advertising is as a communicative practice that sustains itself through the appropriation of cultural symbols and the transformation of "uncoded" cultural practices into recontextualized symbols. I will argue that advertising— and to a lesser extent other forms of mass media— in its presentation and treatment of the world as one vast marketplace inhabited by "consumers," constitutes something akin to the dominant ideology^ of our day. In terming advertising a form of ideology, I have adapted and expanded Baudrillard's (1981) theory that the mass media functions as a type of ideology by dint not only of its content, but also its form— a Âdmittedly an unfashionable term; today "hegemonic worldview" is au courant. I shall have more to say on this in my subsequent discussion of ideology. 3 unilateral and monological distribution of messages that precludes response. Advertising relies upon the use of "new" sounds, images and words to attract and hold an audience's attention. Thus, the communicative practices, the symbols, and the cultural artifacts that emanate from society's "margins"— a locus that includes the artistic avant-garde— and are carried to the surface by society's

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