This thesis investigates the production and consumption of the independent music sector in South Korea in the digital age. It examines the value of music and how it is created in the digital age. Thus, it suggests the impacts of the Internet for consumers and producers. The investigation is based on the view that there has been a transition to value co-creation by consumers and producers, away from the traditional view of value being produced by firms alone, and that this value can be symbolic, emotional and experiential. The thesis shows that this transition has indeed occurred in the music industry. To investigate value and value creation in popular music in the digital age, an in-depth single case study of the independent music industry in South Korea is conducted. Qualitative data was collected, using semi-structured interviews, from independent music consumers and independent record labels. This research reveals that consumers’ music consumption is made up of both information-processing and experiential behaviours. Their desire to minimize the inappropriateness and maximize the appropriateness of independent music and its culture contributes to its sustainment and expansion. This research also reveals the online practices of consumers, categorized into three themes: acquisition, relationship and engagement. In addition, the examination of music communities in South Korea shows that consumers are resource integrators. It reveals that the consumption communities are organized and maintained through various operant resources of the participants. The data from the independent record labels reveals that they are trying hard to interact with consumers and benefit from the new media. They are found to conduct four value (co)creation strategies: contacting, bonding, spreading and managing. Finally, this research shows that difficulties in utilizing social media can be categorized into the following: adaptability, uncontrollability, representability and applicability. The key contributions of this research are as follows: Firstly, it extends our understanding of the symbolic consumption of music. Secondly, it identifies a form of consumption community, which can be termed a ‘co-creative consumption community’. Lastly, it demonstrates the value (co)creation practices used by consumers and the strategies used by producers. These findings extend the existing knowledge and suggest new evidence that contributes to an increased understanding of the concept of value co-creation, and to consumer research in general. In addition, the findings will benefit marketers and producers, especially in cultural industries such as the music industry.

Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-04-14T20:07:03Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Marlene Reis Versão Final.pdf: 1680271 bytes, checksum: a8231e008b9f8330b1dc105125e45257 (MD5) / Made available in DSpace on 2016-04-14T20:07:03Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação Marlene Reis Versão Final.pdf: 1680271 bytes, checksum: a8231e008b9f8330b1dc105125e45257 (MD5) Previous issue date: 2014-12-10 / A cultura digital é uma cultura individual, pessoal, de grupo, coletivo onde o sujeito é protagonista, autônomo e se permite ser autor e leitor da construção do seu próprio conhecimento, do conhecimento do outro e dos dois ao mesmo tempo. Partindo desse contexto é que pensamos o tema desta pesquisa “A inserção de alunos de Pedagogia na Cultura Digital”, por acreditarmos que o espaço acadêmico não pode estar desconectado destas constantes transformações. Assim, temos o seguinte problema: Como a inserção dos alunos do Curso de Pedagogia na Cultura Digital se reflete na apropriação para o uso pedagógico dos recursos digitais, em Pernambuco? E consideramos como hipótese que apesar da apropriação de elementos da Cultura Digital por parte desses alunos, existe uma relação limitada entre esta inserção e a perspectiva de apropriação para o uso pedagógico, porém, de forma incipiente em relação aos recursos educativos digitais. Escolhemos esta temática a partir das inquietações no trabalho docente e convívio intenso nesse cenário nos últimos seis anos, além do debate sobre a formação do professor no contexto educacional e na sociedade. Como objetivo geral esta pesquisa pretende analisar a relação entre a inserção dos alunos do Curso de Pedagogia de três Instituições de Ensino Superior de dois estados brasileiros na Cultura Digital e a apropriação de recursos digitais numa perspectiva de uso pedagógico. Evidenciamos que o tema desta pesquisa aborda uma questão contemporânea no tocante as discussões em relação à inserção da Cultura Digital dos alunos de Pedagogia e neste sentido buscamos nossa fundamentação teórica com o suporte dos autores Castells (2003), Lemos (2009; 2013), Pretto (2008), Moraes (1997), Moran (2000), entre outros que deram suporte teórico a nossa pesquisa. Como objetivos específicos mapeamos o uso de recursos da Cultura Digital dos alunos de Pedagogia; Relacionamos a inserção da Cultura Digital com a perspectiva de atuação docente; Analisamos as condutas e mediações que ocorrem no contexto da Cultura Digital entre os alunos de Pedagogia. O percurso metodológico utilizado nesta pesquisa são os métodos mistos, de natureza qualitativa e quantitativa, do tipo descritiva com o enfoque culturalista, que nos possibilita um olhar no cotidiano com um mergulho no microssocial. Utilizamos questionários semiestruturado com cento e vinte quatro estudantes de pedagogia. Após análise dos questionários selecionamos dois discentes que responderam que utilizavam em suas práticas pedagógicas recursos digitais. A pesquisa está organizada em quatro capítulos. No primeiro abordamos a Cultura Digital na formação de pedagogo no século XXI. O segundo traz a discussão da Web 2.0 e a atuação docente. No terceiro apresentamos nossa metodologia e no quarto temos a Apresentação e análise dos resultados. Os resultados dos questionários mostram que 103 (cento e três) dos discentes que responderam que trabalham ou trabalharam em sala de aula, 28 (vinte e oito) discentes disseram não utilizam/utilizaram nenhuma tecnologia em sala de aula, 71 (setenta e um) disseram que sim e 4 (quatro) não responderam à pergunta. Os equipamentos mais citados foram DVD, computador-notebook-netbook e TV respectivamente. / Digital literacy is an individual, personal, group, collective culture where the subject is the protagonist, autonomous and allows himself to be both the author and the reader of the construction of their own knowledge, the knowledge of the other and both at the same time. From this context, we chose the theme of this research to be "Entering students of Pedagogy in Digital Culture in Pernambuco," because we believe that the academic space can not be disconnected from these constant changes. Thus we have the following problem: How is the integration of students of Pedagogy in Digital Culture reflected in the appropriation for the pedagogical use of digital resources in Pernambuco? And we consider the hypothesis that despite the appropriation of elements of Digital Culture by these students, there is a limited relationship between this insert and the prospect of appropriation for pedagogical use, however, incipiently in relation to digital educational resources. We chose this theme from concerns in teaching and convivial setting in the last six years, and the debate on teacher education in educational settings and society. As a general objective, this research aims to analyze the relationship between the inclusion of students of Pedagogy in Pernambuco in Digital Culture and the appropriation of digital resources from the perspective of pedagogical use. It is evident that the theme of this research addresses a contemporary issue regarding the discussions on the insertion of the Digital Culture of students of pedagogy and in this sense we seek our theoretical framework with the support of the authors Castells (2003), Lemos (2009), Pretto (2008), Moraes (1997), Moran (2000), among others that will give theoretical support to our research. As specific objectives, it aims to: Map resource usage of the Digital Culture of Pedagogy students in Pernambuco’s perspective; Relate the inclusion of Digital Culture at the prospect to teaching performance; Analyze the behavior and mediations that occur in the context of digital culture among students of Pedagogy. The methodological approach used in this research are mixed methods, both qualitative and quantitative, of the descriptive type with the culturalist approach, which allows us to look into the everyday with a dip into the microsocial. The research is organized into four chapters. In the first, we approach the Digital Culture of teacher training in the XXI century. The second brings the discussion of Web 2.0 and the teaching performance. Present our methodology in the third and fourth have the presentation and analysis of results. The results of the questionnaires showed that 103 (one hundred and three) of students who responded that work or have worked in the classroom, 28 (twenty eight) students said they use / used no technology in the classroom, 71 (seventy one) said yes and four (4) did not answer the question. The most commonly cited were DVD equipment, computer-notebook-netbook and TV respectively.

Las organizaciones reconocen la necesidad de cambiar el modelo de negocio tradicional por uno cada vez más digital y ágil. Por ello, han empezado a transformarse digitalmente, buscando ser más competitivos en un entorno cambiante. Sin embargo, este proceso es relativamente nuevo, y en el Perú son pocos los que han logrado implementarlos positivamente. Por ello, cada vez hay más empresas que reconocen la necesidad de transformarse, pero que desconocen cómo hacerlo. Esta investigación comprende la recopilación bibliográfica, realización de entrevistas, procesamiento de encuestas a los 4 principales bancos, y el análisis estadístico de los resultados para desarrollar estimaciones que permitirían conocer los principales factores que pudieron priorizarse para tener un desarrollo eficiente en este proceso. Esta investigación reúne información y analiza las percepciones de sus trabajadores para realizar estimaciones exploratorias acerca de los factores que permiten obtener un desarrollo eficiente de transformación digital. Se realizaron entrevistas a expertos de diversos sectores y a 4 trabajadores del sector bancario. Finalmente, se realizaron 70 encuestas, de los cuales 59 fueron válidas para su procesamiento. Sin embargo, debido a las limitaciones de tiempo y confidencialidad, no se pudo obtener un tamaño mayor, impidiendo hacer un análisis concluyente a nivel estadístico que pudiera extrapolarse el resto de las empresas. Finalmente, se identificaron 2 enfoques que permiten obtener un desarrollo eficiente en el proceso de transformación: centrarnos en el cliente y colaborador, tomando en cuenta las limitaciones externas e internas durante proceso y reconociendo el objetivo o razón que los lleva al cambio. / Organizations recognize the need to change the traditional business model for a more digital and agile one. Therefore, companies have begun to transform digitally, seeking to be more competitive in a changing environment. However, this process is relatively new, and in Peru few have managed to implement it positively. This research includes bibliographic compilation, interviews, processing surveys to workers of the 4 main banks in Peru, and the analysis to develop statistical estimations that could make us recognize the main factors that should be prioritized to have an efficient development in their digital transformation process. By this way, this research collect data from the main banks in Peru and analyze opinions and perceptions of their employees in order to make exploratory and descriptive estimates about the process. Research considered interviews of experts from different sectors, including members of the analyzed banks and finally 70 surveys were carried out, of which 59 were validated for processing. However, due to the time and confidentiality limitations, it was not possible to reach a larger sample size, so it did not allow us to make a conclusive analysis at a statistical level that can be used as a model for the other companies. Finally, two approaches were identified in the investigation in order to obtain an efficient development of the transformation process: putting the client and the collaborator as center, considering limitations in the process and recognizing the objective that leads the change. / Tesis

The formation of distinctive Internet cultures, accompanied by the increasing importance of digital mediations for popular culture consumption, has culminated in both popular and academic discussions around the idea of Internet-based music scenes or communities as a cultural phenomenon, referred to as “Internet genres” or “Internet music.” This dissertation presents a comprehensive framework for and definition of Internet music through ethnographic and textual analyses of three separate scenes: vaporwave, hyperpop, and phonk. It interrogates issues of cultural borrowing and hybridity within these Internet music scenes, and how representations of racial, gender, sexual, and national identity are negotiated by both producers and fans. It also explores how the dynamics of the online platforms through which these scenes manifest (including, but not limited to their tendency toward anonymity, low barrier to entry for producers, and blurred lines between producers/consumers) shape these scenes, including how the algorithm-driven organization of these scenes and the influence of meme cultures impact how different identities and cultures are portrayed through these musics. Ultimately, this project interrogates how social and cultural identities and differences come to be constructed and articulated in online environments, and how in a “post-Internet” age, individuals are increasingly using popular media to make sense of their relationships with digital technologies. / Media & Communication

Notre thèse évoque les usages d'Internet des préadolescents âgés de 11 à 14 ans, dans toute leur complexité d'une manière anthropologique et ethno-qualitative. D'une part, elle présente une démarche scientifique appliquée et ses principes en se focalisant sur le courant méthodologique des Visual Methodologies, et plus particulièrement sur les méthodes visuelles participatives utilisées durant l'étude dans deux collèges publics bordelais. Et d'autre part, elle fournit l'analyse des résultats de cette étude afin de démontrer comment, grâce à la création de collages et de dessins et aux entretiens menés avec la technique « dessin/collage-élicitation », les préadolescents ont pu construire un modèle métaphorique de leur lien avec Internet. Notre thèse contribue à la compréhension des dynamiques sociales, culturelles et identitaires qui se créent à travers les dispositifs en ligne et se manifestent chez le public des préadolescents. Nous examinons la façon dont le public en question, à travers ses interactions numériques, comportements, routines, jeux, construit un espace culturel en ligne et comment, à leur tour, les différentes formes d'activités et d'expression influencent leur monde : leurs relations, leur identité et leur quotidien. / This thesis discusses preteens' (aged from 11 to 14 years old) uses of the Internet in all their complexities and in anthropological and ethno-qualitative ways. Firstly, it presents a scientific approach and it's principles by focusing on the Visual Methodologies, especially on the participatory visual methods used during the study In two public schools in Bordeaux. Secondly, it provides the analysis of the results of this study to demonstrate how, through the creation of collages and drawings, and interviews with the technical "drawing/collage-elicitation", preteens were able to build a metaphorical model of their relation with the Internet. This thesis contributes to a better understanding of the social and cultural dynamics between the identity created online and the one developed in the preteens' ordinary lives. We examine how this public, through its digital interactions, behaviours, routines, and games, builds a cultural space on the Internet and how the different forms of activities and expressions influence their world: their relationships, their identities and their lives.

O objetivo deste trabalho é refletir sobre o que acontecerá com a televisão no ambiente das plataformas digitais. Cientes de que o digital trouxe a era da convergência entre mídias, nós, além de analisar a TV digital, iremos refletir sobre como o conteúdo televisivo se propaga por todas plataformas. Partimos em nossa análise de definições de televisão e de digital, e constatamos que o digital não ameaça de extinção as mídias anteriores; pelo contrário, é uma tecnologia que as potencializa. Nossa hipótese é que o mesmo acontecerá em relação à televisão: em vez de tornar a televisão obsoleta, a tecnologia digital contribuirá para que ela efetive todas as suas potencialidades. Nosso trabalho se esforça em quebrar alguns mitos que contaminam o debate sobre televisão na era digital. Defendemos a especificidade da televisão e mostramos que mesmo no ambiente digital ela vai manter e potencializar suas características. / The objective of the present study is to reflect on the future of television in the environment of digital platforms. We are aware that digital technology has brought upon us the era of media convergence. In this context we analyze digital TV and reflect on how television content is spread throughout all platforms. In our analysis we have used the definitions of television and digital as a starting point to realize that digital does not threaten the previous media; on the contrary, it\'s a technology which supports the previous ones. Our hypothesis is that television will have the same fate: instead of making television obsolete, digital technology will contribute to the development of its full potential. Our study is an effort to break the myths that the debate over television in the digital era commonly entail. We defend the specificity of television and establish that even in the digital environment it should and can retain its original characteristics.

Submitted by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T18:58:59Z No. of bitstreams: 1 Oziel Gheirart.pdf: 4330648 bytes, checksum: 63196fb5ab7ffe84c9d660614e37b122 (MD5) / Approved for entry into archive by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T18:59:10Z (GMT) No. of bitstreams: 1 Oziel Gheirart.pdf: 4330648 bytes, checksum: 63196fb5ab7ffe84c9d660614e37b122 (MD5) / Approved for entry into archive by Debora Cristina Bonfim Aquarone (deborabonfim@espm.br) on 2016-11-28T19:02:42Z (GMT) No. of bitstreams: 1 Oziel Gheirart.pdf: 4330648 bytes, checksum: 63196fb5ab7ffe84c9d660614e37b122 (MD5) / Made available in DSpace on 2016-11-28T19:03:08Z (GMT). No. of bitstreams: 1 Oziel Gheirart.pdf: 4330648 bytes, checksum: 63196fb5ab7ffe84c9d660614e37b122 (MD5) Previous issue date: 2009-03-25 / The digital project has been implemented in the Post-Modernity as something discontinuously decisive. With the help of the mediatic polyphony, which promotes this transposition to the imateriality, the subject disconnect to invisible fields. The reality is violently altered by virtuality. Life becomes eternal and present through new spacial categories, time and speed. The old model of the subject shatters when it is confronted to a new mobile culture, which starts getting a form. The experience is brutally altered in its re-enchantment, in the process of estheticizing life, in the inverted logic of consume and is reflected in the constitution of culture. The latter needs new forms to inteerpret the new reality. Thus, the concretion of exteriority and of the ephemeral become autonomous in a still misty horizon. In a world whose mark is the ephemeral, how can one still think of an individual who can still feel enchantment for society? How can the perspective of the human being as a transforming-agent be possible in a society dominated by individualism, the lack of social compromise and even eye-to-eye contact among people? The routine of our "modern times" has been devoured by the technological voracity and by the ferocity of capital. Those seem to divide and make any chance of re-grouping, of fellowship, of "alive and kicking" humanity, of utopia. Thus, what intertwines the actions is an uncanny feeling, a unquietness. How can the subject be thought amongst that all? Such reflexions have emerged in this work, which aims to not only a diagnostic of our present situation - a world in which so many technological communication resources make us go beyond our real condition to escape from our own reality - but also to new possibilities. / O projeto digital foi implementado na pós-modernidade como algo descontinuamente decisivo. Com a ajuda da polifonia midiática, que promove essa transposição para a imaterialidade, o sujeito se descola para as terras invisíveis. Com a virtualidade, altera-se violentamente o real – a vida se eterniza e presentifica pelas novas categorias de espaço, tempo e velocidade. O modelo antigo de sujeito se estilhaça, frente a uma nova cultura móvel que vai se incorporando. A experiência se altera brutalmente no seu reencanto, na estetização da vida, na lógica invertida do consumo e reflete na constituição da cultura – que necessita de novas formas para interpretar esse novo real. Com isso, a concretização da exterioridade e da eferemidade se autonomizam, num horizonte ainda nebuloso. Num mundo em que o efêmero é uma marca, como pensar num individuo que possa ainda se reencantar pela sociedade? Numa sociedade em que o individualismo, a falta de compromisso social e até mesmo de contato “olho no olho” entre as pessoas predomina, como ainda ter perspectivas com o ser humano enquanto agente de transformação? O cotidiano dos nossos “tempos modernos” foi devorado pela voracidade tecnológica e pela ferocidade do capital que divide e parece tornar impossível qualquer chance de re-aglutinamento, de companheirismo, de humanidade “ao vivo e em cores”, de utopia. Então, o que permeia as ações é um desconforto, um desassossego. Como pensar o sujeito em meio a tudo isso? São reflexões como essas que são suscitadas por esse trabalho, que, mais que busca fazer um diagnóstico sobre a situação como nos encontramos hoje – num mundo em que tantos recursos comunicacionais e tecnológicos nos fazem mais extrapolar nossa condição real para fugir da nossa própria realidade –, indica novas possibilidades.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-02-22T15:18:49Z No. of bitstreams: 1 Christian Gonzatti_.pdf: 8588470 bytes, checksum: f0c4e125d9c7332b4d1cadb2cc10ff37 (MD5) / Made available in DSpace on 2018-02-22T15:18:49Z (GMT). No. of bitstreams: 1 Christian Gonzatti_.pdf: 8588470 bytes, checksum: f0c4e125d9c7332b4d1cadb2cc10ff37 (MD5) Previous issue date: 2017-12-19 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa visa entender, através dos sentidos acionados pelo Papel Pop, as relações entre o jornalismo, a cultura pop e os estudos queer. Busco nas transformações e nos desdobramentos históricos do jornalismo a maneira como as lógicas do pop foram se implicando nele. Proponho, assim, uma perspectiva jornalística específica para entender essas dinâmicas, o jornalismo pop: voltado à cobertura da cultura pop, pautando acontecimentos engendrados por uma lógica intensamente midiática e comercial, mas que não se encerra aí. Constato que existem, em um contexto de crise sistêmica instaurada pela cultura digital que atravessa as lógicas jornalísticas, sete categorias para pensar a cobertura do pop no país – e que muitas vezes se interprenetam através de estratégias de produção diversas: a cobertura jornalística em torno de produtos que se desdobram da música pop, das celebridades, da cultura geek/nerd/otaku, de produções audiovisuais como filmes e séries, das novelas e do humor e a geral. Existem, nessas possibilidades, os vínculos de produção que são perpassados pelas práticas das/dos fãs – podendo serem institucionalizados no sentido de se tornarem (micro) empresas ou não – e os políticos, que envolvem um olhar crítico através de marcadores como o sexo/gênero, a raça e a sexualidade para as produções da cultura pop. O Papel Pop, no que se refere à cobertura noticiosa, movimenta-se através de todos esses focos, estando alocado no que eu entendi como uma macrotegoria: a cobertura da cultura pop de uma maneira mais ampla e geral. No entanto, há uma predominância da música pop feminina nas matérias e notícias, assim como o corpo editorial também remete a marcadores dissidentes da masculinidade heterossexual cisgênera. Visando desdobrar os sentidos acionados pelo jornalismo pop em questão, recorro à metodologia da Análise de Construção de Sentidos em Redes Digitais, que tem como pressuposto os movimentos de mapeamento de processos semióticos em rede, a elaboração de constelaçãoes de sentidos e o desenvolvimento de inferências sobre elas. Através de perspectivas dos estudos queer, notei, assim, a emergência de sete constelações de sentidos: Linguagens do Vale, Transviadices, Feminismos, Heteronormatividades Racismos/Multiculturalismos, Representações e Enfrentamentos Políticos. Elas sinalizam a maneira como o jornalismo pop do Papel Pop configura-se como uma territorialidade semiótica singular na cobertura da cultura pop, que rompe com pressupostos do masculino que atravessam o jornalismo hegemônico e que vai além da feminilidade que pode ser associada ao jornalismo cultural, sendo, portanto, queer. / The research search understands, through the senses triggered by Papel Pop, as relations between journalism, pop culture and queer studies. I seek in the transformations and historical developments of journalism the way in which the logics of pop have been implied in him. I propose, therefore, a specific journalistic perspective to understand these dynamics, pop journalism: aimed at the coverage of pop culture, setting forth events engendered by an intensely mediatic and commercial logic, but that does not end there. I note that there are, in a systemic crisis context established by the digital culture that runs through the journalistic logic, seven categories to think the pop coverage in the country - and often interpenatre through various production strategies: media coverage around products that are deployed from pop music, celebrities, geek/nerd/otaku culture, audiovisual productions like movies and series, novels and humor and the general. There are, in these possibilities, the production links that are permeated by the practices of the fans - they can be institutionalized in the sense of becoming (micro) companies or not - and the politicians, who involve a critical look through markers like sex / gender, race and sexuality for pop culture productions. The Papel Pop, as far as news coverage is concerned, moves through all these focuses, being allotted in what I understood as a macrotegory: the coverage of pop culture in a broader and more general way. However, there is a predominance of female pop music in stories and news, just as the editorial body also refers to dissident markers of heterosexual masculinity cis. Aiming to unfold the senses triggered by the pop journalism in question, I turn to the methodology of the Analysis of Sense Construction in Digital Networks, which has as a presupposition the movements of mapping of semiotic processes in the network, the elaboration of sense constellations and the development of inferences about they. Through the perspectives of the Queer studies, I thus noticed the emergence of seven constellations of meanings: Valley Languages, Transviadices, Feminisms, Heteronormativities, Racisms / Multiculturalisms, Representations and Political Confrontations. They signal the way Papel Pop’s pop journalism configures itself as a singular semiotic territoriality in the coverage of pop culture, which breaks with the assumptions of the masculine that crosses hegemonic journalism and goes beyond the femininity that can be associated with cultural journalism, being, therefore, queer.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-06-10T13:43:55Z No. of bitstreams: 1 Patrícia Reginalda da Silva Selau_.pdf: 3049785 bytes, checksum: ff6499b8a3cf0bbdeb9e37de106c393e (MD5) / Made available in DSpace on 2016-06-10T13:43:55Z (GMT). No. of bitstreams: 1 Patrícia Reginalda da Silva Selau_.pdf: 3049785 bytes, checksum: ff6499b8a3cf0bbdeb9e37de106c393e (MD5) Previous issue date: 2016-02-26 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / A presente dissertação é uma pesquisa que problematiza os diálogos possíveis entre cultura digital, cidadania e o currículo dos anos iniciais em uma escola participante de um projeto de inclusão digital da região metropolitana de Porto Alegre – RS. Duas questões orientaram essa investigação: 1) Como as políticas públicas, projetos, ações que tratam do tema da cidadania associadas com a perspectiva da inclusão digital se articulam? 2) Quais as possibilidades de interlocução entre o currículo dos anos inicias e os temas relacionados à cidadania? Foi desenvolvida no contexto da escola, uma oficina com a temática: mídias digitais e cidadania. Que apresentou como objetivo discutir sobre o desenvolvimento da cidadania mediado pelas tecnologias digitais, já presentes no contexto da escola. Para dar conta das demandas e questões que a (con) vivência na escola fez emergir, a metodologia de investigação e análise foi inspirada no método cartográfico de pesquisa e intervenção e, com base nas ideias de Moreira e Candau (2006) sobre currículo, de Gadotti (2000) sobre cidadania, e Maraschin e Axt (2005) sobre acoplamento tecnológico, foi possível constatar que tanto o conceito de currículo quanto o conceito de cidadania são conceitos amplos e complexos que permitem várias interpretações. Bem como, perceber que as TD presentes na escola são tratadas como ferramenta pedagógica, como subsídio ao processo de ensino, e não como um artefato cultural propício ao desenvolvimento da cidadania. A cidadania não foi percebida no contexto da pesquisa como participação ativa e propositiva dos cidadãos. De acordo com as recorrências nos discursos das professoras, as pesquisas via internet foram, a forma mais comum de uso das TD no contexto da escola, no entanto, essa recorrência no processo não configura um acoplamento tecnológico. Foi possível observar apropriação dos participantes em relação aos conceitos problematizados no decorrer desta pesquisa, gerando movimentos e possíveis inovações em algumas práticas evidenciadas no decorrer desta investigação. / This dissertation is a study that discusses the possible dialogues between digital culture, citizenship and the elementary school curriculum in the in a school participating in a digital inclusion project in the metropolitan region of Porto Alegre - RS. Two questions guided this research: 1) How public policies, projects, actions that deal with citizenship theme associated with the perspective of digital inclusion are linked? 2) What are the possibilities of dialogue between the curriculum of the initial years and the issues related to citizenship? It was developed in the school context, a workshop with the theme: digital citizenship and media. Which aimed to discuss the development of citizenship mediated by digital technologies already present in the school context. To cope with the demands and issues that emerged by the acquaintanceship at school, the research and analysis methodology were inspired by the cartographic method of research and based on the ideas of Moreira and Candau (2006) about curriculum, Gadotti (2000) about citizenship and Maraschin and Axt (2005) about technological engagement, it was found that both the concept of curriculum and the concept of citizenship are large and complex concepts that allow various interpretations, And realize that the TD present in the school are treated as a pedagogical tool, as a support to the teaching process, and not as a cultural artifact conducive to the development of citizenship. Citizenship was not perceived in the context of research as active and purposeful participation of citizens. According to recurrences in the discourses of teachers, the internet searches were the most common form of use of the TD in the context of school, however, this recurrence in the process does not constitute a technological engagement. It was observed appropriation of participants in relation to concepts problematized in the course of this research, generating movements and possible innovations in some practices evidenced in the course of this investigation.

Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2016-11-03T11:32:15Z No. of bitstreams: 1 Evellyn Ládya Franco Pontes.pdf: 3115036 bytes, checksum: 645a0643b00c04c51ea113b2616bb35c (MD5) / Made available in DSpace on 2016-11-03T11:32:15Z (GMT). No. of bitstreams: 1 Evellyn Ládya Franco Pontes.pdf: 3115036 bytes, checksum: 645a0643b00c04c51ea113b2616bb35c (MD5) Previous issue date: 2016-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study aimed to identify the social and academic experiences in the digital culture of graduating students of the Faculty of Education, as well as recognizing its views on the creation of this culture on education. The context of this research is a private university in the city of Guarulhos, and it uses Pedagogy Degree students as subjects. It includes the analysis of quantitative and qualitative aspects to provide understanding of the phenomena with collected data from the literature review, in order to interpret the digital culture of meanings contained in theses and dissertations on technology in teacher education published in eleven renowned universities in studies of this field between 2009 and 2014; characterization Questionnaire of the researched subjects to meet the profile, the social and academic experiences of Pedagogy students and identify whether the uses of technology provide clues that they are embedded in digital culture; Questionnaire on the conceptions about the use of digital technologies in educational practice and curriculum; and a Collective nterview in order to obtain evidence of intent to use the DICT as professionals and deepen understanding of the digital culture conceptions. The results indicate that the meanings of digital culture overlap with the technology conceptions, education and its subjects, which sometimes even under a common understanding of the concept, has different nuances on the subject because the conceptions outweigh the concepts. It was found that the subjects are in a process of insertion in digital culture. They recognize the constitution of digital culture in their everyday lives, glimpse pedagogical potential in this context and intention to use the technologies. However, they do not seem to feel like subjects of an educational practice with contribution of DICT. Such situation indicates that the course does not provide opportunities for educators training in digital culture. Building the digital culture in the context of initial training in pedagogy leads us to think of the formation of competent professionals capable of mediating and encouraging the use of copyright and communication network resources, in order to form free subjects, who, in their freedom, responsibility and autonomy, can be citizens in favor of the formation of a democratic and equitable society / O presente estudo objetivou identificar as experiências sociais e acadêmicas na cultura digital de estudantes concluintes do curso de Pedagogia, bem como reconhecer suas concepções sobre a constituição dessa cultura na educação. A pesquisa situa-se em uma universidade particular da cidade de Guarulhos e são sujeitos os estudantes do curso de licenciatura em Pedagogia. Contempla a análise de aspectos quantitativos e qualitativos para a compreensão dos fenômenos, por meio de dados coletados a partir da Revisão de Literatura, a fim de interpretar os significados de cultura digital contidos em teses e dissertações sobre tecnologias na formação de professores, publicadas em onze universidades de referência nos estudos desta temática, no período de 2009 a 2014; Questionário de caracterização do sujeito da pesquisa, para conhecer o perfil, as experiências sociais e acadêmicas de estudantes de Pedagogia e identificar se os usos das tecnologias fornecem indícios de que estão inseridos na cultura digital; Questionário sobre as concepções quanto ao uso das tecnologias digitais na prática educativa e do currículo; e Entrevista coletiva, com a finalidade de obter indícios de intenções de utilizar as TDIC enquanto profissionais e aprofundar a compreensão sobre as concepções de cultura digital. Os resultados indicam que os significados de cultura digital imbricam- se com as concepções de tecnologia, educação e seus sujeitos, o que, mesmo sob uma perspectiva comum do conceito, apresenta diferentes nuances sobre a temática, pois as concepções se sobrelevam aos conceitos. Identificou-se que os sujeitos estão em processo de inserção na cultura digital. Reconhecem a constituição da cultura digital em sua vida cotidiana, entreveem potencial pedagógico nesse contexto e têm a intenção de utilizar as tecnologias. Contudo, mostram não se sentir como sujeitos de uma prática educativa com aporte das TDIC. Tal conjuntura indica que o curso não oportuniza a formação de pedagogos para a cultura digital. Construir a cultura digital no contexto da formação inicial em Pedagogia pressupõe a formação de profissionais competentes, capazes de mediar e incentivar o emprego dos recursos autorais e comunicacionais da rede, com a finalidade de propiciar sua emancipação, sua liberdade, responsabilidade e autonomia, para que possam se constituir cidadãos em favor da formação de uma sociedade democrática e equânime