Made available in DSpace on 2016-04-26T14:57:38Z (GMT). No. of bitstreams: 1 Carlos Eduardo Capestrani.pdf: 468348 bytes, checksum: 5ebf0a176aa7f13c9c472a3639f8d4fc (MD5) Previous issue date: 2009-05-20 / Secretaria da Educação do Estado de São Paulo / Objective: This text intends to analyze the behavior of the soccer fan clubs parties that express the passion, joy and the aggressiveness of the soccer fan. Methods: A participant observation of the Torcida Tricolor Independente has been done in 2005 and 2006 in order to understand the group s actions through the point of view of the soccer fan, escaping from the stereotype of delinquents created by the media. The selection of this period of time was due to being the first two years that followed the official return of the soccer fan clubs to the soccer stadiums after ten years of the prohibition of its activities, with the commitment of not acting with violence, but only to party. Conclusions: With this participant observation I perceived that the soccer fans were really only partying. They were celebrating the victory of their team, the aggression of the rival soccer fans, the confrontation with the police, in short everything was a reason to celebrate. When facing the results of the participant observation with the theoretical referential, I came to the conclusion that the soccer fans, when into groups, temporarily transgress the social rules, by using violence, soccer passion and indignation towards the daily life as reasons to party / Objetivos: Este trabalho tem por objetivo analisar o comportamento das torcidas organizadas sobre a ótica das festas que expressam a paixão, alegria e a agressividade do torcedor. Métodos: Foi realizada uma observação participante na Torcida Tricolor Independente nos anos de 2005 e 2006 com o intuito de compreender as ações do grupo pelo olhar do próprio torcedor, fugindo do estereotipo de marginais criado pela mídia. A seleção deste período se deu por ser os dois primeiros anos que se seguiram após o retorno oficial das torcidas organizadas aos estádios de futebol após dez anos de proibição de suas atividades, com o compromisso de não praticarem violência, fazer somente festa. Conclusões: Na observação participante percebi que os torcedores estavam realmente fazendo festa. Festejavam a vitória do time, a agressão a outros torcedores rivais, o enfrentamento a policia, enfim tudo era motivo para comemorar. Ao confrontar os resultados da observação participante com os referenciais teóricos, cheguei a conclusão de que os torcedores quando estão em grupo, transgridem temporariamente às regras sociais, utilizando a violência, a paixão pelo futebol e a indignação com o cotidiano como motivos para festejarem

Made available in DSpace on 2016-04-26T18:15:56Z (GMT). No. of bitstreams: 1 COS - AryJose Rocco Jr.pdf: 5655880 bytes, checksum: 9c6354a12b1b6c55da337556f0b7d5d6 (MD5) Previous issue date: 2006-10-19 / The virtual communities make up real groups of people using the computer network who determine sources of values which, in turn, frame behaviors as well as social organizations in the Internet. The aim of this work is to go into the changes that such communities insert in the culture involving soccer as being a means of entertainment and consumption. The importance of this sport as an element that upholds the national identity is gradually losing ground to the supranational soccer associations. In a great extent all this is due to transformation caused by the coming and spread of information technology, of which the Internet, the mobile phone and the digital tv are best examples. Thus, different forms of virtual fan groups have arisen in Brazil amongst the so-called cyberculture. Some of those groups are true examples of collective intelligence; others are manifestations of power and authority and a less active third group is guided to consume products entirely related to the most popular sport throughout the world. Thus, our intention in this survey was to identify and analyse the characteristics of virtual communities of football supporters that make up the four main sporting associations of São Paulo State Santos Futebol Clube, São Paulo Futebol Clube, Sociedade Esportiva Palmeiras and Sport Club Corinthians Paulista , aiming, this way, at observing the various purposes that motivate this virtual gathering in the cyberspace. Over fifteen months, twelve sites related to the theme were monitored, and fifty-seven people, including journalists, scholars, and members of organaized supporting associatins, were interviewed for the survey s achievement. We intend, therefore, to show that the worldwide computer net works out, regarding São Paulo s football culture as a mirror of social life, both in its most positive aspects and in its most negative ones / As comunidades virtuais constituem verdadeiros agrupamentos de indivíduos usuários de redes de computadores que determinam fontes de valores responsáveis por moldar comportamentos e organizações sociais na Internet. O objetivo deste trabalho é investigar as modificações que essas comunidades inserem na cultura que envolve o futebol enquanto forma de entretenimento e consumo. A importância desse esporte como elemento de afirmação da identidade nacional vai, paulatinamente, perdendo espaço para os clubes de futebol supranacionais. Isso se deve, em grande parte, às transformações provocadas pelo surgimento e pela expansão das tecnologias comunicacionais, sendo a Internet e a TV Digital seus melhores exemplos. Surge assim, no seio dessa cibercultura, a torcida virtual, verdadeira forma de inteligência coletiva em torno do futebol, que ultrapassa as relações locais em função de uma dinâmica de comunicação planetária. Assim, nossa intenção, nesta pesquisa, foi identificar e analisar as características das comunidades virtuais de torcedores de futebol que se constituem em torno das quatro principais agremiações esportivas do Estado de São Paulo Santos Futebol Clube, São Paulo Futebol Clube, Sociedade Esportiva Palmeiras e Sport Club Corinthians Paulista -, procurando com isso observar os diferentes objetivos que motivam esta reunião virtual no ciberespaço. Durante quinze meses, doze sites relacionados com o tema foram monitorados, e cinqüenta e sete pessoas, entre jornalistas, acadêmicos e membros de torcidas organizadas, foram entrevistadas para a realização desta pesquisa. Pudemos verificar que a rede mundial de computadores funciona, no que diz respeito à cultura do futebol paulista, como um espelho da vida social, tanto em seus aspectos mais positivos, quanto negativos

Este trabalho desenvolve um estudo do sistema de produção estabelecido por fãs da trilogia de filmes O Hobbit. Nós partimos da questão “como se organiza o fandom de O Hobbit a partir da produção de fanworks sobre fanworks?” com o objetivo de verificar como as práticas de consumo e produção internas ao fandom de O Hobbit podem defini-lo como comunidade interpretativa. Assim, tomamos por objeto teórico o sistema de produção de fãs que se estabelece a partir do que um fã faz sobre o trabalho já produzido por outros fãs, fanworks de fanworks. Para embasar nossa pesquisa, apresentamos uma contextualização dos estudos de fãs em Comunicação, a partir de um panorama da literatura internacional e seu desenvolvimento sobre o conceito, com um aprofundamento na produção de teses e dissertações nacionais, que nos permitem compreender como o tema, e esse objeto em específico, vem sido trabalhado academicamente para situar a nossa pesquisa. Desenvolvemos também uma reflexão teórica buscando problematizar a produção dos fãs com relação aos processos de consumo cultural e midiático e sua articulação em comunidade. A partir desse contexto teórico, desenvolvemos duas pesquisas exploratórias que se embasam na interpretação de dados levantados por pesquisas maiores realizadas por terceiros: AO3 Census e o Hobbit Project. Os dados da primeira pesquisa nos permitem compreender mais sobre os fãs e suas práticas de consumo e produção, enquanto os dados da segunda nos lança luz sobre o fandom dos filmes de O Hobbit em específico. A partir da análise de conteúdo realizada nessas exploratórias, fundamentamos delimitações de contexto e ferramentas metodológicas a serem apropriados em nossa pesquisa. Com inspiração etnográfica, realizamos dois experimentos buscando as interações dos sujeitos envolvidos nos processos de produção realizados pelos fãs: uma imersão em um site de postagem de fanworks, o AO3, em que analisamos as notas deixadas por autores de fanworks produzidos sobre outros fanworks para os seus leitores. Pudemos não só nos aprofundar nas formas de produção, mas também nas relações pessoais estabelecidas entre fãs nesse processo. O segundo experimento se fundou em uma imersão em campo, em que realizamos entrevistas pré-estruturadas com fãs de O Hobbit participantes da I Feira Medieval de São Leopoldo, buscando compreender mais de suas interações e formas de produção. Por fim, nossa análise se volta para as particularidades do sistema de produção de fanworks sobre fanworks com relação ao fandom como comunidade, trazendo como principais resultados a constituição de uma rede de produção estruturada nos critérios interpretativos dos fãs e o processo de identificação do fã como fã. / This work develops a study on the production system established by fans of The Hobbit movie trilogy. Our starting point was the question “how does The Hobbit fandom organize itself based on the fanworks about fanworks?” with the objective of verifying how the consumers practices and internal productions of The Hobbit fandom are able to define it as an interpretive community. Thus, we took as a theoretical objective the fans production system established by the work a fan made based on a work created by another fan, fanworks of fanworks. In order to base our research, we present a contextualization of the fans studies in Communication, from an overview of international literature and its development about the concept, with a deepening in the production of national theses and dissertations. That allow us to comprehend how the topic, and this objective in specific, have been worked on academically to situate our research. We also developed a theoretical reflection with the intention of discussing the fan production in relation to the cultural and media consumption and its articulation in community. Two exploratory researches that are based on the interpretation of data collected by to major researches made by third parties were developed from this theoretical context: AO3 Census and the Hobbit Project. The data from the first research allowed us to comprehend more about the fans and their practice of consumption and production, while the data from the second one shines a light on the films’ fandom for The Hobbit in specific. Then, based on the content analysis done on these exploratory researches we substantiated boundaries of context and methodological tools to be appropriated in our research. Inspired by ethnography, we’ve conducted two experiments in search of the interactions between subjects involved on the production process done by the fans: an immersion in a fanwork website, AO3, in which we analysed the notes left by authors of fanworks about other fanworks to its readers. We were able to not only deepened in the ways of production, but also in the personal relations established between fans in this process. The second experiment was based on a field immersion, in which we’ve conducted pre-structured interviews with fans of The Hobbit participating on the I Medieval Fair of São Leopoldo, with the intention of comprehending more about their interaction and ways of production. Finally, our analysis focus on the singularities of the production system of fanworks of fanworks related to the fandom as a community, rendering as its main result the building of a production network established on the interpretative criteria of the fans and the process of identification of the fan as a fan.

Os experimentos florestais que estudam os efeitos de espaçamento devem adotar delineamentos distintos daqueles utilizados convencionalmente, por conta da grande demanda de área experimental dos delineamentos convencionais, o delineamento sistemático tipo \"leque\" é a forma mais viável de se executar este tipo de ensaio. Neste delineamento, as árvores são dispostas em diversos círculos concêntricos, de modo que, vários espaçamentos são gerados, porém, sem que haja possibilidade para a casualização. Para este tipo de experimento, convencionalmente são realizadas análises geoestatísticas que modelam o comportamento espacial de dependência entre os elementos, utilizando além da variável observada, as coordenadas das observações. Assim, é modelada uma função denominada semivariograma que explica esta dependência espacial, possibilitando a criação de um mapa de tendências denominado krigagem. Neste trabalho, são tratadas as variáveis de altura, diâmetro do fuste, diâmetro da copa, área da copa e volume cilíndrico de árvores de Canafístula, aos seis meses para altura e aos 13, 25 e 37 meses para todas as variáveis, após o plantio de mudas de Canafístula (Peltophorum dubium) em um experimento conduzido em Mato Grosso do Sul. Além da análise geoestatística, também é realizada a análise multivariada objetivando relacionar as variáveis por meio de medidas de correlação, efetuar a análise de componentes principais, de agrupamentos e discriminante. Além disso, é realizada a análise de medidas repetidas, objetivando avaliar o comportamento dessas variáveis ao longo dos períodos. Por fim, algumas formas combinadas de avaliar e interpretar os resultados são apresentadas, de modo a relacionar as análises já realizadas, calculando novos componentes principais para as variáveis, por período, efetuando a análise geoestatística dos componentes principais e avaliando o comportamento desses componentes ao longo do tempo. / Forest experiments which study the spacing effects should adopt different delineations from those conventionally used, due to the great demand for experimental area of conventional delineations, the systematic fan design is the most viable way to perform this type of test. In this design, the trees are arranged in several concentric circles, so that various spacings are generated, however, with no possibility for randomization. For this type of experiment, statistical analyses modeling the spatial behavior of dependence between the elements are conventionally performed using, in addition to the variable observed, the coordinates of the observations. Thus, a function called semivariogram that explains the spatial dependence is modeled, enabling the creation of a map of trends called kriging. In this paper, the variables of height, bole diameter, treetop diameter, area and its cylindrical volume of trees Canafistula, are treated at six months for height and at 13, 25 and 37 months for all variables after planting canafístula seedlings (Peltophorum dubium) in an experiment carried out in Mato Grosso do Sul. In addition to the geostatistical analysis, a multivariate analysis is also performed, aiming to relate the variables by correlation measures and performing the analysis of the main, grouping and discriminating components. Furthermore, the repeated measures analysis is performed aiming to evaluate the behavior of these variables over the periods. Finally, some combined ways to assess and interpret the results are presented in order to relate the previous analyses, calculating new key components for the variables, by period, performing the geostatistical analysis of the main components and evaluating the behavior of these components over time.

Submitted by Nathalya Silva (nathyjf033@gmail.com) on 2017-07-07T19:49:12Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_FiccaoTraducoesFas.pdf: 12545915 bytes, checksum: ad0a46857a8d7e206af46c729d59ba78 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-07-11T13:47:48Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_FiccaoTraducoesFas.pdf: 12545915 bytes, checksum: ad0a46857a8d7e206af46c729d59ba78 (MD5) / Made available in DSpace on 2017-07-11T13:47:48Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_FiccaoTraducoesFas.pdf: 12545915 bytes, checksum: ad0a46857a8d7e206af46c729d59ba78 (MD5) Previous issue date: 2017-02-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho apresenta uma análise do processo de tradução das fanfictions (histórias de fãs) para a língua portuguesa, uma das inúmeras atividades praticadas por fãs em comunidades virtuais. Este processo apresenta sistemas e técnicas que se moldam em antigas práticas, com agentes que alternam de função de um momento a outro, adequando-se sem maiores problemas as mudanças na tarefa proposta. É necessário compreender como, nesta atividade, a fanfiction é duplamente reescrita – tanto quando os fãs (os leitores-autores) fazem uso de personagens de outros autores em novas histórias paralelas, quanto na tradução, pois, segundo Lefevere (1995), traduzir é sempre um ato de reescrita. Este estudo apresenta o conceito de reescrita antes de discutir outros aspectos relacionados à tradução de fanfictions, como o tempo de publicação de cada capítulo e/ou a relação entre leitor-autor da fanfiction original e seu(s) tradutor(es). Outro aspecto que esta pesquisa apresenta é que, na era digital, as relações entre as entidades como autor, leitor e tradutor se tornam complexas, uma vez que essas entidades não podem mais ser percebidas em sua forma fixa. Os papéis desempenhados por elas são intercambiáveis e essa maleabilidade é acentuada pelo uso das máquinas, o que confere a essas entidades a imagem de ciborgues: são autores, leitores e tradutores ao mesmo tempo. Dicotomias como as de autor e leitor, tradutor e leitor, leitor e revisor se modificam no ciberespaço. Com o crescimento do acesso à internet as perguntas relacionadas ao futuro da prática da escrita, leitura e tradução continuam aumentando: será possível que na época digital os limites entre escritor, leitor e tradutor sejam desfeitos e que realmente todos possam assumir esses papéis ao mesmo tempo? Do ponto de vista das ciências humanas, a era digital obriga a repensar categorias de trabalho tradicionalmente construídas em função de papéis diferenciados e separados por fronteiras nítidas, como as categorias de autor, leitor e tradutor. A aparição da internet possibilitou a criação de novos gêneros e promoveu o compartilhamento no ciberespaço daquilo que antes era restrito a apenas uma parte da população. O ciborgue é aquele ser que está tanto no mundo real quanto no mundo paralelo da internet, alguém que está por trás de uma máquina e que consegue se envolver virtualmente em diversos campos, publicando e interagindo com leitores e autores. O leitor-ciborgue por trás de um computador possui diversas funções e habilidades ao mesmo tempo. Em Modernidade Líquida (2001), Bauman explica que certos padrões de dependência e interação humana são maleáveis como um fluido. Essa é uma metáfora que pode ser usada para descrever os estudos literários e a era digital, com seus usuários fluindo em diversas direções e mudando o curso de categorias que antes eram pré-definidas, como as de autoria e tradução. A partir dessa noção de fluidez, esta tese lida com os conceitos de tradução e certas dicotomias, como leitura/autoria ou autoria/tradução, com a mesma liquidez que Bauman define nossos tempos. A tradução de fanfiction, o processo analisado neste trabalho, precisou ser retirada do mar da internet com uma rede de pescador (num corpus de cinco histórias das comunidades de fãs de Rurouni Kenshin, Crepúsculo e InuYasha) para ser estudada. / This dissertation studies the translation process of fanfiction (fiction written by fans), one of the many activities practiced by fans in virtual communities. The study is based on a corpus of English texts that have been translated online into Portuguese. The study shows that, on the one hand, the translation process bears similarities to traditional translation practices and strategies while, on the other hand, the actors move flexibly between the different roles, adapting themselves easily to the various possibilities that a virtual environment offers. Characteristic of fanfiction in translation is that it is a dual process of 'rewriting': on the one hand, the creation by fans (readers / writers) of new stories based on existing characters and plots, and on the other hand, the translation itself, which can be described as a process of "rewriting". According to the definition of Lefevere (1995), all translation is a form of rewriting of an 'original', a process related to power relations embedded in a particular social context. After introducing the concept of translation as ‘rewriting’, the specific aspects of the translation of fanfiction as a process of 'rewriting' are analyzed, such as the temporal aspect (the ‘pace’ of translation) and the relationship between author / reader of fanfiction and his / her translator (s). The analysis makes clear that in the digital age, the relationship between entities such as author, reader and translator has become extremely complex and that these entities can no longer be considered or observed as fixed and distinct realities. The roles and functions that are observed are interchangeable and this plasticity is accentuated by the use of technology (machines), which transforms the actors into 'cyborgs', able to simultaneously assume the role of author, reader and translator. Traditional dichotomies such as ‘writer’ versus ‘reader’, ‘reader’ versus ‘translator’, or ‘translator’ versus ‘reviewer’ have changed substantially in cyberspace. The cyborg-translator is both part of the real world and the parallel world of the Internet; from behind of his / her machine he/she participates in various fields, assumes distinct roles and interacts with readers and writers. The generalized access to the Internet raises questions regarding the future of the practice of writing, reading and translating. Is it possible that the boundaries between writer, reader and translator will be erased in the digital age and that the different roles can be adopted simultaneously by the different actors? From the perspective of the humanities, the digital era requires us to reconsider traditional categories of division of labor separated from each other by sharp boundaries. The rise of the internet has created new genres and makes participation in the cyberspace possible to what was once limited to only part of the population. In Liquid Modernity (2001), Bauman states that patterns of human interaction and dependency, as compared to previous generations, have become malleable in an unimaginable way, but also that their shape - just like all liquids - does not remain stable. By analogy with this observation, we can say that some traditional dichotomies that once helped us to understand and analyze our society, are evaporating or beginning to merge one into another. Bauman’s metaphor can be applied to the study of literature and translation in the digital age, characterized by actors moving in different directions. By analogy with the notion of fluidity, this thesis based on a corpus of translations of fanfiction studies the changed roles of reader, author, and translator in the digital age and its significance for the traditional dichotomies of literature and translation studies.

The phase and amplitude gradient estimator (PAGE) method has proven successful in improving the accuracy of measured energy quantities over the p-p method, which has traditionally been used, in several applications. One advantage of the PAGE method is the use of phase unwrapping, which allows for increased measurement bandwidth above the spatial Nyquist frequency. However, phase unwrapping works best for broadband sources in free-field environments with high coherence. Narrowband sources often do not have coherent phase information over a sufficient bandwidth for a phase unwrapping algorithm to unwrap properly. In fact, phase unwrapping processing can cause significant error when there is no coherent signal near and above the spatial Nyquist frequency. However, for signals at any frequencies up to the spatial Nyquist frequency, the PAGE method provides correct intensity measurements regardless of the bandwidth of the signal. This is an improved bandwidth over the traditional method. For narrowband sources above the spatial Nyquist frequency, additional information is necessary for the PAGE method to provide accurate acoustic intensity. With sufficient bandwidth and a coherence of at least 0.1 at the spatial Nyquist frequency, a relatively narrowband source above the spatial Nyquist frequency can be unwrapped accurately. One way of using extra information, called the extrapolated PAGE method, uses the phase of a tone below the spatial Nyquist frequency and an assumption of a propagating field, and therefore linear phase, to extrapolate the phase above the spatial Nyquist frequency. Also, within certain angular and amplitude constraints, low-level broadband noise can be added to the field near a source emitting a narrowband signal above the spatial Nyquist frequency. The low-level additive broadband noise can then provide enough phase information for the phase to be correct at the frequencies of the narrowband signal. All of these methods have been shown to work in a free-field environment.

This research tests the value of push and pull communication on Facebook in the first effort to test the validity of the Pub Principle and Social Intrusion Theory. This theory explains how audiences engage in a tug-of-war with commercial forces during mass communication and that commercial messaging is ultimately dependent upon the acceptance or rejection of its intended audience. The pub principle explains that social media is unlike traditional mass media and that the rules commercial forces must play by are different than for other mass media. Using a mixed-method approach, this research confirms the validity of this principle and theory. It finds that Facebook users spend significantly less time looking at push content like paid advertisements than at pull content like fan pages. This research also shows that audiences prefer dealing with pull content over push content on Facebook. The Pub Principle and Social Intrusion Theory are therefore supported by this research.

World War I (1914-1918) brought with it unimaginable disaster and destruction, reshaping the world and its culture forever. Out of the ashes of this unparalleled conflict came numerous triumphs of art, fueled by the surrounding conditions and personal expressions of their artists. English composer, Dr. Cyril Bradley Rootham (1875-1938) set a powerful and haunting poem from the poet Laurence Binyon (1869-1943) titled "For the Fallen” from a larger collection of his poetry called The Winnowing Fan. The poem was published in The Times on September 21, 1914, just seven weeks after the war began. This monograph seeks to bring to light this glorious and overlooked choral/orchestral work at a time of a centennial anniversary for World War I, bringing even more relevance to the subject matter. Another focus of this document is to highlight the musical accessibility of this work and provide resources that function as a platform for performance. A brief background of the composition, the poem, and the poet will assist in giving context to the setting. This document will also cover specific details regarding musical analysis, textual interpretations, and performance practice concepts.

This paper examines online fan fiction communities as spaces for identity formation, collaborative creativity, and fan empowerment. Drawing on case studies of a LiveJournal fan fiction community, fan-written essays, possible world theory, and postmodern theories of the hyperreal and simulacrum, this paper argues that writing fan fiction is a definitive, postmodern act that explores the mutable boundaries of reality and fiction. It concludes that fans are no longer passive consumers of popular media—rather, they are engaged, powerful participants in the creation of celebrity representation that can, ultimately, alter reality.

Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.