[pt] A contracultura foi um movimento impulsionado pela juventude da década de 1960 que se chocou com a sociedade capitalista e ia contra os seus princípios. Entretanto, para que este movimento de contracultura pudesse se desenvolver, ele necessitava da cultura de massa - que pertence à sociedade capitalista - para se desenvolver e espalhar sua mensagem pelo mundo. São essas tensões entre consumo e contracultura que são detalhadas nesta dissertação, a partir das letras das músicas dos Beatles (grupo musical que foi um dos maiores ícones da contracultura) que retratam, de alguma forma, o universo do consumo. / [en] The counterculture was a movement impulsed by the young people in the 1960 s decade that ran into the capitalist society and it s principals. However, for this movement to work, it needed the mass culture - that belongs to the capitalist society - to spread it s message around the world. These tensions between the counterculture movement and consumption are detailed on this dissertation, inspired on the Beatles lyrics (a rock group that was one of the most popular icons of the countercultere movement) that shows, in some way, the consumption s universe.

[pt] O homem não pode lidar com o caos, tem medo daquilo que não pode controlar (seja técnica ou simbolicamente) e, por isso, precisa imprimir sentido às coisas, aos fatos e às pessoas para se sentir bem e poder viver. O corpo humano é um dos espaços primordiais utilizados para a impressão e a narração de sentido: o uso do corpo foi importante, em todos os tempos, como instrumento simbólico e narrativa cultural. Entre as muitas práticas de utilização do corpo está a tatuagem: modo de se inscrever desenhos sob a pele. Na sociedade contemporânea, o fenômeno do consumo se apresenta como poderosa instância de fornecimento de sentido e classificação, operando em todos os espaços sociais, especialmente através da comunicação de massa. Relacionar corpo, consumo e comunicação pode ser portanto uma estratégia positiva para o estudo da relação entre sociedade e sentido. O que acontece quando unimos corpo, consumo, tatuagem e publicidade? Esta dissertação investiga a prática da tatuagem de marcas de produtos e/ou empresas na pele, como forma de operação socializante e individualizante - um interessante caminho para a compreensão das relações sociais promovidas pelo consumo e pelo corpo em nossa sociedade contemporânea. / [en] The human being cannot deal with chaos - being afraid of all that cannot be controlled (either at technical or symbolic level). To ensure a sense of wellbeing, there is a need to attribute meaning to things, facts and people. The human body is one of the primary spaces used for the impression and narrative of meaning: the use of the body has been relevant, throughout time, as a symbolic instrument and cultural narrative. Tattoo - the practice of inscribing images on the skin - is among the many practices of body use. In contemporary society, the phenomenon of consumption is one of the most powerful areas of social classification and attribution of meaning: it operates in all social spaces, mainly through mass communication. A positive strategy for the study of the relationships between society and meaning may be to relate the human body, consumption and communication. What happens when we relate the body, consumption, advertising and tattoo? This dissertation investigates the practice of tattooing product and/or company brands on the skin, as a strategy for individualization and socialization - an interesting pathway towards the comprehension of the social relations provided by consumption and the body in our present society.

Esta dissertação investiga o processo de formação da identidade, através do trabalho artístico/musical da banda de hip-hop norte-americano: Black Eyed Peas, formada na década de 80, nos Estados Unidos da América. Essa investigação diz respeito às questões de identidades discutidas pela temática do hip-hop, bem como a releitura que esta banda apresenta de elementos tidos como essenciais no gênero em questão. Ainda, visa uma maior compreensão da problemática envolvida na obra artística popular e racial e sua relação com a teoria de massa, para à partir daí, analisar seu potencial de resistência, de criatividade e de protesto. / This research ivestigates the process of meaning meaking/ signifyin(g) in the musical work of a North-american hip-hop band: Black Eyed Peas, founded in the decade of 1980, in the United States of America. This investigation is based on the identity questions discussed by the hip-hop themes, as well as the reelaboration/revisionism that this specific band shows about elements considered essences in the gender studied. Yet, this research intends a better understanding of the matters involved in the popular and racial artistic creation and its relation with the mass theories, in order to analyse its potencial of political resistance, criativity and protest.

Esta dissertação trata exatamente da possibilidade de investigar, com os efeitos das mudanças tecnológicas, econômicas e culturais pelas quais o mundo vem passando, a possibilidade dos meios de comunicação, em particular a comunicação radiofônica, de viabilizar o uso de sua potencialidade para difusão dos movimentos de cultura popular, em especial o cururu, repente do interior paulista. Buscou-se também entender a influência dessas mudanças no cururu, pois nota-se que este vem modificando suas características para resistir diante desse desenvolvimento nos meios de comunicação de massa. O estudo em questão aborda a importância da preservação da cultura local nas emissoras de rádio da cidade de Piracicaba, localizada no interior do estado de São Paulo. Em suas considerações finais, o estudo apresenta dados indicadores do quanto as rádios e os cururueiros da cidade respondem a essas questões, e sugere ações para que as emissoras exerçam seu papel junto aos grupos sociais organizadores, de contribuir com a difusão desta manifestação cultural. / This dissertation signs the possibility of investigating - with the effect of the technological, economic and cultural changes in the world and in mass communication, in particular on radio broadcasting - how to use radios potentiality for the diffusion of popular culture movements, in special the tradition of cururu, a kind of country music free style battle from São Paulos countryside. It also search to understand how these changes influenced cururu itself, as it has been modifying its characteristics to resist in face of the development of the mass medias. This study shows the importance of the preservation of the local culture by the radio stations of Piracicaba city, located in the interior of São Paulo State. In its final consideration, the study presents data indicating where the local radio stations and cururueiros (a person who performs the cururu) stands about this matter. It also points out ways mutual cooperation and how the radios stations can play a leading role in the spread of this popular culture.

A cultura de massa (midiática) tem sido tradicionalmente considerada pouco criativa, alienada e, portanto, menos relevante do que as formas artísticas clássicas e canônicas. Sua incapacidade de se relacionar com a sociedade de outro modo que não como produto disponível no mercado fariam dela mero sustento da lógica de consumo. Propomos no presente trabalho a observação desta forma de cultura a partir de uma outra perspectiva. Com base em teorias Pós-Coloniais, da Complexidade e do Letramento Crítico, mostramos que a alienação da cultura de massa não lhe é uma característica intrínseca, mas uma construção feita a partir de práticas sociais cotidianas. Sendo uma construção, a alienação pode ser desconstruída, e a cultura pode tornar-se crítica, política, socialmente interessada e interessante. Trabalhamos com esta hipótese analisando o heavy metal, tomado como manifestação cultural (de massa) tradicionalmente identificada com a rebeldia e a contestação cultural e social. Observamos diferentes estratégias de dissidência a que recorrem roqueiros e headbangers, constatando que rupturas mais profundas com o conformismo alienado emergem de sua participação crítica em sua cultura musical, na cultura de massa e na sociedade de consumo. A confirmação de tal constatação foi obtida pela análise (multimodal) de um caso, representado pela banda sueca Pain of Salvation. / Mass culture has been traditionally associated with lack of creativity and alienation, being considered less valuable and interesting than classic and canonic forms of Culture and Art. Its only role in society would be that of a commodity. It would be destined to serve consumption. The aim of our research is to offer a change in the perspective from which we see mass culture. Based on concepts and ideas coming from Postcolonial theories, Social Complexity and Critical Literacy, we can see alienation not as an intrinsic quality of mass culture, but as a construction that is socially produced. Therefore, we work on the hypothesis that, being a construction, alienation can be deconstructed, and culture can be made critical, political, socially interested and interesting. In order to confirm this, heavy metal music, traditionally identified with both cultural and social resistance and disobedience, was taken for analysis. We could, then, observe the different strategies of dissidence adopted by rockers and headbangers, finally concluding that deeper ruptures with alienated conformity emerge from their critical participation in the music culture, in mass culture, and in the consumer society. Final conclusions on this were made after the multimodal analysis of a case, represented by the Swedish band Pain of Salvation.

Informacinė sklaida šiomis dienomis yra kaip niekad intensyvi ir įvairialypė. Komunikacinių kanalų gausa ir įvairovė sukuria galimybę aktyviai dalyvauti komunikaciniuose procesuose net pačioms mažiausioms ir uždariausioms visuomenės grupėms. Nuo to, kokiais visuomenės informavimo kanalais ir kokio pobūdžio informacija skelbiama apie tam tikrą grupę, gali priklausyti tiek jos visuomeninio įvaizdžio kaita, tiek tolimesnės raidos tendencijos. Elektroninės šokių muzikos subkultūra – viena iš įdomesnių sociokultūrinių grupių, kurios komunikacijos pobūdis su žiniasklaida ir yra šio darbo objektas. Darbe užsibrėžtas tikslas atskleisti žiniasklaidos ir elektroninės šokių muzikos subkultūros santykį, įvertinti šio santykio kiekybinius ir kokybinius pokyčius per dešimtmetį, išryškinti komunikacinius ypatumus bei išsiaiškinti komunikacijos privalumus ir trūkumus. Tyrimo hipotezės teigia, kad šiandien elektroninės šokių muzikos subkultūros ir žiniasklaidos bendradarbiavimas intensyvesnis nei prieš dešimtmetį, žiniasklaida subkultūrą reprezentuoja pozityviau, retesnis probleminis žinučių kontekstas. Užsibrėžtam tikslui pasiekti bei hipotezėms patikrinti išsikelti uždaviniai apžvelgti su subkultūra susijusius pranešimus naujienų portale Delfi.lt 2001m., 2002m. ir 2009m. spalio ir lapkričio mėnesiais bei naudojant interviu metodą apklausti ekspertus: elektroninės šokių muzikos subkultūros atstovus, žiniasklaidos priemonių redaktorius bei kultūros tyrimų specialistus. Teorinėje darbo dalyje... [toliau žr. visą tekstą] / Information spread nowadays is more intensive and miscellaneous than ever. Plenty of various communication channels enable even the smallest and most reserved society groups to participate in communication processes actively. The choice of certain communication channels and information, that should be published, may influence the changes of the group‘s public image as well as further development of it. Electronic dance music subculture is one of the most interesting sociocultural groups, therefore its communication with mass media has been chosen as the object of this paperwork. The goal of this paperwork is to reveal the relation between electronic dance music subculture and the media, to evaluate both quantitative and qualitative changes of this relation during the last decade, to highlight the most important features of the communication of this subculture, to find its main advantages and disadvantages. The hypothesis of the research suggests that the electronic dance music subculture is more visible in the media than it was a decade ago, that the problematic context of the messages is rarer, and the content of the messages is more positive and commercial. In order to achieve the chosen goal and to prove the hypothesis there were messages about the subculture, published in the news portal delfi.lt in October–November of 2001, 2002 and 2009, examined, and several experts – electronic dance music subculture members, media editors and culture researchers – interviewed. The... [to full text]

In recent years, Media Studies has become increasingly influenced by the Social Sciences. In particular, aesthetic approaches within the field have been diminishing. Humanistic research into fast food is just as scarce. This study seeks to reclaim the humanistic endeavour of aesthetic media research, and to apply it to a study of American fast food. The McDonald's hamburger is used as the prototype. The study explores the difficulty in postulating an aesthetic arena in Media Studies. A case is made for the burger as an instance of popular art, and various models of poplar art are engaged to this end. The burger does have aesthetic properties, but they are fleeting and inhibited by the technological nature of the artefact. At the same time, it also exists as an example of mass culture, as it increasingly sets the framework for popular art. An existentialist approach to fast food shows up its compulsive nature, and the autonomous role of technology emerges as a theme which both helps explain its popularity and helps to limit its artistic potential.

Submitted by Marcio Guedes Correa (marcioguedesc@gmail.com) on 2018-08-10T00:21:17Z No. of bitstreams: 1 MARCIO GUEDES CORREA - TESE.pdf: 1593574 bytes, checksum: 4d741e74ae4888d65c905115ea7788bc (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-08-10T19:32:04Z (GMT) No. of bitstreams: 1 correa_mg_dr_ia.pdf: 1593574 bytes, checksum: 4d741e74ae4888d65c905115ea7788bc (MD5) / Made available in DSpace on 2018-08-10T19:32:04Z (GMT). No. of bitstreams: 1 correa_mg_dr_ia.pdf: 1593574 bytes, checksum: 4d741e74ae4888d65c905115ea7788bc (MD5) Previous issue date: 2018-07-27 / Esta pesquisa bibliográfica tem como objeto de análise o termo “gênero musical”, considerando-se a multiplicidade de função e significado com que ele é empregado nos diferentes repertórios e a dificuldade em conceituá-lo de forma unívoca. Para cumprirmos com esses objetivos, realizamos um levantamento bibliográfico com o intuito de identificar e descrever o conceito de gênero musical em suas diversas e multifacetadas abordagens, além de verificar a sua evolução no contexto histórico-musical. Foram coletados 33 artigos de revistas científicas de diversas áreas de conhecimento. Com este levantamento, percebemos que fatores históricos, culturais, estéticos e sociais interferem na sua classificação. Também ficou patente a inexistência de gêneros puros, tanto no repertório erudito como no popular e na música de tradição oral. Verificamos que em determinadas áreas de conhecimento o seu sentido estético não é prioritário, em função de uma política mercantil de vendagem e distribuição da produção musical. Concluímos que os gêneros musicais são voláteis em sua essência e têm sido empregados de forma diferenciada e multifacetada. Avaliar os seus múltiplos usos e o destino que eles obtêm nas diversas áreas de conhecimentos pareceu-nos uma tarefa necessária. De certo modo, a pesquisa aqui realizada ampliará as reflexões acerca das diferentes necessidades que conduzem às classificações musicais. Serviram de fundamentação teórica para esta investigação os textos de G. Denizeau, J. Zamacois, F. Fabbri, entre outros. A pesquisa contempla quatro capítulos descrevendo a maneira como gênero é avaliado no repertório da música erudita, popular e de tradição oral. / This bibliographic research aims to analyze the term "musical genre", considering the multiplicity of function and meaning with which it is used in different repertoires and the difficulty in conceptualizing it in a univocal way. In order to fulfill these objectives, we carried out a bibliographical survey with the purpose of identifying and describing the concept of musical genre in its various and multifaceted approaches, as well as verifying its evolution in the historical - musical context. A total of 33 articles were collected from scientific journals of different areas of knowledge. With this survey, we perceive that historical, cultural, aesthetic and social factors interfere in its classification. It also became clear that there are no pure genres, both in the popular and classical repertoire and in oral tradition. We also find out that in certain areas of knowledge, the aesthetic sense is not a priority due to a commercial policy of selling and distributing the musical production. We conclude that musical genres are volatile in their essence and have been used in a differentiated and multifaceted way. Assessing their multiple uses and the purpose they gain in the various areas of knowledge seemed to us to be a necessary task. In a way, the research carried out here will amplify the reflections on the different needs that lead to musical classification. The texts of G. Denizeau, J. Zamacois, F. Fabbri, and others were the theoretical basis for this research. The research contemplates four chapters describing the way in which genre is evaluated in the repertoire of classical music, popular and oral tradition.

Petit Peuple est un terme qui désigne l’ensemble des créatures humanoïdes issues des croyances païennes et des traditions folkloriques : Fées, Lutins, Elfes, Nains, Gnomes, etc. Si, au cours du XIXe siècle, elles semblent avoir été peu à peu délaissées par une littérature qui se voulait sérieuse, le développement au XXe siècle d’une nouvelle littérature de jeunesse, affranchie du corpus légendaire mais ancrée dans l’imaginaire, a vu leur retour en force à la faveur d’un renouvellement ludique de l’héritage littéraire. À la logique de l’édification succédait celle de récréation, comme au souci de compilation celui d’invention.Il est ainsi possible d’observer que la façon dont sont présentés les membres des différentes communautés féeriques, vestiges de croyances anciennes réappropriés par notre culture contemporaine afin d’évoquer les problématiques qui lui sont propres, réveille dès lors la capacité allégorique de ce personnel surnaturaliste.Il s’agit ici de rendre compte de la manière dont celui-ci est identifié, décrit et utilisé dans un corpus faisant appel à différents supports médiatiques : roman, album, BD, cinéma, télévision, jeu vidéo. Il est alors proposé de comprendre les différents ressorts de ce renouement avec des figures très anciennes dans une société qui ne croit plus en ses légendes ancestrales.Sous quelle(s) forme(s) et de quelle(s) manière(s) nous sont présentés les membres de la communauté féerique dans nos fictions contemporaines ? Quel est l’impact interculturel et intermédiatique de ce phénomène ? Quels sont les enjeux de ce retour à un imaginaire ancien pour notre société qui ne croit plus en ces légendes populaires ? Telles sont les questions soulevées au cours de ce travail.Il s’agit donc de considérer l’étude des représentations du Petit Peuple dans notre littérature de l’imaginaire contemporaine comme l’élément central d’une large problématique, s’appuyant sur un fait de société – le renouvellement de cette tradition au sein de notre culture littéraire – et qui englobe à la fois des considérations culturelles, littéraires, sociales, commerciales, ou encore historiques, et qui semble alors révéler un besoin de se tourner de nouveau vers les sources de notre imaginaire. / The core issue of this PhD thesis is the Faerie People (Fairies, Elves, Goblins, etc.) who originate from traditional folklore and pagan beliefs. Although this imaginary world was forsaken in the 19th century by a French literature which did not consider it as a serious topic, the growth of a new children literature in the 20th century has allowed a revival of the allegorical nature of these characters for entertaining purposes. It is necessary to demonstrate how the Faerie People is identified, described and used in a corpus that comprises different media, such as novels, comics, cinema, television, and video games. Besides, it will be interesting to understand the different elements which explain the renewal of these ancient characters and its impact on our society.How do the contemporary artists choose to represent these magical characters in their works? What impact does such phenomenon have on cultures and media? What are the challenges of this revival for our society which no longer believes in these popular legends? All these questions are developed in this work.In a nutshell, the representation of the Faerie People in our contemporary imaginary corpus is the core issue of this thesis. Based on the revival of an ancestral tradition, this study is carried out from a cultural, literary, social, marketing, and historical perspective as it seems to reflect our society’s need to get to the roots of this imaginary world.

L'œuvre de Martín Kohan (Buenos Aires, 1967), écrivain prolifique à la notoriété grandissante au sein de la littérature argentine contemporaine, est l'objet de ce travail de recherche. Nous abordons le corpus – constitué par l'essentiel de l'œuvre : huit romans sur les neuf publiés à ce jour, La pérdida de Laura (1993), El informe. San Martín o el otro cruce de los Andes (1997), Los cautivos. El exilio de Echeverría (2000), Dos veces junio (2002), Segundos afuera (2005), Museo de la Revolución (2006), Ciencias morales (2007), Cuentas pendientes (2010); et deux recueils de nouvelles, Muero contento (1994), et Una pena extraordinaria (1998), principalement – sous l'angle de l'antagonisme, motif essentiel de l'univers fictionnel de Kohan, non seulement sur le plan de la diégèse mais également sur celui de la forme. Ce travail part de l'observation d'une constante au sein d'un corpus pourtant très varié : un rapport dichotomique, fait d'incompréhension et parfois de violence, entre la culture populaire ou la culture de masse, et la culture lettrée. La première partie de la thèse en propose une analyse systématique dans les cinq romans qui abordent explicitement ce type de conflit sous les modalités les plus diverses. La deuxième partie explore d'autres procédés qui tendent à confirmer le rôle structurant de l'antagonisme au sein de l'œuvre : si la mise à mal de l'union amoureuse semble exprimer la fatalité du malentendu, la dévalorisation des personnages du « milieu » et de la figure du consensus d'une part, et l'aspect revigorant des conflits menés à leur dernière extrémité d'autre part, révèlent l'aspect positif et particulièrement dynamique de l'antagonisme. La dernière partie se consacre aux implications de ce motif, omniprésent au point de représenter une nécessité : sur le plan politique – car sans être réaliste, la littérature de Kohan met en action la révolution marxiste en élaborant des figures de contre-pouvoir – ; sur le plan littéraire, où l'antagonisme montre toute sa fécondité. Le rapport hypertextuel, établi notamment avec des textes qui font autorité dans la littérature nationale, en est une expression essentielle ; mais la dichotomie est aussi une composante qui se manifeste à tous les niveaux de l'écriture, de l'unité minimale du mot à l'architecture complexe des romans. À la lutte entre personnages fait écho celle – défi formel le plus ambitieux – qui se joue entre le fond et la forme, source d'inépuisable ambivalence qui constitue l'une des spécificités les plus intéressantes de cet écrivain brillant. / The purpose of this study is to examine the literary work of Martin Kohan (Buenos Aires, 1967), prolific and increasingly renowned writer in contemporary Argentinian literature. We analyse the corpus – made up of the essential of his work: eight novels out of the nine published so far, La pérdida de Laura (1993), El informe. San Martín o el otro cruce de los Andes (1997), Los cautivos. El exilio de Echeverría (2000), Dos veces junio (2002), Segundos afuera (2005), Museo de la Revolución (2006), Ciencias morales (2007), Cuentas pendientes (2010); and two collections of short stories, Muero contento (1994), and Una pena extraordinaria (1998), mainly – from the perspective of antagonism, an essential pattern in terms of diegesis but also in terms of form. The starting point of this study is the observation of a constant within a diverse work: a dichotomous relationship made of incomprehension and sometimes violence between popular culture and literate culture. The first part of the thesis consists of a systematic analysis of the dichotomy in the five novels which explicitly explores this type of conflict. The second part examines other devices that tend to confirm the structuring role of antagonism throughout Kohan's fictions : love's defeat seems to express the fatality of misunderstanding, yet the depreciation of the middle characters and of consensus on the one hand, and the invigorating nature of conflicts when driven to their end on the other hand, reveal the positive and particularly dynamic aspect of antagonism. The last part focuses on the implications of this pattern which perbades to the point of becoming a necessity: on a political level– although Kohan's literature is not realistic, it activates the Marxist revolution by developing counter-power figures –; in literary terms, where antagonism proves a productive force. The hypertextual relation, set up especially with seminal national pieces, is an essential expression of this productivity but the dichotomy also operates at every level of writing, from the minimal unit of the word to the whole architecture of the novels. Echoing the conflicts between the characters is another type of conflic – the utmost formal challenge, that opposing form and content, an inexhaustible source of ambivalence which represents one of the most interesting features of this brilliant author.