Esta tese é uma pesquisa em Poéticas Visuais que tem como ponto de partida o Arte Ocupação -- movimento de ações colaborativas nas escolas ocupadas no Paraná em 2016, que, por meio de intervenções diretas, gerou uma série de situações e proposições, as quais refletem e afirmam a condição-ocupação como dispositivo relacional, ao mesmo tempo que interpelam o campo da arte sugerindo um território de desbordes com imagens por vir. Partindo de um referencial conceitual baseado nas ideias do artista, pensador, político e ativista Marcelo Expósito, para quem a arte deve ser articulada por meio de uma função organizadora, buscou-se uma contextualização circunstancial, que, somada a outras interlocuções artísticas e teóricas sobre arte, política, imagem e esfera pública, é indicada aqui como \"prática modal\". Ainda como parte desta, transcreveu-se e traduziu-se para o português a apresentação El arte como producción de modos de organización, de Marcelo Expósito, traduziu-se o texto Sobre el Militante Investigador do Colectivo Situaciones e analisou-se o processo de trabalho do Arte Ocupação a partir da constituição de seu acervo propositivo, a dizer, a oficina Imagin(Ação): narrativas poético-políticas para estados de crise. Atelier-oficina para manifestações-exposições-ópera e as proposições Corpos que se descobrem como corpos que se manifestam, Colar de Chaves, Mato, A Revolução Francesa e Jogral, que podem ser vistas em www.arteocupacao.com. / This thesis is a research in Visual Poetics that has, as a starting point, the Arte Ocupação - a movement consistent of collaborative actions at occupied schools in Paraná, in 2016. This movement, through direct interventions, has generated a series of situations and propositions, which reflect and affirm the occupation-condition as a relational device, at the same time, interpellating the art field suggesting a land of overflows with coming images. Starting from a conceptual referential, based upon the ideas of the artist, thinker, politic and activist Marcelo Expósito, to whom art should be articulated by means of an organizational function, it was sought a circumstantial contextualization, which, added to other artistic and theoretical interlocutions about art, politics, image and public sphere, is here indicated as \"modal practice\". Still as a part of this, it was transcribed and translated into Portuguese the presentation Art as the sourceproduction of organizational modes, by Marcelo Expósito, it was translated the text About the militant investigador from Colectivo Situaciones and it was analized the work process of Arte Ocupação from the constitution of it\'s propositional collection, that is, the workshop Imagin(action): politic-poetic narratives for crisis\' states. Workshop-studio for operaexpositions- manifestations and the propositions Bodies that discover themselves as bodies that manifest themselves, keys necklace, Bush, The French Revolution and Jogral, wich can be seen at www.arteocupacao.com.

Climate change is one of the greatest threats to humanity with millions of people already suffering from its consequences in the last two decades. Social media, as a communication channel, has an important role to play in provoking a response to climate change. Social networking sites are known to be more interactive and potentially provide a great platform for the masses to make their voices heard, shape policy objectives, and even influence intransigent negotiations. This research explored how African youth are using the social media in climate change discussions and advocacy. The literature for this study is drawn from various studies focusing on climate change key issues, climate change communication and application of strategic communication to social media climate change initiatives and campaigns. A mixed method research approach was used to collect data for the study. Findings revealed that Facebook is the common social media platform for climate change discussions among Malawian youth as 62.50% of the participants use it to talk about the issue.

By examining the donations by the local nobility to the local church, this thesis aims to study the church as a public room. By analyzing the donations of the nobility in relation to Habermas concept of the public sphere and the concept of conspicuous consumption the donations to the churches can be viewed as manifestations of power. This thesis studies all donations to the churches that leaves material and visual remnants in the church room. The results shows that there was a conscious strategy for the nobility to use the church for manifestation and representation of power. The nobility used their donations to manifest their power and to represent the power towards the people. This was done by filling the church with their names and coats of arms. By donating liturgical objects, church silver, chapels and coats of arms used for funerals the nobility was able to symbolically place themselves in the religious rituals. The church as a room was a symbolically and hierarchical place, and by connecting themselves with this room by donations the nobility could manifest their position in society, both locally and nationally.

This thesis examines the role of online platforms in relation to anti-progressive counterpublic dynamics. Counterpublicsare understood as alternative discursive arenas that form in response to exclusion from the wider public sphere. The relevance of counterpublics derives both from their ability to influence mainstream political discourse and from how anti-progressive counterpublics have been found to contribute to real-life violence. As the internet becomes an increasingly important venue for political discussion and contestation, the public sphere is extended online. This study explores how platforms can be seen as enabling (or constraining) the dual function of online counterpublics, i.e. as both inward and outward-oriented in relation to opposing publics, by examining the anti-feminist online community known as “Men Going Their Own Way” (MGTOW). The role of platforms is understood in terms of platform affordances, and netnographic methods were used to study these in relation to two online platforms. The results show that the two platforms presented different opportunities for the MGTOW counterpublic to some extent, suggesting that this counterpublic is able to utilise platforms for different purposes. Twitter was found to be particularly suitable for the outward-oriented function, i.e. for interacting with and opposing other publics, while mgtow.com was shown to be fertile ground for the inward-oriented function, and in that sense enabled contact between members in a way that contributed to the development of anti-progressive counterdiscourse.

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The purpose of this study is to examine users ́ opinions regarding the Swedish management of the covid-19 pandemic in two echo chambers, consisting of the comment fields in two ideologically different news pages on Facebook, Aftonbladet and Samtiden. Using a quantitative content analysis in different steps, the study will attempt to answer the following questions: - What opinions are expressed in two eco-chambers regarding the pandemic management in Sweden? -To what extent are these common or not between the echo chambers? The empirical material consists a total of 696 comments which will be analysed and compiled into a result. The result will then be set against two opposing theories, the theory of the Public Sphere and the theory of echo chambers, where these disagree upon whether the two different news pages lead to polarization. Depending on the outcome, the result can be said to be in agreement with one or both of the theories. The result of the study shows that the opinions of the users in the echo chambers are mainly the same which supports the theory of the Public Sphere and the idea of a need for a common consensus in order to maintain a functioning democracy. The opinions concern the subjects Sweden, the Swedish government, the Swedish state epidemiologist Anders Tegnell, the Restrictions and statistic rapports about the death toll in Sweden. The results provide information about the effects of echo chambers in an ongoing pandemic and the overall complexity around the definition of the term.

This study has been inspired by the political events in the past few years that signalled a general decline, instead of consolidation, of democracy in South Africa. The decline has caused a rising trust deficit between the government and the citizens of South Africa. These events have raised questions of the role of the media in the consolidation of democracy. Katrin Voltmer's pioneering work, The Media in Transitional Democracies (2013) shines an important light in delineating the role of the media in transitions, including democratic consolidation. Much of the focus of scholastic research in the subject of media and democracy has been on news and journalistic content. Jurgen Habermas' seminal work, The Structural Transformation of the Public Sphere (1989) also accorded more weight to the rational and cognitive, as opposed to the affective and emotive aspects of the media when arguing in favour of emancipatory potential of the public sphere. The rational and cognitive aspects are generally associated with news and journalistic content (McGuigan, 2005: 430). Unlike Habermas, this study follows the lead by scholars like Van Zoonen (2006) and McGuigan's (2005) interest in the popular entertainment content which has often been regarded as having little significance in politics, especially democracy. In its emphasis on the consolidation aspect of South African democratic transition, the study is conducted against the backdrop of the broader ‘third wave' transitions of the early 1990's (Huntington, 1991). The study's theoretical framework is aligned with Christians et al.'s (2009) revision of the Four Theories (Siebert, et al, 1956) of the press. Their approach is useful because of its normative strength that opens the possibilities of media roles in democratization. The normative approach allows a free exploration of the potential of the media, instead of restricting the media to the political systems within which they operate. In addition, it aligns itself to Jim McGuigan's theory of the cultural public sphere which highlights the often-ignored political potency of popular cultural texts in the public sphere. McGuigan (2005: 430) argues that the affective or emotive aspects of popular cultural texts enhance, rather than hinder, the quality of political engagement in the public sphere. Through entertainment television programmes, democratic ways of life can be portrayed as part of everyday, ordinary life (Stevenson, 2010: 276). Against the widely held expectation that the media should play a positive role in democracies, some scholars have noted that in reality, “this is not necessarily so” (Jebril, Stetka & Loveless, 2013: 3). Rather, the media can serve dictatorships as happily as they serve democracies (Voltmer, 2013: 23). Using the case studies of two soap operas of the South African Broadcasting Corporation (SABC), Muvhango and 7de Laan, the study explores the role of popular media in the enhancement or consolidation of democracy, and the circumstances under which this is carried out. The media of interest for this study is public service broadcasting (PSB). For most democracies of the third wave, especially in Africa, PSB has been an easy victim of political power. Because of its dependence on the state, PSB tends to be more susceptible to political interference than other media types. Like other PSBs, the SABC has clearly spelt-out objectives that are linked to the national developmental objectives, including the goal of promoting and deepening democracy. This connection makes it possible to evaluate the selected entertainment case studies against these objectives. The study uses Multimodal critical discourse analysis (MCDA) because it allows for the analysis of text in its multimodal form such as visuals and audio. It equally allows for the application of analytical tools borrowed from film and television theories. By indirect measurement, MCDA model is used in the study to evaluate how democracy is represented (promoted, negated, omitted) in various aspects of the text.

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