A pesquisa examina o modelo de comunicação pública adotado pela CBC/Radio-Canada e as principais discussões nacionais e internacionais sobre a missão da mídia de serviço público no século XXI em busca de subsídios à construção de um modelo de serviço público adequado ao Brasil, com sustentabilidade financeira, autonomia editorial e administrativa, gestão profissional e compromisso social. O modelo jurídico-institucional da CBC/Radio-Canada é semelhante ao da Empresa Brasil de Comunicação (EBC), criada em 2008 com a proposta de prestação de serviço público apesar de fortemente ligada ao governo federal. Tal ligação suscita dúvidas quanto à possibilidade de uma empresa de comunicação atrelada ao Estado oferecer conteúdos sem ingerência política, com uma pauta voltada ao interesse coletivo e com gestão profissional, livre de paternalismos. Por meio de revisão de literatura e de entrevistas estruturadas com oito especialistas canadenses em mídia pública, conclui-se, a partir da experiência da CBC/Radio-Canada, que o modelo estatal pode ser eficaz desde que haja vontade política e grande vigilância por parte da sociedade. Mesmo assim, é um modelo imperfeito e vulnerável às alterações do clima político-partidário. Recomenda-se o aperfeiçoamento do modelo por meio de um maior envolvimento da sociedade nos conselhos administrativos e curadores. Conclui-se, ainda, a partir dos novos paradigmas da mídia de serviço público, que, no novo cenário midiático de múltiplas ofertas e múltiplos canais, os investimentos do Estado em comunicação só se justificam se as empresas públicas apresentarem conteúdo distinto do oferecido pelas comercias. Aponta-se como alternativa viável uma aproximação com os movimentos sociais e a transformação das emissoras públicas em fóruns plurais e democráticos de debate sobre temas coletivos e polêmicos negligenciados pelas grandes redes. / This thesis presents an assessment of the CBC/Radio-Canada´s public service broadcasting model and the main national and international discussions on the mission of the public media at the 21th century in search for contributions to the establishment of an adequate model for the Brazilian public media which will be able to guarantee financial sustainability, editorial and administrative independence, professional management and social commitment. The CBC/Radio-Canada´s juridical and institutional model is similar to the one adopted by the Empresa Brasil de Comunicação (EBC), founded in 2008 to offer distinctive public service despite strong links with the federal government. Such liaison brings doubts whereas is possible for a media company connected to the State to offer programs without political interference, with public interest content and professional management, free of protégées. Through literature revision and structured interviews with eight Canadian public media specialists and from the CBC/Radio-Canada´s experience, this research arrived to the conclusion that the state model can be efficient if there are political will and strong society´s vigilance. Even so the model is imperfect and vulnerable to the political mood. We suggest the model improvement through stronger society´s participation on the Directors Board. It is also possible to conclude that, in a media environment of multiple channels and multiple offers, the States´ investment in communication is only justified if the public media provides distinguished program. A close partnership with the social movements and the transformation of the public broadcasting service in a democratic and plural forum open to the debate of subjects neglected by the mainstream companies is appointed as a viable alternative for the survival and empowerment of the public broadcasting service.

[pt] Partindo do reconhecimento das crianças como atores sociais e considerando o Espaço como mediador das relações e formador da subjetividade humana, esta dissertação, realizada sob inspiração etnográfica, é um mergulho em uma pracinha da cidade do Rio de Janeiro. O foco do estudo esteve voltado para os espaços destinados às crianças em nossa cidade e, o objetivo central foi pesquisar as relações entre crianças e adultos em um espaço público. Ao perceber as redes de significados que envolvem os freqüentadores da Praça Xavier de Brito, também conhecida como Praça dos Cavalinhos, este estudo pretende contribuir para o debate sobre a infância em diferentes contextos sociais, ajudando a pensar sobre o papel e o lugar das crianças na contemporaneidade. / [en] Based on the recognition of children as social actors and considering the space as a mediator of relations and having a forming effect on human sujectivity, this paper, written under ethnographic inspiration, is an immersion in a small public square in the city of Rio de Janeiro. This study focuses the spaces intended for children in our city and the main objective is to research in the relations between children and adults in a public space. Becoming aware of the meaningful networks that connect the habitual visitors of the Xavier de Brito public square, this paper intends to contribute towards the debate about the childhood in different social contexts, helping to think about the role and place of children in contemporaneousness.

The negotiations of the Transatlantic Trade and Investment Partnership (TTIP) triggered an unprecedented level of protests in the European Union (EU) in several member states. However, it was unclear whether the contestation of TTIP led to the Europeanisation of the national public spheres (Risse, 2010), given the general national fragmentation of the political debate in Europe (Koopmans and Statham, 2010a). This thesis analyses the debate and politicisation of TTIP in the Spanish, French and British media, and aims to answer two research questions. First, how and to what extent were national media discourses about TTIP Europeanised? Second, how does this type of Europeanisation of public spheres contribute to the democratic legitimacy of the EU? In order to answer the two research questions, an interdisciplinary theoretical framework has been put forward. Departing from the literature on the European public sphere (Koopmans & Erbe, 2004; Fossum & Schlesinger, 2007; Eriksen, 2005; Trenz, 2009) and the importance of analysing the Europeanisation of public spheres at the national level (Risse, 2010), the thesis argues that the literature often overlooks the role of conflict in the understanding of the public sphere. The gap in the literature has been addressed through a hybrid conceptualisation of the public sphere, combining a typically Habermasian deliberative approach with Chantal Mouffe’s ‘agonistics’. Empirically, the thesis undertakes a framing analysis of two different data sets through both qualitative and quantitative methods. The first data set is composed of press releases of a diverse group of EU-level political actors, in order to see what is the preferred framing of TTIP by different actors. The second is composed of the written articles dedicated to the TTIP negotiations in nine national news outlets (three from each selected country) in France, Spain and the UK, from the public announcement of the negotiations (February 2013) until the negotiations were officially frozen (November 2016). The actors’ discourse has been developed as a frame-mapping exercise undertaken inductively, identifying how different actors made sense of TTIP and put forward a number of competing frames. The findings of the empirical analysis of actors’ press releases indicate the attempt to strategically politicise or depoliticise the discussions around the TTIP negotiations, framed through different values by the different actors. These frames have been situated in categories, depending on whether they depoliticise TTIP, they challenge it in an agonistic or antagonistic way, or they focus on the negotiations as a process. The framing analysis of the media content on TTIP in the Spanish, French and British public spheres has revealed two separate chronological periods in the TTIP debate based on the presence of frames, measured through a framing ratio. The first period represents the traditional ‘permissive consensus’, while the second illustrates the agonistic politicisation of TTIP. Each national public sphere developed its own dynamics, which shows the importance that the national context has when discussing TTIP and Europe (Diez Medrano, 2003). However, while the Spanish, French and British public spheres have slightly different chronologies in their transitions from the first to the second period, there is a transnational coherence in terms of the frames of reference across the three countries. The findings of the media content analysis, particularly during the second period of the TTIP debate in the three countries, support the argument that there has been a Europeanisation of national public spheres that has happened in combination with a value-based and agonistic (Mouffe, 2013) politicisation. Rather than opposing the EU as a polity, the agonistic politicisation that has taken place in the case of TTIP has legitimised the EU by opening a space for the contestation of the negotiations, while accepting the EU as a political arena. The thesis argues that this agonistic Europeanisation of the national public spheres can lead towards an ‘empowering dissensus’ for European integration. The combination of agonistic politicisation and Europeanisation of public spheres is a process that matches ‘policy with politics’ at the EU level and normalises the EU as a polity by channeling conflict as politics in the Union rather than politics of the Union. / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

Por meio da combinação entre abordagem teórica e prática artística, a pesquisa coloca em questão o modo como os públicos são compreendidos e geridos no âmbito institucional da arte, particularmente no contexto brasileiro. Para isso, adotamos a mediação cultural como locus de investigação e atuação propício à confrontação de enunciados oriundos dos diferentes agentes envolvidos nesse circuito, desde os gestores, curadores, artistas e educadores até os públicos, cujas discursividades e performatividades correspondem ao foco do nosso interesse. Problematizando as formas abstratas de classificação utilizadas para designar e endereçar os destinatários das ofertas institucionais e das práticas artísticas por elas difundidas, o trabalho se imbui da postulação de um estatuto alternativo para os públicos, entendidos aqui como formações emergentes de sujeitos políticos. Isso implica a articulação de referências e precedentes capazes de contribuir para o processo de constituição de outro regime de interação entre os agentes institucionais e aqueles que seriam os beneficiários de suas proposições de viés educativo. A saber, um regime favorável ao surgimento, ao debate e à repercussão das demandas sociais, políticas e culturais manifestas por esses indivíduos e coletividades. Materializada na dissertação, a face teórica da pesquisa reúne e analisa conceitos, problemáticas e exemplos caros ao exercício crítico em torno da condição de público e das iniciativas institucionais, mediativas e artísticas que se ocupam de diferentes modalidades de interação com suas audiências. Já a sua face artística lança mão de um procedimento documentário, elegendo como recorte um formato de atração, organização e condução de visitantes amplamente usado pelas instituições artísticas para intermediar o seu acesso aos bens artístico-culturais. Trata-se das visitas mediadas com grupos. O Diário do busão: visitas escolares a instituições artísticas funciona como um dispositivo de sondagem e tradução das formas de atuação dos estudantes da rede pública de ensino nos equipamentos de arte concentrados no centro expandido da cidade de São Paulo. Com isso, busca conferir linguagem, visibilidade e circulação às suas respostas a uma ação institucional representativa das políticas de democratização cultural. / Through the combination of theoretical approach and artistic practice, this research questions the way publics are understood and managed within the institutional framework of art, particularly in Brazil\'s context. To this end, we adopt cultural mediation as a locus of research and action that is conducive to the confrontation of statements from the different agents involved in this circuit, from managers, curators, artists and educators to the publics, whose discursiveness and performativity are the focus of our interest. By problematizing the abstract forms of classification used to designate and address the recipients of the institutional offers and the artistic practices they disseminate, this work is imbued with the postulation of an alternative statute for the publics, here understood as emergent formations of political subjects. This implies the articulation of references and precedents capable of contributing to the process of constitution of another regime of interaction between the institutional agents and those who would be the beneficiaries of their educationally-directed propositions. Namely, a regime favorable to the emergence, the debate and the repercussion of social, political and cultural demands that are manifested by these individuals and collectivities. Materialized in this dissertation, the theoretical face of the research brings together and analyzes concepts, problems and examples dear to the critical exercise around the condition of public and of the institutional, mediatic and artistic initiatives that deal with different modalities of interaction with their audiences. As for its artistic face, it uses a documentary procedure, choosing as approach a format of attraction, organization and conduct of visitors widely used by artistic institutions to mediate their access to artistic and cultural assets - in this case, mediated visits with groups. The Diário do busão: visitas escolares a instituições artísticas [The big bus diary: school visits to art institutions] works as a device for probing and translating the forms of acting of public school students in the art equipments in the expanded center of the city of São Paulo. With this, it seeks to confer language, visibility and circulation to their responses to an institutional action that is representative of the policies of cultural democratization.

Esta pesquisa procura abordar as propriedades críticas da arte na constituição de esferas públicas, compreendendo os diferentes aspectos nos quais o conceito de público tem sido abordado no contexto artístico. Para tanto, concentra-se em propostas artísticas que lidam com espaços não institucionais da arte e procuram constituir seu público por meio de uma dinâmica da vida cotidiana, levando em consideração como as formulações artísticas e as críticas sobre o que se conceitua como Arte Pública contribuem para as intensas transformações neste campo. Como metodologia para examinar tais questões, realizei uma reflexão sobre a minha experiência enquanto artista simultaneamente a uma abordagem teórica. Assim, a estrutura da dissertação se divide em dois núcleos: o primeiro apresenta um recorte de meu percurso artístico, que problematiza a forma do texto enquanto mediador entre o leitor da dissertação e as propostas artísticas realizadas. O segundo, abrange uma contextualização teórica que discute a maneira pela qual as transformações das práticas artísticas, ao longo do século XX, abordam o conceito de público e esfera pública, tendo como referência Hannah Arendt, seguida de uma tentativa de aproximação de tais questões com o contexto brasileiro. O texto aqui apresentado é, por sua vez, uma conformação gráfica que pretende estabelecer visualmente as interconexões conceituais desse processo metodológico. / This research aims at an understanding of the critical attributes of art in the constitution of public spheres, with regard to the different aspects in which the concept of public has been approached in the artistic context. In order to do so, it focuses on artistic proposals that deal with non-institutional art spaces and that try to constitute their audiences through an everyday-life dynamic, taking into account how the artistic formulations and the criticism of public art contribute for the intense transformations in this field. As a methodology to approach these questions, I have developed an investigation about my own experience as an artist, parallel to a theoretical analysis. Thus, the structure of the thesis it is divided into two parts: the first one presents a portion of my artistic process, which problematizes text form as mediation between the reader of the thesis and the actual artistic proposals. The second one covers a conceptual contextualization, that discusses the way in which the transformation of artistic practices during twentieth century approaches the concept of public and public sphere, using as reference the work of Hannah Arendt, following an attempt to insert these questions within the Brazilian context. The presented text is a graphic organization that tries to establish the conceptual interconnections of this methodological process.

A presente pesquisa analisa a comunicação dos usuários das redes sociais durante a campanha eleitoral de 2014 à presidência da República do Brasil, focando nas publicações sobre os três principais candidatos com maior percentual de intenção de voto segundo as pesquisas de opinião dos institutos Ibope e Datafolha. O corpus de análise foi baseado nas publicações feitas pelos usuários do Facebook em seus perfis pessoais e nas páginas oficiais dos três candidatos, ao longo do primeiro e do segundo turno das eleições. Os procedimentos metodológicos foram norteados pelas técnicas de Netnografia e de Análise de Redes Sociais, tomando como referência dados quantitativos (número de postagens, curtidas, compartilhamentos, etc.) e qualitativos (conteúdo das publicações, palavras-chaves, comentários dos usuários, etc.). O trabalho de monitoramento reuniu dados empíricos sobre as interações dos usuários, relacionados à percepção das estratégias eleitorais desenvolvidas na internet pelas três campanhas ao longo da disputa eleitoral de 2014, considerando as ações dos candidatos, as estratégias de propaganda eleitoral, a divulgação de notícias e de pesquisas, os debates promovidos pelos veículos de comunicação e demais informações recebidas pelos eleitores. A base teórica foi fundamentada nos conceitos de Capital Social e de Comunicação Política. / This research analyzes the communication of social networks users, during the election campaign in 2014 for the presidency of Brazil, focusing on publications on the top three candidates with the highest percentage of voting intention polls according to the Ibope and Datafolha institutes. The analysis corpus was based on publications made by Facebook users on their personal profile and the official pages of the three candidates over the first and second round of elections. The methodological procedures were guided by techniques of Netnography and Social Network Analysis with reference to quantitative data (number of posts, likes, shares, etc.) and qualitative (content of the publications, keywords, comments users, etc.). The monitoring work gathered empirical data on the interactions of users, related to the perception of electoral strategies developed on the internet by the three campaigns throughout the 2014 election considering the actions of candidates, the electoral propaganda strategies, the dissemination of news and research, debates promoted by the media and other information received by voters. The theoretical basis was based on the concepts of Social Capital and Communication Policy.

Made available in DSpace on 2015-03-05T17:53:49Z (GMT). No. of bitstreams: 0 Previous issue date: 20 / Bolsa para curso e programa de Pós Graduação / A participação dos leitores na produção das notícias é o foco deste estudo. São analisados, comparativamente, dois mecanismos distintos que promovem a participação. De um lado, o ombudsman de imprensa, a partir de referências bibliográficas e do contato direto com a figura correspondente ao ombudsman em Portugal, o “provedor do leitor”. De outro, os conselhos de leitores, tomando-se o caso do jornal Zero Hora, de Porto Alegre (RS/BR), que foi pesquisado com o uso de entrevistas e técnicas de observação participante. O referencial teórico busca elementos nas reflexões sobre público e privado em Habermas e também nas teorias do jornalismo. Os resultados apontam para o problema da falta de referências de identidade que ajudem a construir a autonomia do leitor. / The reader’s participation on newsmaking is the focus of this study. There are analysed, comparatively, two distinct devices that promote participation. On one hand, the Ombudsman, analysed since bibliographic references and direct contact to the Portuguese version of ombusdmanship in Portugal, the “provedor do leitor.” On the other hand, the “readers’ council,” exemplified by the daily newspaper Zero Hora, from Porto Alegre (RS/BR), analysed using interviews and participant observation. The theoretical framework includes habermasian reflexions about public and private spheres and Journalism Theory. The results point to the lack of identity guidelines that could account for the readers’autonomy.

This thesis constitutes a case study of how an Islamic institution in London is produced as an object of knowledge. It develops an argument by Maussen about mosques in Western Europe, which suggests that they ‘do not have a self-evident, clear and constant meaning’. On the basis of a literature review, he points to how academics have shaped ‘the processes of the production of meaning’ regarding these mosques, something that has political consequences for knowledge. This thesis builds on his work by shifting the research focus to a specific example of an Islamic institution, and including a broader group of actors involved in its production as an object of knowledge. For this research, I undertook an ethnographic study of the institution, holding a junior position within the leadership as a way of learning about its everyday life. This material is complemented by other forms of data, such as research literature, archival sources, media accounts, Council documentation, Parliamentary proceedings, maps, images, and photographs. The thesis has three ‘threads’, which fall into six chapters. The ‘public sphere’ thread comprises three chapters, which look at the institution’s representation by and engagement with three sets of actors: researchers, state representatives, and journalists. A ‘community’ chapter explores local productions of meaning: specifically, how the community’s internal complexity shapes understandings of the institution. Finally, the ‘history’ thread comprises two explorations: perspectives on the meaning of its foundational moment, and its relationship with the history of its built environment. Each of the chapters offers a way of reading the institution, while there are also matters of internal heterogeneity, and further temporal and material complexities in its construction as an object of knowledge. The thesis conclusion proposes the metaphor of ‘palimpsest’ to describe the resultant complexity of meaning in play.

O presente estudo se propõe a investigar os trabalhos que venho realizando nos últimos anos, sempre abordando questões da cidade e do nela habitar por intermédio de intervenções e ações artísticas que utilizam os meios e códigos da publicidade. São trabalhos inseridos na esfera pública e planejados para iludir o observador por meio da simulação de imagens e elementos comerciais e que, em um primeiro momento, não se apresentam como objeto artístico. Iludem para esclarecer, na medida em que simulam eventos do cotidiano levados ao extremo, procurando explorar tensões e evidenciar os conflitos por trás dos fatos. Da mesma forma, são intervenções que não existem como um objeto isolado, mas se constituem de um conjunto de situações que ocorrem dentro de um espaço-tempo específico: uma vez realizados, o que fica é seu documento. Na dissertação, busco referências de autores que pensam a cidade contemporânea e os “espaços de aparição” do indivíduo, nas palavras de Hannah Arendt, bem como de artistas que refletem sobre os mesmos temas em suas próprias produções, como Antoni Muntadas, Cildo Meireles, os coletivos 3NÓS3 e Contrafilé, entre outros criadores que atuam nos limites da arte como veículo. Por fim, divago se o dissenso proporcionado pela arte possui potência para criar espaços de visibilidade e afirmação sociais, ao estimular a reflexão crítica. / The present study proposes to investigate the work I have been developing over recent years, always addressing issues of the city and of inhabiting it in the form of art interventions using the means and codes of advertising. These are works inserted in the public sphere and planned to deceive the observer by simulating images and commercial elements and, at first sight, do not appear like an art object. They deceive to clarify, insofar as they simulate events of daily life driven to the limit, trying to explore tensions and to show the conflicts behind the facts. In the same way, they are interventions that do not exist as an isolated object, but constitute a set of situations that occur within a specific space-time: once performed, they left only their imprinted records. In this dissertation, I search references from authors who think of the contemporary city and the “spaces of appearance” of the individual, in the words of Hannah Arendt, as well as of artists who reflect on the same themes in their own productions, such as Antoni Muntadas, Cildo Meireles, the collectives 3NÓS3 and Contrafilé, among other creators who act in the limits of art like vehicle. Finally, I speculate if the dissent provided by art has the power to create spaces of social visibility and affirmation by stimulating critical reflection.

De la construction de centrales jusqu’au traitement des déchets radioactifs, le nucléaire ne cesse de susciter les désaccords. La thèse se focalise sur le cas de la Lorraine, qui entre dans le nucléaire français dès 1978 avec la centrale de Cattenom (Moselle) et poursuit son développement avec le projet de centre de stockage de déchets radioactifs Cigéo (Meuse/Haute-Marne). Situé à l’échelle des territoires, le travail montre comment les populations essaient d’empêcher ces projets. Cette approche questionne l’opposition classique entre « pro » et « anti » nucléaires, pour observer ce qui pose problème à ceux qui décident d’entrer dans la contestation. Pour cela, la notion de désaccord montre la diversité des oppositions à Cattenom et Cigéo, qui ne sont pas toujours menées par des écologistes. Selon leur forme, les désaccords induisent une certaine perception des situations, orientent les conduites des acteurs, produisent du sens pour ceux qui y participent ou y assistent par médias interposés. Menée en sciences de l’information et de la communication, la thèse brosse les régimes de désaccord qui marquent la contestation du nucléaire en Lorraine depuis quarante ans. Celle-ci s’organise autour de deux pôles : les controverses des « citoyens-enquêteurs » et les polémiques de militants occupants le territoire. L’enquête de terrain couplée au corpus de documents médiatiques et numériques montre que les acteurs s’expriment dans des arènes qui orientent l’action et les discours. Enfin, l’évolution de la communication vers des formes narratives comme le film ou le jeu vidéo traduisent une volonté de raconter l’histoire passée et à venir de la controverse / From the building of power plants through nuclear waste management, the nuclear energy never stops to cause disagreements. The thesis focus on Lorraine’s case, which stepped into the French nuclear program since 1978 with Cattenom nuclear plant (in Moselle) and continues its development with the nuclear radioactive waste disposal Cigéo (in Meuse/Haute-Marne).From the scale of territories, the work shows how people try to impeach those projects. This approach examines the classic opposition between "pro" and "anti" nuclear people. To achieve this, the notion of disagreement the diversity of Cattenom and Cigéo protests, which aren’t always led by ecologists. Depending their form, disagreements have an impact on the perception of situations, the actor’s behaviors, and produce sens for those participating or watching through media. Done in media and communication studies, the thesis covers the disagreement schemes of forty years of nuclear protest in Lorraine. These protests are built around two poles: “citizens-investigators’” controversies and activists occupiers’ polemics. The field work associated to the collection of media and digital documents shows that actors express themselves in arenas, which impact their action and discourses. Finally, communication evolves towards narrative forms, such as video and video games. It shows that actors will to tell the controversy’s past and future