Made available in DSpace on 2016-04-26T14:57:53Z (GMT). No. of bitstreams: 1 Edgar Souza Santos.pdf: 92405246 bytes, checksum: a03fe5dcab3e46073c3e9d15631fc4b4 (MD5) Previous issue date: 2009-11-04 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / In the first decades of the twentieth century capitalist society underwent a profound process of transformation. The advances in the field of science and technology have substantially changed the production relations, and imposed on the West and later the world, the logic of a consumer society. This change was due to the emergence and assertion of power as the main fuel of the new company. Two factors were responsible for this transformation: the need for viable investments in the electricity sector, which was only possible with the production and introduction of appliances within the homes, as well as running these ads in technical objects present in entertainment magazines. The years 1940 and 1950 represented a timely moment in the process of building a society based on consumption, which led to the transformation of social areas in particular, the spaces of the home. The insertion of appliances in homes printed a radical transformation in everyday practices of the housewife at home, which can be perceived, while the narratives written text and imagery, present in ads polishers, blenders, air circulators, coolers, blenders, radios televisions, among others. By spreading the idea that it was necessary to modernize the home and that would only be possible by acquiring a diverse range of technical devices, ads for household appliances introduced in the sign of speed and modernity. This research has sought to reflect and problematize the process of building the modern idea of home from different narratives represented in ads for household appliances, gifts in entertainment magazines in Brazil, in the years 1940-50 / Nas primeiras décadas do século XX a sociedade capitalista passou por um profundo processo de transformação. Os avanços ocorridos no campo das ciências e das tecnologias modificaram substancialmente as relações de produção e, impuseram ao Ocidente e posteriormente ao mundo, à lógica de uma sociedade de consumo. Essa mudança deveu-se ao surgimento e a afirmação da energia elétrica como o principal combustível dessa nova sociedade. Dois fatores foram responsáveis por essa transformação: a necessidade de viabilizar os investimentos no setor da eletricidade, que só foi possível com a produção e introdução dos eletrodomésticos no interior dos lares, como também a veiculação desses objetos técnicos nos anúncios presentes nas revistas de variedades. Os anos de 1940 e 1950 representaram um momento pontual no processo de construção de uma sociedade pautada no consumo, o que acarretou a transformação dos espaços de sociabilidade em específico, os espaços do lar. A inserção dos eletrodomésticos nos lares imprimiu uma transformação radical nas práticas cotidianas da dona-de-casa, que pode ser percebida, nas narrativas enquanto texto escrito e imagético, presentes nos anúncios de enceradeiras, liquidificadores, circuladores de ar, refrigeradores, batedeiras, rádios, televisores entre outros. Ao difundir a ideia de que era necessário modernizar o lar e, que isso só seria possível, ao adquirir uma gama diversificada de aparelhos técnicos, os anúncios de eletrodomésticos introduziram nos lares o signo da velocidade e da modernidade. Essa pesquisa buscou refletir e problematizar esse processo de construção da ideia de lar moderno a partir das diferentes narrativas representadas nos anúncios de eletrodomésticos, presentes nas revistas de variedades, no Brasil, nos anos de 1940-50

Com o intuito de pensar sobre a peculiaridade dos impasses relativos à formação dos mais novos no contexto de uma sociedade de consumidores, recorremos ao que Hannah Arendt e Jacques Rancière propuseram acerca da relação entre arte e política. De acordo com Arendt, um dos desafios impostos à tarefa dos mais velhos de introduzir os recém-chegados ao mundo numa sociedade de consumidores diz respeito ao modo como temos nos relacionado com a herança cultural que o passado nos legou. Isso porque destruímos os objetos culturais que ajudam a constituir um mundo comum na medida em que os transformamos em meios de entretenimento, passíveis de serem consumidos. Se partimos da reflexão sobre o fenômeno da arte como uma das formas privilegiadas de compreender o que é esse mundo comum ao qual os adultos devem introduzir as crianças é porque, segundo Arendt, as obras de arte são os objetos culturais máximos que devem ser salvos da ruína da destruição ou do esquecimento. Rancière, por sua vez, afirma que a arte e a política podem contribuir para que possamos reconfigurar as coisas comuns, mesmo no contexto da sociedade homogênea e consensual da qual fazemos parte. Elas podem romper com a distribuição dos espaços, das competências e incompetências de acordo com o lugar que ocupamos na sociedade, contribuindo para forjarmos contra o consenso outras formas de senso comum. Podemos pensar, então, sobre um sentido formativo da arte a partir da possibilidade de reconfigurarmos outras formas de convívio que ligam sujeitos ou grupos em torno de uma outra comunidade de palavras e coisas, formas e significados. Rancière não parece acreditar, nesse sentido, apenas na destruição do que há em comum entre os homens numa sociedade marcada pela lógica do consumo. Ele afirma que a transição dos objetos e produtos do mundo da arte para a esfera da utilidade e da mercadoria pode romper com o curso uniforme do tempo, alterando o estatuto dos objetos e a relação entre os signos e as formas de arte, de modo que possamos nos apropriar ativamente do mundo comum. Nesse contexto, acreditamos que a escola pode se configurar como um recorte no tempo e no espaço da produção e do consumo, em que podemos oferecer aos recém-chegados a possibilidade de pertencerem ao comum do mundo. Talvez numa época em que as coisas mais corriqueiras podem adentrar a esfera da arte, propondo outras formas de experiência sensível, a educação tenha, mesmo num contexto de crise, a possibilidade aberta e sempre renovada de convidar os mais novos a adentrar a imensa floresta de coisas e signos que constituem o mundo comum. / In order to analyze the peculiarity of the dispute over the education of the newcomers in a consumer society, we call upon what Hannah Arendt and Jacques Rancière proposed about the relationship between art and politics. In line with Arendt, one of the challenges faced by the adults when introducing newcomers to the world in a consumer society refers to the way we deal with the cultural heritage that has been transmitted to us from the past. We destroy the cultural objects that help provide a common world as we transform them into consumable media entertainment. We begin by considering the art as a privileged way of understanding this common world in which adults introduce children because, according to Arendt, the art works are cultural objects par excellence that must be protected from ruin of destruction or oblivion. Rancière, in turn, says that art and politics support the reconfiguration of common things, even in the context of homogeneous and consensual society to which we belong. They can break with the use of spaces, the competence and incompetence with respect to our place in society, contributing to forge consensus against different forms of common sense. We can think about an educational sense of art out of the possibility of configuration of different forms of living together that bind men and groups around a different community of words and things, forms and meanings. Rancière does not seem to believe only in the destruction of what is common among men in a society ruled by the logic of consumption. He says that the transition of the objects and products from the art world to the sphere of utility and commodity may break the uniform course of time, changing the status of objects and the relationship between signs and art forms, so we can actively appropriate the common world. In this context, we believe that school can be configured as a cutout in time and space of production and consumption, in which we can offer newcomers the opportunity to belong to the common world. Perhaps in a time when the most ordinary things can enter the sphere of art, proposing other forms of sensitive experience, education has even in times of crisis the open and constantly renewed possibility to invite the young to enter the vast forest of things and signs that constitute the common world.

電影《購物狂的異想世界》中麗貝卡的消費情境揭示當代消費者追求時尚以表達自我認同的普遍現象。不同於社會學傳統將時尚現象貶抑為脫序行為的輕視，本研究欲探討消費社會中的時尚實作，再思「社會秩序如何可能」的古典問題。本研究基於Benjamin對時尚的現代性考察，假設新社會秩序的理論模型為「消費社會=時尚+拜物教性質」。據此假說，本研究主張兩大論點：首先，消費社會中的時尚實作是一種社會模控機制，具有穩定社會秩序的功能。其次，有別於拜物教的常識與科學認識，物神實際上扮演著社會秩序的中介角色。 本研究的具體分析目標有三：第一，釐清Simmel、Bourdieu、Bauman時尚社會學的理論意涵以便確立分析框架，並進而指出三者錯失的社會場景。第二，將時尚社會學常用的「階級性」和「個體性」這兩個分析概念操作化，並從社會歷史到個人心理的經驗現象層面漸次闡明消費社會中「拚行頭」和「風格穿搭」的時尚實作。第三，重新梳理「原始社會拜物教」、「商品拜物教」與「精神分析戀物癖」的概念歷史，並將此概念組應用到時尚現象中進行拜物教性質的詮釋。承上述，研究結果發現，消費社會的秩序已脫離社會契約論與社會互動論等觀點，改以物神誘惑時尚主體的新形式進行社會整合。換句話說，消費者在時尚遊戲中同時扮演主人與奴隸的矛盾角色；不過，本研究最終又提問拜物教作為政治策略的可能性，以便為將來的研究提供方向。 / In the film Confessions of a Shopaholic, Rebecca is addicted to the overconsumption of fashionable clothes and shoes. Her singular case reveals an universal phenomenon of the consumer society in which consumers pursue fashion as an expression of self-identity. In counter to the conventional sociological dismissal of fashion to individual anomic behaviors, this thesis seeks to explore the logic of practice of fashion in the consumer society with an aim to rethink the classical question of social order. After being initiated into Benjamin's enchanting world of fashion, the thesis hypothesizes a theoretical model of the new social order which may be formulated as "Consumer society = Fashion + Property of Fetishism". Based on this hypothesis, the thesis puts forward two lines of arguments. Above all, practices of fashion in the consumer society are an integral part of cybernetic control in the maintenance of social order. Subsequently, the notion of fetish should be severed from conceptions of substance or subject prevalent in commonsense as well as scientific understanding, and reconceived as playing a medating role in the structuring and restructuring of society. The thesis is organized around three objects of analysis. First,we clarify dominant sociological accounts of fashion in the works of Simmel, Bourdieu and Bauman to outline an analytical framework whilst questioning the social-historical scenes those theoretical perspectives have possibly missed. Second, we operationalize the analytical notions of "social class" and "individuality" within social settings of fashion known as "dress to compete" and "dress in style", and then expound these widespread empirical phenomena of fashion by means of social history as well as individual psychology. Third, we review the conceptual development of "primitive fetishism ", "commodity fetishism" and "sexual fetishism" in relevant intellectual histories, and then apply the conceptual triad to the reinterpretation of fashion as a social phenomenon imbued with the practical property of fetishism. As a result, the thesis finds that the question of order in the consumer society is radically different from what the proponents of social contract and symbolic interaction have usually conceived. Instead, contemporary society mobilizes various mechanisms of fetishism to seduce consumer subjects so that they can actively contribute to social integration. In other words, a consumer is both master and slave in the game of fashion; nevertheless, this thesis ponders on the final possibility of fetishism as a political strategy, a heuristic question which might lead to future research.

This dissertation addresses the phenomenon of 'radical commodities'-commercial products which advance an oppositional politics. Examples of such include the products of Rage Against The Machine, a 'revolutionary' rock band; Michael Moore, a best-selling author and award-winning documentary filmmaker; Naomi Klein, a journalist and author of the international bestseller No Logo; The Body Shop, a multinational manufacturer and retailer of 'natural' cosmetics and toiletries; Freitag, a company which manufactures bags, wallets and other fashionable accessories from recycled materials, and; the Adbusters Media Foundation, publisher of Adbusters magazine and producer of Blackspot shoes. Radical commodities are fundamentally paradoxical objects whose apparent ethic would appear to be at odds with the fact that they are commodities. This dissertation asks: can a commodity-object legitimately serve as a vehicle for social and political critique? It is reasoned that the problem of radical commodities is principally structural. Marx's seminal writings on the commodity accordingly represent the logical point of departure. The Marxian analysis illuminates not only the commodity-structure, but also the political problematic which emerges from that structure-for Marx, the commodity is a mechanism of exploitation. From an orthodox Marxist perspective, the idea of a radical commodity would therefore be most contradictory, or indeed impossible. It is argued, however, that the Marxian analysis is inconclusive. This dissertation traces a genealogy of analyses of the commodity, which variously advance or diverge from the orthodox Marxist position. From a perspective of the consumption of commodity-objects, the radical commodity would appear to be possible. Yet, the relationship between the commodity-structure and the capitalist ideology runs deep. The question of the radical commodity is therefore markedly more complex than it might initially appear. With regard to the ideological consequence of the commodity-structure, however, certain streams of post-Marxist analysis are themselves problematic, for they ultimately short-circuit historical critique and destabilise the very possibility of politics. In contrast, this dissertation seeks to reaffirm a place for politics and, in so doing, to establish the theoretical possibility of radical commodities. To contend that the idea of a radical commodity is not fundamentally contradictory, however, says nothing of the political potency of such objects. These are undoubtedly complex objects, whose peculiarities cannot be ascertained by abstract theorisation alone. For this reason, this dissertation also employs empirical analyses of a number of radical commodities. In sum, it is argued that the sphere of commodities should be admitted as a possible site for the expression or implementation of a radical politics, and thus that radical commodities should be understood as a legitimate vehicle for social and political critique, but that such objects are by no means free from contradiction, and that the political efficacy of these products is anything but guaranteed.

Authors: Phia Bergdahl & Karin Tydén Title: This is the era of the personal brand – a study about the role of a personal brand in a professional context in modern society Level: BA Thesis in Media and Communication Studies Location: Linnaeus University Language: Swedish Number of pages: 54 Background In pursuit of being unique and stand out, it has become fashionable to market yourself as a personal brand. According to some experts on the subject, this has become a necessity for survival in the tough competition about the jobs and the customers. With Internet and social media as a natural element in our society, we also have to relate to these channels when it comes to communicating ourselves. Purpose The purpose of this study is to examine the role of the personal brand in a professional context in modern society and to explore Internet involvement in communicating the brand. Theories We have used Bauman’s theory of “consumer society”, how we live in a society where we are both the consumers and the goods consumed. We have also used Castells’s theory of "network society" and how its growth is changing our culture. We have also used some general brand theories. Methodology Our study is based on two methodological approaches. We have chosen to use a qualitative study consisting of interviews with experts within the field, and a quantitative study in the form of a questionnaire with a strategic selection of respondents. Conclusions A personal brand plays a significant role in today's society, both professional and private. A strong personal brand reflects who the individual are, what the person stands for and contribute to the environment. It is a contributory factor for success in business and in the creation of identity. Internet and social media are good tools to communicate the personal brand. Regardless of financial means or status in society, the individual can build a platform to spread the message. The purpose of the visibility is important and it must be kept in mind that these channels may not only increase, but also reduce the credibility. Key words Personal brand, branding, communication, Internet, social media, consumer society, network society

Denna studie undersöker hur Systembolagets roll kan uppfattas genom deras organisationsberättelse. En tematisk textanalys har gjorts av Systembolagets webbpublicerade material för att fastställa vilka diskurser som framträder i materialet för att framställa deras roll. Denna studie bygger på Zygmunt Baumans teori om vårt samtida konsumtionssamhälle samt John Clarkes resonemang om hur offentliga organisationer har behövt anpassa sig till detta konsumtionssamhälle. Den metodologiska ansats som har använts för att studera detta är foucauldeansk genealogisk diskursanalys. Inom denna diskursteoretiska angreppssätt studerar sambandet mellan ett fenomen och den kontext som fenomenet har uppstått inom. För denna studie handlar det då om hur Systembolagets texter kan förstås utifrån det samtida konsumtionssamhället utifrån vilket texterna har producerats. De diskurser som framträder i materialet är myndighetsdiskursen, ansvarsdiskursen samt servicediskursen. Utifrån de resultat som framträder kan Systembolaget uppfattas som en aktör med en mångsidig identitet, där både organisationens myndighetsutövande och ansvarsfulla sida tillsammans med deras kundorientering får dem att framstå som en modern offentlig verksamhet med konsumenten ständigt i fokus. / This study investigates how Systembolaget’s role can be perceived through their corporate storytelling. A thematic text analysis has been implemented on the presentation published on their website to determine the discourses used to describe their role in our contemporary society. This study is based on Zygmunt Bauman’s theory of consumer society and John Clarke’s review of the public sector adaptation to this consumer society that we live in. The method that has been used to study this is Foucault’s genealogical discourse analysis, where you study the relationship between the phenomena and the context in which the material has been produced. The discourses that appear in the material are the administrative authority discourse, the liability discourse and the service discourse. Based on the results of the study Systembolaget can be perceived as a versatile actor that emphasizes their authoritarian and responsible qualities as well as their customer orientation. This is something that makes them appear like a modern public organization with the consumer constantly in focus.

Reklama savo ištakas skaičiuoja jau penkis amžius. Per šį laiką jos funkcija ir išvaizda smarkiai pasikeitė. Šiandieninėje visuomenėje reklama žmogų seka visur ir visada, maža to, mokslininkai kuria modernias išmaniasias reklamas, galinčias atpažinti žmogų ir taikytis prie jo. Pastebint, kad pagrindiniu marketingo specialistų tikslu tampa ne informatyvi, o poveikį daranti reklama, verta sunerimti. Paskutiniais dešimtmečiais reklamos kūrėjai Vakarų šalyse ir Lietuvoje pradėjo skatinti vartotojišką meterialiąją visuomenę, lengvai pasiduodančią reklamos įtakai. Kai kurie specialistai reklamą apibūdina kaip suaugusiųjų sukurtą kalbą. Suaugę žmonės dažnai sugeba kritiškai pažiūrėti į reklamą, jiems lengviau nesusigundyti jos agitacijomis. Tuo tarpu vaikai prieš reklamą tampa bejėgiais. Tam tikrame amžiuje jie nesugeba atskirti realaus pasaulio nuo reklamoje kuriamos pasakos ir taip patenka į reklamos spąstus. Vartotojiškos visuomenės paplitimas tarp vaikų labai pavojingas jų raidai ir nuostatų formavimuisi. Nors Lietuvoje ir sukurta įstatyminė bazė, turinti prižiūrėti reklamos kokybę bei kriterijus, atlikti tyrimai rodo, kad reklama vaikams dažnai kuriama nesilaikant įstatymų. Kyla poreikis ugdyti jaunųjų vartotojų kritinį požiūrį į reklamą ir mokyti juos atskirti reklamoje vaizduojamas metaforas bei suprasti reklamos kalbą. Specialistai teigia, jog dažniausiai žmonės klysta ten, kur nežino. Vaikus supažindinus su reklamos pasauliu ir juose ugdant kritinį požiūrį į reklamą... [toliau žr. visą tekstą] / The origin of advertising counts for five centuries. During this time the function and appearance of advertising has changed a lot. In today’s society everywhere and always advertising follows person, even more, scientists create modern smart advertisings, which can recognize person and adapt to him. Noting that the main purpose of marketing professionals become not informative, but effective advertising, it is worth to concern. In recent decades, in Western countries and Lithuania advertisers began promote consumer-oriented and material society, which easily submits to advertising. Some experts describe advertising as speech generated by adults. Often adult manage to look at advertising critically, it is easier not to tempt adults with agitations of advertising. Meanwhile children become powerless. At a certain age they are not able to distinguish real world from a fairy tale so they fall into the trap of advertising. Popularity of consumer-oriented society among children is very dangerous for their development and the formation of the provisions. Although in Lithuania there is legitimate framework, which has to look after quality and criterion of advertising, studies show that advertising for children is often built outside the law. There is a need to educate young consumers critical approach to advertising and to teach them to distinguish between metaphors portrayed in advertising and understand the language of advertising. Specialists state that people usually make... [to full text]

Barn är konsumenter, får reklam riktad till sig och syns i reklam. Men om det är rätt och på vilka sätt det bör ske ger upphov till diskussion, såväl i som utanför akademin. Den här studien granskar hur barn görs till en del av konsumtionssamhället genom det lag- och regelverk som omgärdar barn, konsumtion och reklam samt i tre typer av vardagsreklam där barn på olika sätt synliggörs; adresserad direktreklam som skickas hem till tre nyblivna föräldrar under barnets första år, reklam i ett års utgivning av 12 tidningar för barn samt annonser med bilder av barn publicerade i ett års utgivning av fyra tidningar med en vuxen målgrupp. I studien undersöks hur barn framställs och görs som social kategori och som konsumenter i materialen och vad det säger om barns roll och plats i konsumtionssamhället. Med hjälp av kritisk visuell diskursanalys och begreppet barnighet visar analysen med vilken komplexitet och ambivalens barn uppfattas, framställs och bemöts. Lag- och regelverket är komplicerat och ger en dubbeltydig bild av barns rätt till skydd respektive rätt till deltagande. Vardagsreklamens bilder av barn gör dem till objekt att konsumera visuellt samtidigt som normer om den ideala barndomen och den goda betraktaren produceras och reproduceras. Till nyblivna föräldrar framställs diskurser av barn som konsumtionsbehövande på sätt som osynliggör reklamens övertalande budskap. Reklam som riktas till barn själva utgörs av hybridformer där annonser bara är en del, vilket innebär att det som är reglerat som reklam inte är detsamma som det som gör reklam till barn. Utsatthet och skydd, kompetens och rättigheter samt lärande och ålder är tematiker som på olika sätt aktualiseras i samtliga empiriska material. Studien bidrar med förståelse och problematisering av vad barn är och tillåts vara i dagens visuella konsumtionskultur. / Children are consumers and they are marketed to and visible in advertising. But how children, consumption and advertising should be combined cause debate, both in the public sphere and in academia. The dissertation investigates how children are visualized and made as a social category and as consumers in the consumer society by studying the legal framework regarding children, consumption and advertising as well as three types of advertising that people encounter in their everyday lives; advertisements showing children published during one year in four magazines with an adult target group; and addressed direct marketing that was sent to three first-time parents; advertisements in one year's publication of 12 magazines for children. Using critical visual discourse analysis and the concept of childity, the analysis shows the complexity and the ambivalence that characterizes the ways in which children are seen, represented and addressed. The legal framework is complicated and is ambiguous regarding children's right to protection vis-à-vis their right to participate. Advertisements that visualize children produce and reproduce norms concerning the ideal childhood. In order to get parents to consume on behalf of their children, neutral and factual discourses about children's character and needs are articulated. Advertising that is aimed at children consists of hybrids between adverts and editorial material, indicating that it is not only marketing that is regulated by the legal framework that actually markets to children. Vulnerability and protection, competence and rights as well as learning and age are themes that are actualized in different ways in all of the empirical material. The study contributes a new understanding and problematization of what children are, and are allowed to be, in our contemporary visual consumption culture.

The internet and social media networks have created a changed world of media. Influencers work with creating content on these platforms. This study is focused on five female influencers which each has a large audience of viewers and that work within the category of beauty. They make content that mainly focuses on makeup and fashion. The study's aim is to examine discourses about beauty, identity and emotions in content created by these influencers, and to examine if norms and ideals about beauty is reproduced or challenged. The study relies on a theoretical framework with theories about influence marketing, identity and self-presentation online, the consumer society and how it relates to beauty, gender analysis, and also the role of emotion in cultural politics. The study uses two methods, the first being an analysis of content posted on Twitter using the tool Textometrica and the second being a multimodal discourse analysis of ten videos posted on YouTube. The results show that western ideals of beauty often are reproduced in this material, and that they are reproduced in different ways and forms. Multiple themes and topics within the discourse is discussed. These for example involving who the influencers are and what it takes to become a popular influencer, the identities these influencers build online and aspects of how they create their content, the myth that anyone can become as beautiful and sellable as the influencers if only they use the right products in the right ways, how the body and someone's appearance is seen as a never-ending project that can always be improved and also at theme about an internalised judging gaze. Beauty in this discourse is a word that metonymically becomes sticky with positive values and emotions and almost becomes a synonym for concepts of happiness and health. To be ideally beautiful becomes equivalent to be happy and confident.  To be ideally beautiful becomes equivalent to be healthy. The reproduction of these norms is problematic in many ways, where one of the most important is that it excludes people that does not live up to the norms. It can also be harmful in a way of effecting mental health and wellbeing of the people trying to live up to these norms.

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2016-08-19T19:47:04Z No. of bitstreams: 1 Marcelo da Silva3.pdf: 2883474 bytes, checksum: c861eea2e205a63e3e47d931ca6ffa32 (MD5) / Made available in DSpace on 2016-08-19T19:47:04Z (GMT). No. of bitstreams: 1 Marcelo da Silva3.pdf: 2883474 bytes, checksum: c861eea2e205a63e3e47d931ca6ffa32 (MD5) Previous issue date: 2016-03-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The expansion of the virtual social networks; the improvement of information techniques; the penetrability of the competitive capitalism; and the fragmented postmodern subject, beside the consumer society; they constitute the pillarsof this thesis. Our central hypothesis is that the internet’s social networks: magnify spacesof participation, sharing, collaboration, and consumer’s disappointment manifestation, but do not decrease discontinuations, misunderstanding, and disrespect resultant of relations and consumption practices, that might, many times, accelerate conflicts. The openness to dialogue, the subject incitement to seize power, and the exchange multiplication between companies and consumers, they represent the opportunity and the challenge we have to value the communication’s normative conception, admitting the cross-comprehension difficulties, the cohabitation urgency, and the reality of lack of communication. We resort to the French branch of discourseanalysis (DA) as the theoretical-methodological field to analyze the modern consumer speech that is subscribed on the Reclame Aqui platform, and to build a critique to the contemporary corporative communication from the concepts of scenography, ethos, and enunciation schematization. We verify how ideology works on the inside of the consumption enunciation scenes, creating an order unique to the disappointed claimant. This analysis ratifies the theoretical discussion we carried out supporting the problematization, and the debate of the seven scenographies displayed by/through the subject/consumer’s speech: respect/disrespect; threat, promise and frustration; bad service and unresolved problem; negotiation; new versus old clients; and deceived client. The overlap of our corpus and the theoretical framework puts on stage the need for organizational communication driven by the practical sense of otherness that transcends exchanges strictly focused on the market; and at the same time it sheds light upon the urgency of more solidarity, compassion, listening skills, comprehension and cohabitation for the corporations that works on a society guided by the frenzy of the ethics of the competition, and consumptionidolatry. This thesis puts forth that the performance of consumers, and organizations in the on-line world represent more than a circumstantial evidence of mutual (in) tolerance, but it also delineates a shared fate that might lead to an otherness solidarity, as well as accepting the alterity experience, failure risk, and hope in the confidence and respect that communication can conceive. / A expansão das redes sociais virtuais, o aperfeiçoamento das técnicas de informação, a penetrabilidade do capitalismo de concorrência e o fragmentado sujeito pós-moderno constituem, ao lado da sociedade de consumo, os pilares desta tese. Nossa hipótese central é que as redes sociais da Internet ampliam os espaços de participação, compartilhamento, colaboração e manifestação das decepções do consumidor, mas não diminuem as descontinuidades, a incompreensão e o desrespeito oriundos das relações e práticas de consumo, podendo, muitas vezes, aceleraremasconflitualidades. A abertura para o diálogo, o incitamento à tomada de poder do sujeito e a multiplicação das trocas entre empresas e consumidores representam a oportunidade e o desafio de valorizarmos a concepção normativa da comunicação, admitindo as dificuldades da intercompreensão, a urgência da coabitação e a realidade da incomunicação. Recorremos à Análise de Discurso de tradição francesa (AD) como campo teórico-metodológico para analisar o discurso do consumidor inscrito na plataforma Reclame AQUI e construir uma crítica à comunicação corporativa contemporânea; a partir dos conceitos de cenografia, ethos e esquematização enunciativa, verificamos como a ideologia opera no interior das cenas daenunciação do consumo, constituindo uma ordem própria ao discurso do reclamante decepcionado. Esta análise ratificou as discussões teóricas que levamos a cabo, servindo de suporte para a problematização e o debate das sete cenografias que se evidenciaram no/pelo discurso do sujeito/consumidor: respeito/desrespeito, ameaça, promessa e frustração, mau atendimento e problema não resolvido, negociação, clientes novos x antigos e consumidor enganado; a imbricação do nosso corpuse o arcabouço teórico coloca na ribalta a necessidade de políticas de comunicação organizacional norteadas pelo senso prático de outridade, transcendendo as relações puramente mercadológicas; ao mesmo tempo, lança luz sobre apremência de mais solidariedade, compaixão, capacidade de escuta, compreensão e coabitação para as corporações que funcionam em uma sociedade guiada pelo frenesi da ética da concorrência e da consumolatria. Esta tese evidencia que a atuação dos consumidores e das empresas no mundo on-line representa mais que um elemento circunstancial de (in) tolerância mútua; desenha um destino comum que pode ter como rumo a outridade solidária do próximo, aceitando a experiência da alteridade, o risco do fracasso e a esperança da confiança e do respeito que a comunicação pode conceber.