In this essay, I discuss the merits of contestability in contrast with consent as a meansof legitimizing the state. Particularly I have been concerned with problematiccontracts: Contracts with undefined obligations and their implications on thelegitimacy of voluntarist consent. Through my argumentation, I have shown thatvoluntarist consent to political mandates has a hard time legitimizing politicalauthority in the presence of problematic contracts – and instead, that legitimationbased on the the ability to contest decisions may provide a better degree of politicallegitimacy. Contestability can seemingly also be combined with elements of voluntaristconsent to further cement the legitimacy of decisions.

L’engouement pour les œuvres d’origine japonaise sur le territoire français est à l’origine de notre questionnement de départ. Cette recherche en Sciences de l’Information et de la Communication propose d'étudier le processus de légitimation et de médiation du manga en France. Dans leur pays d’origine, les mangas sont issus de techniques picturales et graphiques ancestrales mais ne prennent véritablement leur forme contemporaine qu’au lendemain de la Seconde Guerre mondiale, grâce à un mangaka : Osamu Tezuka. S’ils sont parfaitement intégrés dans les pratiques culturelles japonaises, la situation est tout autre dans notre pays. Ainsi, nous nous proposons de revenir sur la construction du processus de légitimation du manga en France par l’étude du discours d’un corpus de deux titres de presse. L’approche diachronique nous permet de revenir sur les différentes étapes de l’introduction des mangas depuis l’arrivée de l’un des premiers dessins animés à la télévision hertzienne en 1978 : Goldorak. C’est ensuite aux lecteurs que nous donnons la parole grâce à une étude qualitative des pratiques. L’enquête de réception nous donne alors les moyens de mieux comprendre la diversité des pratiques, le processus de construction de sens opéré par les lecteurs et l’appropriation de l’objet au fil du temps. Loin de la représentation d’un lecteur enfermé sur lui-même, notre recherche témoigne de la diversité d’engagement et des modes de faire des lecteurs et de l’importance de la dimension sociale qui accompagne la lecture. Un regard qui met en lumière les mécanismes de médiation du manga tant sur un plan intime que social. / The keen interest in Japanese works in France triggered our questioning. Through this research in science of information and communication, we propose to study the process of legitimization and mediation of the manga in France. In their country of origin, mangas come from remote pictorial and graphic techniques, but only take their current form after World War II, thanks to one mangaka: Osamu Tezuka. Even though mangas are perfectly integrated in Japanese culture, the situation is quite different in our country. Thus, we will come back on the building of the process of legitimization of the manga in France through a study of the publications from two selected periodicals. The diachronic approach enables us to come back on the different steps of the manga introduction in France, since the arrival of one of the first cartoons on television in 1978: Goldorak. We will then put the emphasis on the readers’ practises, through a qualitative study. The reception survey gives us a better understanding of the diversity of the practices, the process of constructing meaning by the readers, and how they made manga their own over time. Far from the representation of a withdrawn reader, our study demonstrates that there is diversity in the involvement and practices of the readers, as well as a social dimension associated to the reading. This approach highlights the mechanisms of manga mediation, from a personal as well as from a social point of view.

O presente trabalho objetiva buscar um maior entendimento da história em quadrinhos como produto cultural e compreender como, com o passar dos anos, ela passou por um processo de legitimação que a tirou do estigma de mero artigo de massa, sem nenhum valor cultural, para um objeto culturalmente valorizado. Buscou-se em um primeiro momento compreender de onde surge o preconceito contra a cultura de massas e, consequentemente, contra as histórias em quadrinhos, e como tal preconceito pode ser entendido a partir de uma relação de poder estabelecida pelo uso do conceito de \"cultura\". Para tal, a abordagem metodológica inicial baseou-se nos Estudo Culturais, especialmente a partir da reformulação do conceito de cultura proposto por Raymond Williams, além das premissas de outros estudiosos da cultura, focando principalmente nos conceitos de ideologia, de John B. Thompson, e de distinção, de Pierre Bourdieu. Dentro de uma abordagem fenomenológica, foi selecionada a Hermenêutica da Profundidade proposta por John B. Thompson. A técnica de coleta de dados utilizada é a documentação indireta, formada pela pesquisa bibliográfica (os textos, acadêmicos ou não, afins com o objeto e metodologia adotados) e a pesquisa documental (o conjunto das histórias em quadrinhos selecionado). Traçou-se, a partir daí, uma linha do tempo no contexto norte-americano que buscou demonstrar que o processo de legitimação cultural teve início na década de 1960 com o movimento intelectual europeu e o movimento underground norte-americano, seguidos pela publicação de Maus, de Art Spiegelman, e da chegada das graphic novels ao mercado. Ademais, buscou-se elucidar como as histórias em quadrinhos constituem-se como um campo de produção cultural específico e autônomo, que pouco tem a ver com o campo da literatura ou das artes plásticas. Para tal, voltamo-nos ao conceito de campo de Pierre Bourdieu. Como resultados principais, foi identificado que os quadrinhos passaram a ser valorizados como um produto cultural legítimo e instâncias que antes os desprezavam, passaram a reconhecer seu valor e importância no espectro cultural mundial. Com esses resultados, visa-se contribuir para a cristalização do entendimento da história em quadrinhos como um campo de produção cultural legítimo, fazendo com que o debate sobre o mesmo cresça e se diversifique cada vez mais. / This study aims to seek a greater understanding of comics as a cultural product and to understand how, over the years, it has undergone a process of legitimation that has removed it from the stigma of mere mass article, with no cultural value, for a culturally valued object. We sought at first to understand where prejudice against mass culture and consequently against comics arises, and how such prejudice can be understood from a relation of power established by the use of the concept of \"culture \". For this, the initial methodological approach was based on the Cultural Studies, especially from the reformulation of the concept of culture proposed by Raymond Williams, in addition to the premises of other culture scholars, focusing mainly on the concepts of ideology, by John B. Thompson, and of distinction, by Pierre Bourdieu. Within a phenomenological approach, the Depth Hermeneutics proposed by John B. Thompson was selected. The technique of data collection used is indirect documentation, constituted by bibliographic research (texts, academic or not, related to the object and methodology adopted) and documentary research (the set of selected comics). A time line was drawn, in the North American context, which sought to demonstrate that the process of cultural legitimacy began in the 1960s with the European intellectual movement and the North American underground movement, followed by the publication of Art Spiegelman\'s Maus and the arrival of graphic novels in the market. In addition, we tried to elucidate how comics constitute a specific and autonomous field of cultural production that has little to do with the field of literature or the plastic arts. To this end, we turned to Pierre Bourdieu\'s field concept. As main results, it was identified that the comic books came to be valued as a legitimate cultural product and instances that previously despised them, began to recognize its value and importance in the world cultural spectrum. With these results, it aims to contribute to the crystallization of the understanding of comics as a legitimate cultural production field, making the debate about it grow and diversify more and more

Made available in DSpace on 2016-07-27T13:49:30Z (GMT). No. of bitstreams: 1 Josivania Alves de Sousa Silva.pdf: 532750 bytes, checksum: d613ccb3cb202ad06810026c69722e6b (MD5) Previous issue date: 2007-08-29 / This research, assumed that religion supports and legitimates black s and poor people s power belonging to inferior social classes over privileged white society. Was written on purpose to analyze how religion determines and establishes the relationship of power in the Angel Ismael Spiritualistic Center (Voodoo). The main concepts used were: religion as answer to human anxieties; charisma as supernatural talents; and power as charismatic domination. It was put in perspective that religion has as function the legitimization of power and maintenance of reality. It contributes to the construction of the world when when it legitimates social institutions through sacred thought. Religion can influence society through charismatic power, which makes human activities be understood as supernatural facts. In Voodoo, the charismatic leader, witch-doctor, acts on behalf of the divinities. Thus he maintains his followers under his lash. In the Angel Ismael Spiritualistic Center, which was analyzed in this research, it can be noticed this relationship of power and obedience among the leader and his followers. The latter submit to such an obedience in duty to the divinities. Thus it is observed that the relationship of power invoked by the charismatic is one way of making religion assure its strength before society. / Para esta pesquisa partiu-se do pressuposto de que a religião favorece e legitima o poder de pessoas negras, pobres pertencentes a classes sociais inferiores sobre pessoas de classes privilegiadas da sociedade branca. O objetivo desta pesquisa foi analisar como a religião determina e estabelece a relação de poder no Centro Espírita Anjo Ismael (Umbanda). Os principais conceitos trabalhados foram: religião como respostas aos anseios humanos; carisma como dons sobrenaturais; e poder como dominação carismática. Partiu-se de uma perspectiva de que a religião tem como função a legitimação do poder e manutenção da realidade. Ela contribui na construção do mundo quando ela legitima as instituições sociais através do pensamento sagrado. A religião pode influenciar a sociedade através do poder carismático, na qual as atividades humanas passam a ser entendidas como fatos sobrenaturais. Na religião umbandista o líder carismático, o pai-de-santo age em nome das divindades, desta forma mantém um domínio sobre os adeptos do seu grupo. No Centro Espírita Anjo Ismael, o qual foi analisado nesta pesquisa pode-se perceber esta relação de poder e obediência entre o líder e os adeptos. Os adeptos se submetem a tal obediência em respeito às divindades. Desta forma observa-se que a relação de poder invocada pelo carismático é uma das formas que faz a religião assegurar suas forças diante sociedade.

Categories are semantic objects that create order in markets. By categorization, market actors and products become comparable and understandable to various audiences. This thesis examines the construction of the product category of public relations (PR) consultancy in Sweden; a market that has arisen, become economically successful and gained  recognition over the past thirty years, but which still lacks the legitimacy and clarity normally thought of as basic criteria of market categories. Using a semiotic framework and a mixed-method approach, I explore category construction 1) over time, and 2) in practice. In generalized terms, my findings suggest that market categorization processes cannot be understood without taking into account the characteristics of the product being categorized. Whereas ambiguity around labels, denotations and connotations is normally regarded as incompatible with categorization, such fuzziness should be expected to be intrinsic in markets for professional service products like PR consultancy, where the product itself is often thriving on, as well as continuously creating, ambiguity. For instance, the lack of clarity and lack of legitimacy in the Swedish PR consultancy market are found to be both logical outcomes, and enablers, of visibilization and amalgamation, referring to PR consultants’ conscientious management of visibility, and tendency to span boundaries in constructing their services, respectively. Categorization in the traditional sense is further hampered by the dominant label of “PR consultancy” being stigmatized, i.e. suffering from “sticky” negative connotations. In the cultural context of Sweden, the emergence of a PR consultancy market has al-so meant commodification, i.e. the introduction of something hitherto not sold into a sphere of exchangeable things. In this process, PR consultancy seems to have gotten “stuck” between the sphere of salable and unsalable things, as the product is widely sold but continues to be contested across various audiences. Again, my analysis puts this difficulty of PR consultancy finding legitimacy in relation to the product category’s actual content, i.e. rendering legitimacy to others. Finally, I argue that the emergence of PR consultancy, by providing a market place for corporate legitimacy, might be under-stood as a case of a cognitive-cultural market logic on the rise, characterized by struggles for organizational visibility and semiotic sophistication.

How does the international system move from an anarchic system driven by power to a global community driven by the needs/wants of the community at large? Jürgen Habermas utilizes the tenets of his Communicative Action Theory to underline the importance of communicatively based repertoire in the international system between and among states and non-state actors and the citizens themselves. How does arguing and reasoning among states and international institutions bring together legitimization and order? My research aims to analyze the movement of the international system from anarchy towards a global civil society. In doing so, I will examine Communicative Action Theory in International Relations, in particular the development of legitimization processes in international politics, the role of state sovereignty and its effect on the legitimization process of non-state actors. I argue that underdeveloped legitimization processes at the international level consist of fragile consensus building mechanisms that explain why disagreement can and often does lead to violence. However, I also contend that the international system is moving toward a more developed global civil society.

The present study aims at analysing metaphor in the inaugural addresses of American Presidents. It is hypothesised that metaphor is a legitimization strategy which is employed to affect the audience. The research questions were formulated as follows: What conceptual metaphors and their linguistic realizations are used for legitimization in American Presidents’ inaugural addresses and what are their rhetorical implications? The study was carried out within the framework of the Critical Metaphor Theory suggested by Charteris-Black (2005), which is a blend of Conceptual Metaphor Theory and Critical Discourse Analysis. The corpus of the study was compiled of 14 and 16 inaugural addresses delivered by American Presidents affiliated to the Democratic and Republican parties respectively. To achieve the aim the following objectives were set. Firstly, metaphorical expressions were identified and ascribed to the conceptual metaphors they manifest. Secondly, the quantitative analysis was carried out to reveal the frequency of the metaphorical expressions underlying the prevailing conceptual metaphors in the inaugural addresses delivered by the members of both political parties. Finally, the realizations of the conceptual metaphors were contrasted and interpreted across the two political parties. The analysis revealed the following prevailing conceptual metaphors: AMERICA IS A FAMILY, AMERICA IS A PERSON, POLITICS IS A JOURNEY, SIGNIFICANT IS BIG, POLITICS IS A BUILDING, DIFFICULTIES ARE... [to full text] / Šis darbas nagrinėja metaforą kaip legitimizacijos strategiją, dominuojančią Amerikos prezidentų inauguracinių kalbų diskurse. Atlikti tyrimai rodo. kad metafora kaip legitimizacijos strategija yra vartojama siekiant daryti įtaką visuomenei. Tyrimui vykdyti buvo suformuoti tokie klausimai: kokios konceptualios metaforos yra vartojamos Amerikos prezidentų inauguracinėse kalbose legitimizacijos tikslais, kokia yra jų lingvistinė raiška ir kokia yra jų retorinė potekstė? Metafora politikoje, būdama šio tyrimo dėmesio centre, atsiduria tarp kognityvinės lingvistikos ir diskurso analizės. Panašu, kad abi šios mokslo sritys prisideda prie metaforų nagrinėjimo politiniame diskurse, sukurdamos aiškesnį jų pobūdžio ir veikimo ypatumų vaizdą. Taigi, šis tyrimas buvo atliktas remiantis Kritinės metaforos teorija, kuri yra Konceptualios metaforos teorijos ir Kritinės diskurso analizės derinys. Konceptualios metaforos teorijos pirmtakai Lakoff ir Johnson (1980: 4) parodė, jog mūsų konceptuali sistema savo prigimtimi yra iš esmės metaforinė. Metaforos esmė yra vieno dalyko supratimas ir patyrimas kito dalyko atžvilgiu. Mokslininkai teigia, jog konceptualios metaforos, kurios yra vartojamos politiniame diskurse, sėkmingai gali įtikinti, įteisinti bei įtakoti publiką. Susidomėjimas politikų kalba sustiprėjo diskurso tyrinėtojų dėka, kurie nagrinėja metaforų vartojimą politikų pasisakymuose, politinių partijų ir judėjimų dokumentuose, žiniasklaidoje, pokalbiuose prie apvalaus stalo, debatuose... [toliau žr. visą tekstą]

A intenção desta pesquisa é sensibilizar as mulheres religiosas ou não do importante papel de conhecer os tipos de violência que contra elas possam ser acometidas no dia a dia. Outra proposta é refletir sobre seus direitos através da Lei Maria da Penha como forma de conquistar uma vida mais digna e mais saudável. Para isso se faz necessário saber o significado de alguns conceitos como: violência de gênero, feminismo, a mulher dentro da teologia feminista e as transformações que vem ocorrendo dentro de várias igrejas quanto ao papel da mulher. Acredito ser necessário que as nossas instituições religiosas visem uma formação de uma pastoral da mulher em uma perspectiva de participação, tendo como conceito de participação a mulher que não somente trata das questões matrimoniais sistematizadas e instaladas dentro das igrejas, mas também a mulher que através do ato de participação, envolve nas questões sociais, políticas, religiosas, éticas e estéticas de nossa sociedade. Desta forma, espera-se oferecer uma leitura mais consciente acerca do papel da mulher na sociedade e os discursos pregados e legitimados dentro de nossas instituições religiosas e na sociedade. Visamos, então, a auto-afirmação das mulheres como líderes, principalmente no campo eclesiástico. / This research aims to sensitize the religious and not religious women about the important role of knowing the types of violence that may affect them in a daily basis. The other proposal is to reflect about their rights through Maria da Penhas Law as a way to achieve a more dignified and healthy life. In order to do so, it is necessary to know the meaning of some concepts such as gender violence, feminism, the woman within the Feminist Theology and the transformations that have been taking place in several churches concerning the role of women. I believe it is necessary that our religious institutions aim to create a pastoral service for women under the perspective of participation, the concept of participation reveals the woman as the one who not only deals with the systematized matters related to marriage, which are installed in the churches, but also as the one who, through the act of participation, gets involved in social, political, religious, ethical and esthetic concerns in our society. Thus, we hope to be able to offer a conscious reading concerning the role of the woman in society and the discourses that are preached and legitimated within our religious institutions and in society. Then, we take aim at the womens self-affirmation as leaders, mainly in the ecclesiastical arena.

We propose to study in a general way the presence of the musical gender choro (Brazilian musical gender) in the city Aracaju, in Sergipe, Brazil. It inquire which principles give legitimacy to the groups of choro existing in Sergipe s capital, and how the search for legitimacy influences the social relations constructed inside of what we denominated Aracaju s circuit of choro. This term is used as a reference to a common expression among the groups of choro of this city. It is also used as an analyses category which describes the ways of use of an urban space which give support to one determined practice and a observable existence. This circuit is composed by seven choro group that are distributed in distinguished neighborhoods of the city. The concept defended in this dissertation is that Aracaju s choro circuit is fragmented and disputed by the different groups that are part of it, in the search of prestige positions to be occupied by them. These disputes generate the establishment of rivalries which mainly occur between the older and the younger groups, and the construction of solidarity nets as a strategy of being insert on choro context in Sergipe. This paper is structured in three chapters. The first chapter proposes to present the existing representations about this gender and how it has been used as a justification to elaborate projects that incentives its practice and as a motive to explain the option of playing it. In the second chapter is presented the circuit and the relations established in its inner, it is, the practices of solidarity and rivalry. The last chapter analyzes the principles activated to the legitimization of choro groups and the identity rhetoric of being chorão (the musician that plays choro) in Aracaju. / Propomos estudar, de maneira geral, a presença do gênero musical choro na cidade de Aracaju -SE. Procuramos identificar quais são os princípios que dão legitimidade aos grupos choro existentes na capital sergipana, e como essa busca por legitimidade influencia nas relações sociais construídas no interior do que foi chamado de circuito aracajuano de choro, um termo usado tanto como referência a uma expressão comum aos grupos de choro da cidade, quanto como uma categoria de análise que descreve as formas de uso do espaço urbano que acabam por dar sustento de uma determinada prática, possuindo, desta forma, uma existência observável. Compõe o referido circuito sete grupos de choro, distribuídos em bairros distintos da cidade. A ideia defendida no trabalho foi a de que o circuito do choro de Aracaju encontra-se fragmentado e é disputado pelos diferentes grupos que o compõe, na busca por posições de prestígio a ser ocupadas no mesmo. Tais disputas levam ao estabelecimento de rivalidades, ocorridas principalmente entre os grupos mais antigos e os mais recentes e à construção de redes de solidariedade como uma das estratégias de inserção no contexto do choro de Sergipe. Primeiro, propomos apresentar as representações existentes a respeito desde gênero musical e como estas têm sido usadas como justificativas para elaboração de projetos de incentivo a sua pratica e ate mesmo como motivo da opção por tocá-lo. Segundo, apresentamos o circuito e as relações que se estabelecem em seu interior, a saber, as práticas solidariedade e rivalidades. Por último, analisamos os princípios ativados para a legitimação dos grupos de choro e as retóricas identitárias do ser chorão em Aracaju.

O presente trabalho objetiva buscar um maior entendimento da história em quadrinhos como produto cultural e compreender como, com o passar dos anos, ela passou por um processo de legitimação que a tirou do estigma de mero artigo de massa, sem nenhum valor cultural, para um objeto culturalmente valorizado. Buscou-se em um primeiro momento compreender de onde surge o preconceito contra a cultura de massas e, consequentemente, contra as histórias em quadrinhos, e como tal preconceito pode ser entendido a partir de uma relação de poder estabelecida pelo uso do conceito de \"cultura\". Para tal, a abordagem metodológica inicial baseou-se nos Estudo Culturais, especialmente a partir da reformulação do conceito de cultura proposto por Raymond Williams, além das premissas de outros estudiosos da cultura, focando principalmente nos conceitos de ideologia, de John B. Thompson, e de distinção, de Pierre Bourdieu. Dentro de uma abordagem fenomenológica, foi selecionada a Hermenêutica da Profundidade proposta por John B. Thompson. A técnica de coleta de dados utilizada é a documentação indireta, formada pela pesquisa bibliográfica (os textos, acadêmicos ou não, afins com o objeto e metodologia adotados) e a pesquisa documental (o conjunto das histórias em quadrinhos selecionado). Traçou-se, a partir daí, uma linha do tempo no contexto norte-americano que buscou demonstrar que o processo de legitimação cultural teve início na década de 1960 com o movimento intelectual europeu e o movimento underground norte-americano, seguidos pela publicação de Maus, de Art Spiegelman, e da chegada das graphic novels ao mercado. Ademais, buscou-se elucidar como as histórias em quadrinhos constituem-se como um campo de produção cultural específico e autônomo, que pouco tem a ver com o campo da literatura ou das artes plásticas. Para tal, voltamo-nos ao conceito de campo de Pierre Bourdieu. Como resultados principais, foi identificado que os quadrinhos passaram a ser valorizados como um produto cultural legítimo e instâncias que antes os desprezavam, passaram a reconhecer seu valor e importância no espectro cultural mundial. Com esses resultados, visa-se contribuir para a cristalização do entendimento da história em quadrinhos como um campo de produção cultural legítimo, fazendo com que o debate sobre o mesmo cresça e se diversifique cada vez mais. / This study aims to seek a greater understanding of comics as a cultural product and to understand how, over the years, it has undergone a process of legitimation that has removed it from the stigma of mere mass article, with no cultural value, for a culturally valued object. We sought at first to understand where prejudice against mass culture and consequently against comics arises, and how such prejudice can be understood from a relation of power established by the use of the concept of \"culture \". For this, the initial methodological approach was based on the Cultural Studies, especially from the reformulation of the concept of culture proposed by Raymond Williams, in addition to the premises of other culture scholars, focusing mainly on the concepts of ideology, by John B. Thompson, and of distinction, by Pierre Bourdieu. Within a phenomenological approach, the Depth Hermeneutics proposed by John B. Thompson was selected. The technique of data collection used is indirect documentation, constituted by bibliographic research (texts, academic or not, related to the object and methodology adopted) and documentary research (the set of selected comics). A time line was drawn, in the North American context, which sought to demonstrate that the process of cultural legitimacy began in the 1960s with the European intellectual movement and the North American underground movement, followed by the publication of Art Spiegelman\'s Maus and the arrival of graphic novels in the market. In addition, we tried to elucidate how comics constitute a specific and autonomous field of cultural production that has little to do with the field of literature or the plastic arts. To this end, we turned to Pierre Bourdieu\'s field concept. As main results, it was identified that the comic books came to be valued as a legitimate cultural product and instances that previously despised them, began to recognize its value and importance in the world cultural spectrum. With these results, it aims to contribute to the crystallization of the understanding of comics as a legitimate cultural production field, making the debate about it grow and diversify more and more