Made available in DSpace on 2014-08-20T13:48:18Z (GMT). No. of bitstreams: 1 Belkis_Souza_Bandeira.pdf: 304238 bytes, checksum: 29ff8e39d34b87e96286aa63646ca9b5 (MD5) Previous issue date: 2008-07-11 / This paper reflects on today s education based on Theodor Adorno s thought categories. It examines the Cultural Formation concept (Bildung) from the Enlightenment Period to contemporary Adorno s so-called Semi-formation (Halbbildung) and tries to demonstrate the relation between Education and Cultural Formation as interconnected processes. The basis for the consolidation of Adorno s Semi-formation process occurs when symbolic production, a characteristic of the cultural process, distances itself from genuine folklore and approaches market interests, turned into a commodity by the Cultural Industry. In this process, the subjective conditions that enable the consolidation of the emancipatory character of Formation are broken. This mercantilistic cultural phenomenon is characterized by Adorno as Cultural Industry, since it is not spontaneously produced by the masses but is rather an economic activity organized according to monopolist capitalist concepts, and legitimates control and integration patterns of social groups which are greatly different from each other. The paper also reflects on the de-sensibility process as well as the development of defense mechanisms that incite individuals to be indifferent to the atrocities they are submitted to daily. It proposes a reflection towards the development of critical thought to the model that prevails in a controlled society, firstly by trying to establish art as a bastion against instrumental reality and secondly by returning to the problem so as to reflect on the world of education, eventually understood through the mediation of the Cultural Formation (Bildung) proposal. The paper also takes into account that an aesthetic formation process, from an educational view, enables analyses of aesthetic elements of present-day society on a formative cultural context, updating art dialectically through the dynamic correlation which the aesthetic dimension has, not only as a significant expression of what is real, but also as a historical reality that expresses itself in a language that goes beyond the logic of instrumental reason, demanding other levels of perception and another dimension in the relation between man and his peers, the world, and nature. Also, from this Aesthetic view, it discusses the conception of a world that calls for another reasoning other than instrumental, with which reason is presently identified, rendering it blind to violence in various aspects of contemporary life. / Este trabalho busca, amparado em categorias do pensamento de Theodor Adorno, contribuições para pensar a educação hoje. Retoma o conceito formação cultural (Bildung), desde o Iluminismo, até desembocar no que, contemporaneamente, é definido por Adorno como semiformação(Halbbildung); busca demonstrar a intrínseca relação entre educação e formação cultural como processos que se entrelaçam. Quando a produção simbólica, própria do processo da cultura, distanciase do genuíno saber popular e aproxima-se dos interesses do mercado, convertida em mercadoria pela indústria cultural, encontra-se as bases para consolidação do que, para Adorno, constitui o processo de semiformação, onde se desarticulam as condições subjetivas que possibilitam a efetivação do caráter emancipatório da Formação. Este fenômeno de mercantilização da cultura é caracterizado por Adorno como Indústria Cultural, pois não se trata de um fenômeno cultural produzido espontaneamente pelas massas, mas sim de uma atividade econômica organizada nos moldes do capitalismo monopolista e que atua como legitimação de um padrão de dominação e integração de grupos sociais que são diferentes entre s. Reflete o processo de desensibilização e desenvolvimento de mecanismos de defesa que tornam os indivíduos indiferentes às barbáries a que são cotidianamente submetidos. Propõe-se a refletir sobre a possibilidade de um pensamento crítico, como espaço de resistência a este modelo que vigora na sociedade administrada, primeiramente buscando fundamentar a possibilidade da arte enquanto um espaço de resistência à racionalidade instrumental e, num segundo momento, voltando esta problematização para pensar o mundo da educação, entendida, em última análise, com uma mediação da proposta de formação cultural (Bildung). Considerando-se que um processo de formação estética, numa perspectiva educacional, possibilita análises dos elementos estéticos num contexto cultural formativo para a sociedade atual, atualizando a arte na conjuntura histórica de forma dialética, pela correlação dinâmica que a dimensão estética contém, não apenas como forma expressiva do real, mas enquanto realidade histórica que fala numa linguagem para além da lógica da razão instrumental e que exige outros níveis de percepção, uma outra dimensão de relacionamento do homem com o mundo, com a natureza e com outro; a partir da perspectiva estética, procura tematizar uma concepção de mundo que evoque outra racionalidade, que não a instrumental com a qual a razão hoje se identifica e a torna cega para a violência por ela praticada nos vários âmbitos da vida contemporânea.

[pt] O aprimoramento das ferramentas digitais de tratamento de imagem vem provocando uma interferência cada vez maior no processo de criação de peças publicitárias ou editoriais. Com isso, podemos presenciar o fenômeno de pictorialização da fotografia, em que passamos a experimentar imagens nas quais temos cada vez mais dificuldade em inferir quais elementos são fotográficos e quais foram inseridos posteriormente. Tal fenômeno produz resultado estético, aqui definido como (estética do inatingível), que não possui correspondência no mundo reale o escopo deste trabalho é analisar os desdobramentos comportamentais e sócio-culturais desta forma específica de representação do mundo, assim como o comprometimento autoral das partes envolvidas: indústria midiática enquanto estrutura produtiva, seus profissionais e seus espectadores. / [en] The improvement of digital tools for the treatment of images provokes an increasing interference on the process of creation of editorial and advertising works. For this reason, it is possible to witness in photography a phenomenon we call pictorialisation. We mean by this word that nowadays we experience images in which it is becoming more and more difficult to discriminate elements belonging to the photography from those introduced afterwards. Such phenomenon has an aesthetic result, here defined as (aesthetic of the unattainable), that finds no correspondent in the real world. The purpose of the present work is to analyze the behavioral and social-cultural consequences of this specific form of representation of the world, as well as the authorial participation of the parts involved: the media industry as a productive structure, its workers and its spectators.Tal fenômeno produz resultado estético que não possui correspondência no mundo real, aqui definido como (estética do inatingível), e o escopo deste trabalho é analisar os desdobramentos comportamentais e sócioculturais desta forma específica de representação do mundo, assim como o comprometimento autoral das partes envolvidas: indústria midiática enquanto estrutura produtiva, seus profissionais e seus espectadores.

The Diploma thesis is devoted to the problems of financing culture focusing on the private and public support. The Theoretical part defines the basic theoretical concepts and the principle of functioning of the state contributory organizations in Czech Republic and characterizes the basic sources of financing of the Culture, covering public direct financial support (e.g. subsidies) and indirect support (tax expenditures), private financial support from profit and non-profit organizations and financing from EEA grants. The Practical part is focused on the quantitative analysis of the financial resources to the Culture and its development in time and measures the financial self-sufficiency of the organizations and the possibility of obtaining additional financial and other support through the private sector. It can be approbate that the financial self-sufficiency differs between the semi-budgetary organizations significantly, as well between sectors. However, the financial self-sufficiency of the cultural sector as a whole shows a positive trend.

Consumo e Identidad son conceptos que han sido ampliamente estudiados desde las ciencias sociales para entender las razones -e impulsos- por las que el consumidor piensa y actúa. Esta información ha sido aplicada por la publicidad y el marketing para crear estrategias y campañas que generen vínculos relevantes con sus audiencias; sin embargo, el consumidor está en constante cambio y nuevas miradasson necesarias. Este artículo busca profundizar en la naturaleza humana del consumidor enfocada en el adulto joven, pero desde otro sector: la industria cultural. Para ello se toma el caso del Centro Cultural Cine Olaya (CCCO) que se caracteriza por proponer y difundir productos de gran versatilidad y con mensajes cargados de simbolismos y discursos sociales. Todo esto expone al consumidor a una lógica de consumo en constante tensión; la misma que este artículo analiza desde tres dimensiones: (1) las razones que impulsan la compra, (2) el rol identitario que ejerce el consumidor y (3) las maneras de relacionarse con sus pares. Esta investigación fue abordada con el diseño de estudio de caso desde un enfoque cualitativo, a través de entrevistas a profundidad con cuestionarios semiestructurados. La selección de participantes fue de carácter intencional y a través de la técnica de Bola de nieve. En la la entrevista N” 15 se llegó a la saturación teórica. Se concluye que la construcción de la identidad se encuentra en una constante tensión debido a la riqueza simbólica y la versatilidad que ofrece el consumo en los eventos culturales del CCCO. / Consumption and identity are concepts that have been largely studied among the social sciences to understand the reasons -and impulses- in which consumers base their thinking and behavior. This information has been applied by advertising and marketing for creating strategies and campaigns that build relevant bonds with their audiences. However, consumers are in constant change and new perspectives are always needed. This academic paper seeks to deepen the human nature of consumers addressing young adults, but from another field: the cultural industry. To this effect, this research takes the Centro Cultural Cine Olaya as the case study. This cultural space stands out for proposing and promoting high-versatility products full of symbolisms and social discourses. All of this exposes the consumer young adult to a logic of consumption in constant tension whom this article analyzes since three dimensions: (1) reasons of purchase, (2) identity role practiced by the consumer, and (3) ways of relationship with themselves and their peers. This research was designed as a case study from a qualitative perspective. In-depth interviews were used with semi-structured questionnaires. Participants were intentionally selected in the beginning and then the technique Snowball was used. Theoretical saturation was reached in the 15th interview. It is concluded that the construction of identity is in constant tension due to the symbolic richness and versatility that consumption offers in the cultural events of the CCCO. / Tesis

[pt] Com a reprodutibilidade técnica, segundo Walter Benjamin, a obra de arte, ao aproximar-se do humano, sendo difundida em inúmeras cópias circulantes, perderia o caráter único que a distinguia na sua sacralidade pré-industrial, isto é, perderia a aura. A hipótese deste trabalho é a de que o livro impresso, apesar de ser um produto da indústria cultural, preservaria ainda hoje algo dessa aura de que nos fala Benjamin, como um traço remanescente de sua longa história. Nesse sentido, faz-se um recuo no tempo, partindo-se da preeminência da escrita na cultura ocidental como fato fundamental no processo de auratização do livro, com o objetivo de refletir sobre as possíveis razões da sobrevivência de seu prestígio como meio de comunicação e como produto cultural no início do século XXI, isto é, numa época caracterizada pela revolução comunicacional gerada pelo avanço dos meios eletrônicos e digitais. / [en] According to Walter Benjamin, with the mechanical reproduction, work of art has came near to the human being, loosing its aura - the sacred uniqueness of the objects that distinguish themselves in pre-industrial society. The hypotesis of this written essay is that the printed book, although being a industrial culture product, could preserve something of this aura, that Benjamin told us about, as a remaining vestige of the book´s long history. In this sense, we come back on time line, starting on the pre-eminence of the writing on the occidental culture as a fundamental fact to the process of book´s auratização, with the objective of reflect about the possible reasons of the survival of its prestige as a media and as a cultural product in the beginning of the 21st century, that is, in a period characterized by a communicational revolution generated on the advances of electronic and digital media.

In many markets for cultural goods, gatekeepers select the cultural goods, relatively few cultural goods are selected, and the criteria for selection are unclear to both artists and gatekeepers. Not knowing whether cultural goods are of the 'right' quality to be selected, artists and gatekeepers become preoccupied with handling quality uncertainty. This thesis studies such handling of quality uncertainty before, during, and after aspiring writers attempt to succeed in the publishing market. Drawing on eighty interviews with mainly aspiring writers and publishers in Sweden, three papers investigate three phases of handling quality uncertainty in the publishing market. First, in attempting to get published, writers handled uncertainty about how the quality of their work would be evaluated in the publishing market by using appraisal devices: trusted, knowledgeable appraisals of their work’s chances of success or failure on the publishing market. Second, publishers responded to uncertainty about the quality of manuscripts by learning to consider means before ends, such that certain qualities of their reading experience became the necessary means for realizing that the manuscript might be publishable. This realization moved the manuscript from the discovery phase to justification phase, in which publishers made a final decision to select or reject the manuscript. Third, for the rejected writer, the uncertainty of not knowing how the publisher had determined the quality of the manuscript made it possible to excuse the course of events. Writers gave reasons why their manuscript had been rejected based on how they imagined publishers had determined its quality. They accepted the occurrence of failure but dismissed the responsibility for having failed. Writers also engaged in justifications, refusals, and concessions of the perceived failure. These concepts for analyzing the publishing market are based on a perspective that takes into account subjectivity, temporality, and the condition of quality uncertainty. The perspective and concepts are useful for understanding other market situations in the cultural industries, wherein the successful hiring of cultural workers and the acquisition of cultural goods are rare relative to the number of aspirants, and wherein assessments are conditioned by quality uncertainty that needs to be handled. / ERC 263699-CEV

2000年以來，台灣出版社大量引進翻譯推理小說，日本及美國籍推理作家相繼來台舉辦簽書會，顯現推理小說在台灣有一定市場版圖。相對之下本土推理作品卻寥寥可數，本土推理創作者也鮮為人知。本研究以Bourdieu提出的文化場域理論為研究架構，探討創作者與文化中介者的資本組合與美學標準，如何影響本土推理小說的生產機制、交換條件與流通過程，並形成台灣推理市場以翻譯為主的現象。 本研究先以次級文獻分析法調查彙整近年推理小說市場概況，再透過半結構式深度訪談法相關行動者15位。研究發現2000年後歐美與日本推理小說出版產業成熟，相對於1980年代後才重新起步的本土創作，使台灣出版業者傾向引進翻譯作品，其中文化中介者的特定品味扮演了關鍵影響力。本土創作則以文學獎為生產關鍵。創作者不僅能透過文學獎獲得象徵價值，也能獲得出版社與其他創作者的社會資本，是進入本土推理創作文化生產場域的管道。 本研究也發現，這些本土創作者儘管部分堅持推理小說獨特的美學，但主要是受到翻譯書市場排擠，只能以文學獎獲得出版機會，被迫形成小眾市場。本土推理創作因此在台灣形成「小眾」的「通俗文學」。 / Since 2000 A.D, lots of translated detective novels have being published in Taiwan, and noted American and Japanese novelists come to Taiwan to do signing for new books, which demonstrates that detective novel is popular in Taiwan. Nevertheless, there are seldom local detective novels to be published compared to the large market. The paper quoted the theory of field of cultural production by Pierre Bourdieu, and analyzed how the creators and cultural intermediaries’ form of capitals and aesthetic standards have constructing the production mechanism and logistics process of local and foreign novels in order to understand how the market of detective novels in Taiwan are dominated by foreign products. As for the research method, the paper adopts second documentary analysis and in-depth interview. The former is to calculate the published detective novels from 2001 to Sep. 2015 sold in the dominant on-line bookstore, “Books”, in Taiwan, while the latter is to interview 15 related agencies included writers, editors, translators, and manager of bookstore to understand how the whole market of detective novels has changed in recent 15 years and the process of every agency interact with each other through their own capitals and form the production mechanism. The results contain 3 following issues. First, local production has re-started since 1980’s after a long-time decline, while the publishers in west and Japanese have developed into matured system and produced well-known novelist every years. In contrast with spending large costs to cultivate local writers on their own, Taiwanese publishers prefer to produce noted foreign works, while their taste have an influence on the judgement of works. Secondly, literary awards are the vital way in the production of local works, served as the way that the local creators enter into the field of cultural production. The creators receive symbolic capital through awards, and even obtain more opportunities to publish their works or cooperate with other related organization, which means the acquirement of social capital. Nevertheless, the publishers mainly promote those local works through the reputation of awards, so the novelists are still little-known in the popular market, and they still cannot survive through the creation of detective novels. Finally, the market of local detective novels is forced to be the field of restricted production as a result of supplanted by translated novels. There the local works can only be published through literary awards. As a consequence, the production of local detective novels becomes popular literature of niche market.

A presente tese analisa os aspectos econômicos do financiamento e gestão da cultura brasileira no período 1890 a 1922 nas cidades do Rio de Janeiro e São Paulo. A argumentação baseia-se em amplo levantamento de dados quantitativos extraídos de fontes documentais primárias custodiadas por arquivos históricos brasileiros e internacionais, relativas à dinâmica de iniciativas, espaços e instituições de distintos suportes artísticos música, teatro, cinema e artes plásticas. Mais do que um simples arrolamento de dados, empreende-se aqui um esforço sintético, centrando atenções na identificação de macrofuncionalidades econômicas no universo da cultura em suas mais diferentes manifestações. Em diálogo com grandes nomes da teoria cultural internacional como Pierre Bourdieu e Theodor Adorno, o foco da pesquisa é a identificação e compreensão da ação de duas forças sociais estruturantes: a massificação e a distinção. Coligados, antagônicos e mutuamente influentes, serão esses os dois vieses centrais para a estruturação dos circuitos culturais brasileiros. As duas forças se farão presentes nas mais diversas atividades culturais do período. A resultante dessa complexa interação é um mosaico socioeconômico onde triunfa a distinção, o elitismo e a instrumentalização da cultura para finalidades excludentes. / This thesis analyzes the economic aspects of the financing and management of the Brazilian culture in the period 1890-1922 in the cities of Rio de Janeiro and São Paulo. The argument is based on extensive survey of quantitative data extracted from primary sources from both Brazilian and international historical archives connected to the dynamics of initiatives, spaces and institutions of distinct artistic media music, theater, cinema and plastic arts. More than a simple gathering of data, the project here is to undertake a synthetic effort, focusing on the identification of economic macrofunctionalities in the world of culture in its different manifestations. In dialogue with the great names of the international cultural theory such as Pierre Bourdieu and Theodor Adorno, the research centers attentions in the identification and understanding of the action of two structuring social forces: massification and distinction. Related, diverging and mutually influential, these are the two central biases for the structuring of the Brazilian cultural circuits. The two forces will be present in various cultural activities of the period. The result of this complex interaction is a mosaic where socioeconomic distinction, elitism and the instrumentalization of culture for exclusionary purposes triumphs.

Made available in DSpace on 2016-04-26T20:48:56Z (GMT). No. of bitstreams: 1 Leandro de Carvalho.pdf: 647913 bytes, checksum: eed5eabf770713041bd4cad0aa0c8d27 (MD5) Previous issue date: 2009-05-27 / Creative economy is the theme that permeates the discussion of this work. While discussing its definitions, its scope and its size, the attention was focused on two of its aspects: access and distribution of cultural goods. These aspects were chosen based on the tension that was noticed in the cultural production: on the one hand, the music and audiovisual industry with a business model that makes profit, creating scarcity through the medium (physical environment), being controled and restrict; on the other hand, the movement of technology users, especially Internet users, promoting actions that undermine the bases of cultural industry: they make the support desnecessary and the access becomes unrestricted and fast, and change the ways of distribution, through the channels of sharing and viewing of any cultural production, that can be seen using the nearest computer. In light of these events and tensions, the development of the computer is discussed in this research: from the machine for storage only, to the machine of access. It´s also discussed, at this study, the global network as the great diffuser of cultural production, especially for small producers. Finally, it was concluded that the creation of new production facilities for cultural, musical and audiovisual areas reveal an important contradiction: the environments of greatest enhancement of access, innovation, creativity and culture (based on analysis of Rifkin), could be completely appropriated by the cultural industry, taking up the changes in perceptions of the demands. However, alongside this new type of incentive, the global network provides tools in order to completely unlink creation, distribution and access, minimizing any attempt of the cultural industry in the sense of total control of what is produced and distributed as a cultural good. New possibilities for the culture producer were placed and this professional can select and, possibly, depend less on the big cultural industry in order to feed their lives, through their art / Economia criativa é o tema que permeia a discussão deste trabalho. Enquanto se discute suas definições, sua abrangência e sua dimensão, foi focada atenção em dois de seus aspectos: o acesso e a distribuição de bens culturais. Esse recorte foi escolhido pela grande tensão que se percebe nessa produção cultural: de um lado a indústria fonográfica e audiovisual com um modelo de negócio que realiza lucro, gerando escassez por meio do suporte (meio físico), sendo passível de controle e restrição; de outro lado, o movimento de usuários de tecnologia, principalmente internautas, promovendo ações que minam as bases da indústria cultural: tornam o suporte desnecessário e o acesso irrestrito e rápido, e alteram as formas de distribuição, por meio dos canais de compartilhamento e exibição de qualquer produção cultural, ao alcance do computador mais próximo. Diante desses acontecimentos e tensões, discute-se, nessa pesquisa, a evolução do computador: de máquina de armazenamento apenas, para máquina de acesso. Discute-se, também, a rede mundial como grande difusora de produção cultural, principalmente para os pequenos produtores. Por fim, concluiu-se que as novas facilidades de criação de produção cultural, nas áreas musical e audiovisual, revelam uma contradição importante: os ambientes de maior valorização do acesso, da inovação, da criatividade e da cultura (com base nas análises de Rifkin), poderiam ser completamente apropriados pela indústria cultural, aproveitando-se das mudanças nas percepções das demandas. Entretanto, paralelamente a este novo modelo de incentivo, a rede mundial passa a disponibilizar ferramentas para que a criação, a distribuição e o acesso sejam totalmente desintermediados, minimizando qualquer tentativa da indústria cultural no sentido de controle total do que é produzido e distribuído como bem cultural. Novas possibilidades para o produtor cultural foram colocadas em cena e esse profissional poderá escolher e, possivelmente, dependerá menos da grande indústria cultural para geração de seu sustento, por meio de sua arte

Made available in DSpace on 2016-04-28T19:58:49Z (GMT). No. of bitstreams: 1 Dissertacao Carla Fraga Leitao.pdf: 342633 bytes, checksum: 881ea93335193375b39fa317cc64a232 (MD5) Previous issue date: 2005-11-18 / Secretaria do Estado e Educação / This dissertation is focused on the literary analysis surround the Caio Fernando Abreu´s novel, Onde Anadará Dulce Veiga? Um Romance B. The research has two moments: the contemporary context of the novel´s kind of writing, in Brazil, and the corpuses analysis, under the light of theories that discuss the contemporary time. The paper work asks if could Caio Fernando Abreu´s novel be showing traces that break with characteristics of the traditional novel s narrative. Its objective is a critical analysis of the narrative, checking the choices, which not only define the structural elements of the narrative but a few social and psychological aspects of the contemporary man. The theoretical argumentation is based on studies from Urlich Gumbrecht, Tânia Pellegrini, Umberto Eco, between others. Being a child of 70´s literature, Onde Anadará Dulce Veiga? Um Romance B arrives to the 90´s dragging a literary past remarkably Brazilian, incorporating non usual techniques from other arts and characterizing vividly the artistic-cultural scene in the end of the 20th century / Esta dissertação centra-se no campo da análise literária e focaliza o romance de Caio Fernando Abreu, Onde Andará Dulce Veiga? Um Romance B. A pesquisa se detém em dois momentos: a contextualização contemporânea do gênero romance, especialmente no Brasil, e a análise do corpus, sob a luz de teorias que discutem a contemporaneidade. O trabalho pergunta se o romance de Caio Fernando Abreu pode estar rompendo com os modelos precedentes de construção do texto romanesco e se é possível estar se distanciando dos moldes oferecidos pelos procedimentos de criação da narrativa tradicional. Objetiva uma análise crítica da narrativa, verificando as escolhas feitas que delimitam não só os elementos estruturais do romance, mas também certos aspectos sociais e psicológicos do homem contemporâneo. A fundamentação teórica está apoiada nos estudos de Hans Urlich Gumbrecht, Tânia Pellegrini, Umberto Eco, entre outros. Sendo fruto da literatura dos anos 70, Onde Andará Dulce Veiga? Um Romance B chega aos anos 90 carregado de um passado literário marcadamente brasileiro, incorporando técnicas diferenciadas de outras artes e caracterizando vivamente o cenário artístico-cultural dos fins do século XX