Orientador: Arnaldo Franco Júnior / Banca: Maria Lúcia Outeiro Fernandes / Banca: Luciene Azevedo / Banca: Sérgio Vicente Motta / Banca: Álvaro Luiz Hattnher / Resumo: Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro "jogo-de-armar" novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo. / Abstract: Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works' composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn't limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time. / Doutor

Made available in DSpace on 2014-12-17T14:19:50Z (GMT). No. of bitstreams: 1 AlexandreHS.pdf: 499108 bytes, checksum: 136cf3be3a5da435135df46f81187d7f (MD5) Previous issue date: 2009-08-06 / This study aims to examine the contemporary viewer and also propose a review of the literature surrounding the spanish researcher J?sus Mart?n-Barbero. The proposed review, based on Mart?n-Barbero observations and the Latin American Cultural Studies analysis, observes the individual as part of the processes of communication and research on the concept of cultural mediation, the viewer as component/agent/object of the production of meaning. The study will perceive it as an element of inaccuracy/inadequacy and understand it as a subject of these reactive processes that contain complex and involve communication and culture, in contrast the impressions that resulted from a discussion between a television professional and a communication researcher and of these findings on the same viewer. The work also aims to point the viewer as a component of the possible mapping desired by Mart?n-Barbero to massive contemporary interpretation of the processes and its concept of night map / O presente estudo pretende analisar o espectador contempor?neo propondo para tanto uma revis?o bibliogr?fica em torno da literatura do pesquisador espanhol J?sus Mart?n- Barbero. A revis?o proposta, calcada nas reflex?es de Mart?n-Barbero e dos Estudos Culturais Latino-Americanos, sobre o sujeito diante dos processos de comunica??o e no conceito do pesquisador sobre media??o cultural, entende o espectador como componente/agente/objeto dos processos de produ??o de sentido. O estudo procurar? perceb?-lo como elemento de imprecis?o/imperfei??o e compreend?-lo como sujeito reativo destes mesmos processos complexos que o encerram e envolvem comunica??o e cultura, em contraponto as impress?es que resultaram de uma discuss?o entre um profissional de TV e um pesquisador e das conclus?es destes sobre este mesmo espectador. O trabalho pretende ainda apontar o espectador enquanto componente poss?vel da cartografia pretendida por Mart?n-Barbero ? interpreta??o dos processos massivos contempor?neos e do seu conceito de Mapa Noturno

From a historical-cultural approach, this work promotes the development of a reception ethnography through observation of the comments posted by individuals inside a Facebook social media community. This community was chosen because of its central theme, the American blockbuster The Hunger Games, released in filmic format in 2012 and widely marketed and released in Brazil. Initially we built a brief historical overview of the various issues that revolve around the use of academic research in images as well as scientific works, by virtue of its forms design and use by individuals so far. This predilection is discussed and questioned, and the conditions that made possible, especially from the First World War - 1914/1918 - (with a significant worsening after World War II - 1939/1945). The birth of the capitalist economic model led by the United States of post-war America, and the linked development of the film industry in Hollywood are considered decisive factors for the global distribution of their film productions. Finally, we discuss the emergence of social networks, especially social media chosen as virtual such as Facebook (which has North American), origin and is situated between the three social media most used by Brazilians with Internet access currently , showing the various possibilities of social manifestations of individuals who present themselves both as members participants as producers and disseminators of many speeches. / A partir de uma abordagem histórico-cultural, esse trabalho promove a elaboração de uma etnografia da recepção através da observação dos comentários publicados por indivíduos dentro de uma comunidade da mídia social Facebook. Tal comunidade foi escolhida em virtude de seu tema central, o blockbuster norte-americano Jogos Vorazes, lançado em formato fílmico no ano de 2012 e amplamente comercializado e divulgado no Brasil. Inicialmente construímos uma breve retrospectiva histórica sobre as diversas problemáticas que giram em torno da utilização das imagens em pesquisas acadêmicas bem como em trabalhos científicos, em virtude de suas formas de concepção e de utilização pelos indivíduos até então. O despontamento do modelo capitalista de economia liderado pelos Estados Unidos da América pós-guerras, e o atrelado desenvolvimento da indústria cinematográfica hollywoodiana, são considerados fatores determinantes para a difusão mundial das suas produções cinematográficas. Finalmente, abordamos o surgimento das redes sociais, em especial da mídia social escolhida enquanto campo de observação virtual, o Facebook, a qual possui origem norte-americana e está situada entre as três mídias sociais mais utilizadas pelos brasileiros com acesso à internet atualmente, evidenciando as diversas possibilidades de manifestações sociais dos indivíduos que se apresentam tanto enquanto membros participantes quanto produtores e divulgadores de discursos diversos.

Esta dissertação traz uma abordagem das questões sócio-históricas e culturais que nortearam a formação de inúmeras conceituações acerca da cultura brasileira durante as décadas de 1960 e 1970, e tem como objeto de pesquisa a vida e a obra do poeta Solano Trindade, suas atividades intelectuais, poéticas e teatrais. No aporte teórico do trabalho, as manifestações da cultura popular e as suas relações com as práticas culturais autenticadas pelos meios de comunicação de massa foram investigadas, com o intuito de trazer à luz as conseqüências desse encontro, os debates sobre as políticas culturais que surgiram na tentativa de controlar tais expressões, os focos de resistências e a configuração social pautada pela modernidade capitalista. A idéia de contribuir para uma noção de cultura, e como ela perpassou inúmeras definições na sociedade brasileira, atravessou a maioria das indagações durante as leituras e análise de dados que guiaram a redação. Revisar um período conturbado em termos de novos horizontes sociais e políticos no Brasil, nos permitiu avaliar uma realidade nem sempre clara para a maioria dos grupos sociais. / This dissertation brings socio-historical and cultural issues that guided the formation of many conceptualizations about the Brazilian culture during the 1960s and 1970s in Brazil, and aims to research the poet Solano Trindade\'s life and work, his intellectual, poetic and theatrical activies. In support of theoretical work, the popular culture manifestations and its relations with the cultural practices certified by the mass media were investigated in order to bring to light for the consequences of this meeting, the discussions about the cultural politics that have emerged in attempt to control such expression, the focus of resistance and social configuration lined by capitalist modernity. The idea of contributing to a sense of culture, and how it permeates many settings in Brazilian society, it crossed most of the inquiries during the readings and data analysis that guided the writing. To review a confused period in terms of new social and political horizons in Brazil allowed us to evaluate a fact not always clear to most social groups.

Apparu vers le milieu du XIXe siècle comme jargon dans les cercles artistiques munichois désignant une image de piètre qualité, bon marché, le mot kitsch s’utilise aujourd’hui non seulement dans le monde de l’art mais aussi dans la vie quotidienne toujours avec un sens fortement péjoratif. Considéré en général comme « mauvais goût », « art sans valeur », « camelote artistique », ou « art vulgaire », le kitsch n’est pourtant pas un concept qui demeure seulement dans une dimension esthétique ou artistique. Les divers phénomènes historiques du kitsch, émergés dans le contexte de la modernité, comme « la bib[e]lotomanie », « le roman-feuilleton », « l’art pompier » en France au XIXe siècle, ou encore « la peinture de salon de coiffure » en Corée au XXe siècle, trahissent tous que le kitsch est en effet une attitude que l’homme adopte vis-à-vis de son existence et du monde dans la réalité. L’essentiel de ce concept réside donc dans sa négation ou mieux dans sa fuite de la réalité. Voilà pourquoi la photographie se présente comme un médium qui mérite d’être étudié en rapport avec le kitsch. Médium qui a un lien spécifique par excellence avec le réel, elle ne cesse de faire ontologiquement le va-et-vient entre le présent et le passé, l’instantanéité et l’éternel, l’ici et l’ailleurs, le sujet et l’objet, la vie et la mort, etc. C’est en effet à cause de cette ontologie paradoxale que la photo peut devenir, selon « l’acte photographique », non seulement de l’art mais aussi du kitsch. Ainsi, l’attitude envers ce dernier que les artistes laissent apercevoir à travers leur œuvre photographique s’avère extrêmement variée, et ambiguë, voire même contradictoire tout comme chez Pierre et Gilles, Vik Muniz, Sebastião Salgado et Oliviero Toscani. / Appeared in the mid-nineteenth century as a jargon in the artistic circles of Munich designating a cheap image of poor quality, the term “kitsch” is used today not only in the art world, but also in everyday life, always with strongly pejorative sense. Generally considered as “bad taste”, “worthless art”, “artistic junk” or “vulgar art”, kitsch, however, is not a concept that remains only in aesthetic or artistic field ?. Various historical phenomena of kitsch which had been all emerged in the context of modernity, such as “bib[e]lotomanie”, “serialized novel”, “academic art” in France in the nineteenth century, or “barbershop’s painting” in Korea in the twentieth century, show that kitsch is indeed an attitude of human being toward his own existence and the world. The essence of this concept lies therefore in his negation of reality, or better in his escape from reality. That’s why photography deserves to be studied in relation with the kitsch. Having a specific link with the reality, the medium oscillate ontologically between the present and the past, the instant and the eternity, the here and the elsewhere, the subject and the object, the life and the death, etc. It is indeed because of this paradoxical ontology that the photography can become, according to the “acte photographique” not just art but also kitsch. Thus, the attitude to the latter the artists let reveal through their photographic work turn out extremely varied and ambiguous, even contradictory such as it does in the work of Pierre et Gilles, Vik Muniz, Sebastião Salgado and Oliviero Toscani.

L’objectif de cette thèse doctorale intitulée « Les stars et la cinéphilie dans la culture cinématographique espagnole du début du XXe siècle : le cas Greta Garbo » est d’analyser l’impact que cette star a pu produire dans la société espagnole de l’époque, en tenant compte du fait que cette société était traversée par des débats ayant trait à la renégociation des rapports entre les sexes et à des questions de différenciation sexuelle. Les principales sources utilisées à cet effet sont les revues de cinématographie publiées en Espagne à la fin des années 20 et la première moitié des années 30. Ce travail étudie d’abord la réception des premiers films muets de Garbo qui impliquent l’apparition d’une image féminine inédite. Cela permet de montrer que la culture cinématographique de la fin des années 20 présente Garbo comme une véritable artiste investie d’un grand pouvoir créateur. Ensuite, au cours des années 30, la presse cinématographique révèle un changement d’orientation, ce qui est en partie lié à l’évolution du discours cinéphilique, un discours « genré » qui se construit au détriment des femmes et des stars. Dès lors, l’image de Garbo est remise en cause par une légion de journalistes qui entendent servir le prestige d’un auteur : le réalisateur du film. Ce revirement est ici interprété à la lumière des tensions que Garbo provoquait parce qu’elle incarnait un modèle féminin transgressif. La fin de ce travail montre également que l’image de Garbo était encore bien présente dans les premières années du franquisme, la culture cinématographique de cette période comprenant des similitudes et des continuités avec celles des années 20 et 30. / The purpose of this doctoral thesis entitled « Stars and cinephilia in the early XXth century Spanish cinematographic culture: the example of Greta Garbo » is to analyse the influence that this star may have produced in the Spanish society at that time, taking into account that this society was going through some debates related to the renegociation of the relations between sexes and to sexual differentiation issues. The main sources used in this respect consist of the journals published in Spainthroughout the late twenties and the first half of the thirties. First of all, this research focuses on the reception of the first silent Garbo movies that implies the appearance of a new female image. By doing so, one can see that the cinematographic culture of the late twenties introduces Garbo as a real artist with a great creative power. Then, in the thirties, the Spanish film journals reveals a change ofdirection which is in part due to the evolution of cinephilic discourse, a gendered discourse which develops at the expense of women and stars. From then on, the Garbo image is questioned by a legion of journalists pretending to defend the prestige of an “auteur”: the film director. In this study, this reversal is interpreted in the light of the tensions that Garbo provoked as she embodied a transgressive female image. The end of this research also shows that the Garbo image was still alive through the first years of Francoism, the cinematographic culture of this period including similarities and continuities with the twenties and thirties’ one.

The thesis seeks to compare the role of pop art and popular culture in art in Great Britain and Czechoslovakia in the 50s and 60s of the 20th Century. We shall focus on the relationship of popular culture and art in both countries with regards to their different social and political backgrounds. In the beginning of the thesis we shall delimit some of the theoretical concepts such as popular culture or popular art. We shall also try to define the concept of art itself. The thesis will not omit to characterize the basic features of British and American pop art. The work will introduce quintessential representatives (individuals as well as groups) of pop art from the British and Czechoslovakian art scene of the selected time period. On those particular examples, we shall look for identical attributes or differences in their art works which should be conditioned by the specific cultural and social settings of the society. We should also take into consideration some of the art techniques or technologies used within pop art and also at least in general the relations to popular music, architecture and literature.

Task of this thesis is to analyse forms of autors functions in cyberspace. The term autor function commes from Michel Foucaults thesis based on historical and cultural determination of wiew on autorship. The theory is based on point of wiew that society see autor through his function in discours, in case this regularity function is in a discours present. It provides specific way of existence, circulation and effect of discours within society. The issue of cyberspace is that it established originaly new possibillities of spreading of data. This possibilities broke down a former fear felt by mass medias, which finaly decided to move to cyberpace, which was allowed by their digitalization. There are two ways how to use the cyberspace. First is mass medial way, second way is cybercultural. Those ways are contradictory. Each of those ways has its own cultural practises, on which is based form of author funcion. Biggiest difference between those forms is that the mass media takes this form as some kind of private property, on which is based their working. On the opposite is form of author funcion typical for cyberculture, which is property free. The difference of those forms of autor function is the main reason, why are these two ways of using cyberspace in constant conflict.

Coal seams are commonly associated with poor quality water that requires treatment. Water treatment can be very expensive and can severely affect the profitability of mining projects. This study investigated the potential cultivation of Arthrospira maxima (Spirulina) in coal seam water to beneficiate coal seam water in order to effectively offset the water treatment cost. The study was conducted in Northern South Africa and formed part of a larger Coal Seam Water Beneficiation Project (CSWBP). The study consisted of laboratory based Flask Studies and outdoor High Rate Algal Pond Studies. The Flask Studies that were carried out in the on-site field laboratory, found that the coal seam water could provide a suitable medium for Spirulina cultivation. In addition, it was found that the optimal pH for the selected strain ranged between 9 - 10.5 and that the addition of excess iron, up to 100 times the concentration found in defined growth media such as Schlösser’s, to the culture media could enhance productivity. The High Rate Algal Pond Studies (HRAP) were carried out over a period of 18 months. The studies showed that the coal seam water at the CSWBP is a valuable resource that can reduce media costs by 50% without affecting productivity. In a study encompassing 334 days it was shown that heating the culture through plate heat exchangers would result in a significant increase in productivity and a heated productivity of 19.86 g/m2/day was recorded. An unheated productivity of 14.11 g/m2/day was recorded. Therefore, it was found that it would be economically feasible to beneficiate coal seam water found at the CSWBP through the cultivation of Arthrospira maxima (Spirulina). / Environmental Sciences / M. Sc. (Environmental Science)

基於生理、心理與社會因素，女性愉悅較男性複雜。本論文試圖藉由美國當代暢銷作家尼克拉斯‧史派克的愛情小說為文本，結合許多性別相關的理論去探討女性愉悅。史派克的羅曼史是當代文本，唯美的純愛是其特色，然而，這些帶來美好感受的愛情故事，是否是讀者們真心嚮往的美好愛情? 讀者在享受閱讀文本的當下，或許也默默地被一種僵化的愛情公式所限制，所謂的快樂，也許只是一種暫時的麻痺。 本篇論文從幾個不同角度切入去分析女性愉悅和羅曼史的關聯，第一章以丁尼斯坦的理論為切入點，就心理與社會層面探究為何女性在選擇伴侶上比男性有著更多限制，其理論也連結到嬰兒期由母親養育對於不同性別成年後伴侶關係有影響 ; 第二章以史派克這三本羅曼史<<手札情緣>><<瓶中信>><<分手信>>文本為主，並結合性別理論去分析羅曼史，探討其女性在羅曼史中的真相為何，文本裡也有許多部份展現出女性的許多壓抑；第三章以讀者回應為主要分析，藉由社群網站臉書的讀者真實回應，並結合過去其他做過相關讀者回應的理論與實際田野調查，分析不同時候讀者都藉由羅曼史得到快樂，不同的讀者群有共同與相異的讀者回應；第四章從這三本羅曼史的書信體形式，研究他者的缺席如何帶來快樂與痛苦，遠距離的愛情造就書信的存在，這其中的等待與期待，盼望與失望，主體不斷找尋失落客體的過程，都不斷創造失落與愉悅；第五章結論綜合前四章論點，提出女性要真正愉悅的努力方向。 / Due to biological, psychological and social reasons, female pleasure is seen as much more complicated than male pleasure. In this thesis, I try to analyse female pleasure by applying gender theories to the romances of Nicholas Sparks. Sparks is a contemporary writer mainly producing pure love stories. Are these love stories the ideal that readers pursue? When readers get pleasure from reading romance, they may be brainwashed unconsciously and limited by a fixed pattern of love. So-called happiness might be a temporary escape. This thesis attempts to analyse the relationship between female pleasure and romance from several perspectives. Chapter 1 assesses Dorothy Dinnerstenin’s viewpoint that women face more psychological and societal constraints when choosing a partner. The mother takes care of children when they are infants, leading to differentiation of the opposite sex as they grow up. Chapter 2 examines three of Sparks’ romances – The Notebook, Message in a Bottle and Dear John – in the context of various theories to analyse the truth in romance and how repression is reflected in these texts. In Chapter 3, readers’ responses are the main focus. I have used readers’ responses gathered from Facebook and have made a connection with other romance reader responses. I have also attempted to combine both the similar and different viewpoints in Radwan’s Reading Romance and Linda K. Christian-Smith’s Becoming a Woman through Romance with my own analysis. In Chapter 4, I have used the epistolary form of these three romances to research how the lack of the other brings pleasure and pain. The epistolary form stems from long distance relationships, and during the process of waiting letters, the subject keeps finding the lost object and acquires pleasure and pain again and again. Chapter 5 is my conclusion and proposes a way for women to find real pleasure.