As novas dinâmicas de interação possiblitadas pela Web 2.0 reformulam a aprendizagem como atividade que se estende a diversas áreas ligadas ao saber. Aprender à luz das novas tecnologias exige estratégias que se adequem às possibilidades de interação com a informação, conforme particularidades das mídias em que elas se fazem disponíveis, as particularidades de aprendizagem de cada indivíduo e o contexto que determina necessidades de acesso. Educadores, designers instrucionais / educacionais e estrategistas de conteúdo revisam, invariavelmente, processos para melhor compreender os mecanismos pelos quais informação é transformada em conhecimento. Esses estão aptos a interpretar os métodos pelos quais indivíduos processam informação e apropriam conteúdos de origens variadas em uma prática que podemos chamar aprendizagem ou meaning making. Nesse contexto, surge o conceito de narrativas transmidiáticas, capaz de abarcar as práticas de aprendizagem que, multifacetadas, são possibilitadas pelos recursos midiáticos que compõem nosso cotidiano. A construção de significado se dá na medida em que construímos narrativas, linhas mestras coerentes que nos permitem interagir de forma eficiente com os diferentes conteúdos aos quais temos acessos. Esse trabalho investigou o conceito de narrativa e o impacto da utilização de mídias na forma de interagir com os outros e, também, com o conhecimento; a aprendizagem no contexto das narrativas transmidiáticas; dois exemplos concretos e distintos em que aprende-se através de narrativas construídas a partir do uso combinado de mídias. Por fim, buscou-se apontar novos caminhos a serem explorados por pesquisadores interessados na forma como aprendizagem e comunicação se dão em um contexto caracterizado pelas mídias digitais. / The new dynamics empowered by web 2.0 reframes learning as an activity that permeates different areas of knowledge. In the light of new technologies, the goal of reaching a certain knowledge demands adequate strategies. These must be appropriate to the various possibilities of interaction with information, according to media\'s affordances, individual\'s learning particularities and the context that determined individual necessities of access. Educators, educational / instructional designers and content strategists invariably revise procedures to better understand the mechanics through which information is turned into knowledge. These professionals are able to understand the methods through which individuals process information and appropriate content from different resources in a practice that we can call learning or meaning making. In this context, appears the term transmedia narratives: a concept that encompasses plural learning practices enabled by media resources that compose our reality. Meaning making happens as we build narratives, coherent guidelines that empower ourselves to interact efficiently with the different types of content we have access to. This study investigated the concept of narrative and the impact of media in our ways to interact with others and with knowledge; learning in the context of transmedia narratives; two concrete and distinct examples in which one learn through narratives built with the use of various combined media. Finally, this study aimed to indicate new research pathways to be explored by researchers interested in the way learning and communication happen in a context determined by the digital media.

Ce travail s’attache à étudier les figures de la posthumanité en s’appuyant sur un corpus transmédial et transnational et à répondre à deux questions principales : Peut-on, au travers de la figure du posthumain, percer à jour les désirs et les angoisses de l'homme de ce millénaire encore naissant ? Comment l'expérience de pensée posthumaine, mise en mouvement par la fiction, questionne-t-elle la notion même d'humanité ? Dans un premier temps, il met en relief les liens existant entre la posthumanité et ce territoire homogène et récurrent dans le corpus, qu’on nommera à la suite d'Antonio Negri et Michael Hardt, l’Empire. Dans un second temps il s’intéresse à la plasticité du corps et de l’esprit posthumains, à la façon dont leurs multiples avatars se déploient à travers le temps ainsi qu’aux raisons qui sous-tendent cette extrême plasticité. Enfin, dans un dernier mouvement, il s’attelle à montrer que, loin de s’inscrire dans un imaginaire radicalement nouveau, le post-humain procède en fait du réagencement ou de la reconfiguration d’un imaginaire anthropologique déjà bien ancré dans l’inconscient collectif. / This work focus on the study of the posthuman figures. It is based on a transmedial and transnational corpus. It seeks to answer two key questions : can we expose, through the posthuman figure, the desires and the anguishes of this still rising millennium’s man ? How the posthuman thought experiment, set into motion by the fiction, challenge the very concept of humanity ? As a first step, this work emphasizes on the links that exist between posthumanity and this homogeneous and reccuring, in our fictions, territory that Antonio Negri and Micharl Hardt call Empire. Then, it’s interested in the plasticity of the posthuman bodies and minds, in the way that their numerous avatars expand through time as well as the reasons that underlie this extreme plasticity. Lastly, he tries to show that the posthuman do not fall into a dramatic new imagination, but that it proceeds, in fact, of the reordering or the reconfiguration of a anthropological imagination already well rooted in the collective unconscious.

Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.

Understanding transmedial storytelling is particularly important to fairy-tale studies. Monomedial views have long been unable to account for all of fairy tale tradition. Although the form originated in oral culture, it has long been a liminal, hybrid form that retains aspects of orality even while its principal mode of transference for some time has been something other than face-to-face communication. Transformations and adaptations across different media and contexts has resulted in a system of fairy-tale tradition that is massively intertextual and transmedial. No one medium can claim primary control over the fairy-tale tradition. Throughout time, oral tellings have inspired literary adaptations; literary renditions have influenced oral and theater performances; oral, print, and theater performances have spawned any number of retellings and adaptations within audiovisual media. This case study, investigates one example of adaptation to social media and integration across media: Tim Manley's satirical blog Fairy Tales for Twenty-somethings and his book Alice in Tumblr-land. In Manley's fairy tale creations, we see an instance of what Henry Jenkins calls convergence culture. This convergence should be of particular interest to folklorists because corporate and mass-media systems continue to influence and integrate with existing forms of interaction. Manley's overall narrative approach integrates two media, which permits him to use fairy tales to express a broader range of narrative impulses than would a project tied to only one medium. Media integration is an important concept to recognize and investigate because so many individuals see different media as inherently combative rather than mutually beneficial systems. Just as intertextuality has become a foundational concept in many humanistic studies, intermediality needs to enter the folklorist's discussions as well. With only some media under consideration, we only get some of the message.

Submitted by Roberto Lima (robertogbi@hotmail.com) on 2013-09-17T00:05:20Z No. of bitstreams: 1 Glee,_uma_transmedia_storytelling_e_a_construção_de_identidades_plurais.pdf: 1555307 bytes, checksum: 0a5f76d1cd4c345089494fda6c4abd6e (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-09-26T17:01:03Z (GMT) No. of bitstreams: 1 Glee,_uma_transmedia_storytelling_e_a_construção_de_identidades_plurais.pdf: 1555307 bytes, checksum: 0a5f76d1cd4c345089494fda6c4abd6e (MD5) / Made available in DSpace on 2013-09-26T17:01:03Z (GMT). No. of bitstreams: 1 Glee,_uma_transmedia_storytelling_e_a_construção_de_identidades_plurais.pdf: 1555307 bytes, checksum: 0a5f76d1cd4c345089494fda6c4abd6e (MD5) / O objetivo deste trabalho é fazer um estudo de caso do grupo de coral da série Glee na sua primeira temporada. Procura-se, através desse seriado, demonstrar como suas arrativas podem impactar para a derrubada de alguns pré-conceitos ao abordar alguns marcadores sociais como os de cor/raça, gênero, nacionalidades subalternas, deficiências, e outros, ainda considerados tabus, como a homossexualidade e a homoparentalidade. Para tanto, discutiram-se as construções identitárias e a dinamicidade da cultura e a inter-relação entre elas; o papel da mídia como meio de questionamento de tabus; a construção histórica das identidades de gênero e sexual, elencando autores, como Butler, Cunha, Furlani, Kellner, Miskolci, Weeks e outros, para sustentar nossa argumentação e colocar em evidência conceitos que abordam as diferentes culturas e demonstram os limites e possibilidades do corpo, a fim de criticar uma realidade e construir outra, fruto dos novos tempos.

The Sherezade Project set forth by the teachers’ Academic Management at PUCP aims to integrate transmedia platforms and anthropological research. The present article details the process of incorporating audiovisual and narrative methods into the urban anthropology course. It also describes the process of producing micro-programs for the university’s TV channel. In this case, wrestling was chosen as the subject by the students and was diffused to a larger audience than just the academic. The project’s main goal is to apply new audiovisual platforms and technology to university education, thus training the students to not only do research but also to democratically relay the results of said social research to the community. / El proyecto Sherezade, promovido por la Dirección Académica del Profesorado de la PUCP, busca integrar las plataformas transmedia y la investigación antropológica. En el presente artículo se expone las características del proceso de incluir técnicas audiovisuales y de narrativa en el curso Antropología Urbana. También se expone la creación de los microprogramas modelo para el canal de TV universitario, donde se escogió el caso de la lucha libre de espectáculo, y que sirvieron como ejemplo para los alumnos y como material de difusión para un público mucho más amplio que el académico. El objetivo final del proyecto es aplicar las nuevas tecnologías y plataformas audiovisuales en la enseñanza universitaria, entrenando así a los alumnos no solo para investigar sino para transmitir democráticamente los resultados de la investigación social a la comunidad.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T21:49:03Z No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T00:20:01Z (GMT) No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Made available in DSpace on 2018-08-28T00:20:01Z (GMT). No. of bitstreams: 1 PDF Final.pdf: 4042727 bytes, checksum: 103e381ca282d315228bf96d4e497571 (MD5) / Diante das atuais possibilidades de criação, veiculação e convergência entre meios de comunicação, novos formatos dramatúrgicos emergem no ambiente digital, se expandem e se relacionam com meios tradicionais, potencializando a própria dinâmica do processo criativo. A presente dissertação propõe a análise e construção de uma narrativa cujo universo ficcional seja capaz de abarcar múltiplas mídias e estabelecer interconexões entre os meios. O universo ficcional aqui estudado denomina-se Os Vanguardas, de autoria da própria pesquisadora, e destinada ao público da infância e juventude. No primeiro momento, o trabalho discute o contexto para o surgimento das primeiras experiências transmídia no audiovisual e a definição do termo narrativa transmídia na perspectiva do teórico americano Henry Jenkins. No segundo momento, apresenta-se um panorama sobre os novos formatos dramatúrgicos que têm emergido no ambiente digital e que vem permitindo as mais variadas experimentações, e, nos últimos anos, tem se tornado um dos principais meios para a criação e veiculação de dramaturgias. O trabalho aborda também discussões recentes sobre o futuro da narrativa digital em painéis realizados em importantes eventos do audiovisual, a exemplo do Rio Content Marketing, relacionando-os com estudos de teóricos como Janet Murray, que vislumbrou alguns formatos dramatúrgicos que são utilizados na rede, como, por exemplo, as webseries e games e Henry Jenkins, teórico que discute os efeitos da convergência entre as mídias digitais e tradicionais na criação de narrativas expandidas, as quais ele denomina narrativas transmídia. Por fim, os princípios aqui estudados são aplicados na narrativa Os Vanguardas, proporcionando um estudo detalhado de seu universo ficcional, bem como, desenvolvendo possibilidades de desdobramentos transmidiáticos como sinopses para série de TV, websérie, mobisódios, argumento para texto dramático e curta metragem. / Given the current possibilities of creation, propagation and convergence between media, new dramaturgical formats emerge in the digital environment, expand and relate to traditional media, enhancing the dynamics of the creative process. The present work proposes the analysis and construction of a narrative whose fictional universe is able to encompass multiple media and establish interconnections between means. The fictional universe studied here called The Vanguards, authored by the researcher, and for the public of childhood. At first, the paper discusses the context for the emergence of the first transmedia experience in the audiovisual and the definition of transmedia narrative from the perspective of American theorist Henry Jenkins. In the second phase, we present an overview of the new dramaturgical formats that have emerged in the digital environment and that has allowed the most varied experiments, and in recent years has become a major means for the creation and placement of dramaturgy. The work also addresses recent discussions on the future of digital storytelling in panels held at major events in the audiovisual, such as the Rio Content Marketing, relating them to theoretical studies as Janet Murray, who saw some dramaturgical formats that are used on the network, as, for example, webseries and games and Henry Jenkins, theorist who discusses the effects of the convergence between digital and traditional media to create expanded narratives, which he calls transmedia narratives. Finally, the principles studied here are applied in the narrative The Vanguards, providing a detailed study of his fictional universe, as well as developing opportunities transmidiátics developments as synopses for the TV series, webseries, mobisodes, argument for theater play and short film.

A digitalização das mídias e a influência da tecnologia ocasionaram a difusão de um novo modelo de cinema, conjunto complexo de mudanças pautadas na lógica econômica e em um processo de cognição específico. Nesse contexto, na nova disposição do cinema, observa-se uma transformação no processo narrativo fílmico para além de novos formatos e conteúdos audiovisuais. Para investigar o fenômeno da polidimensionalidade do conceito da narrativa no cinema contemporâneo, a presente dissertação realiza uma análise qualitativa de exemplos significativos do cinema comercial, considerando a não-linearidade, a transnacionalização, a transmídia, além de destacar a vertente da multiplicidade narrativa, da polidimensionalidade, no cinema experimental e nas instalações artísticas. Como recorte do objeto de pesquisa, optou-se pela análise do filme Slumdog Millionaire (2008), nos itens transnacionalização e não-linearidade; dos filmes Watchmen (2009) e Batman (The Dark Knight, 2008), como franquias de transmídia; além da multiplicidade do cinema experimental What we will e instalações. O critério de seleção dos filmes foi o destaque que obtiveram nas respectivas categorias nos últimos dois anos, nas grandes bilheterias do cinema comercial pelos sites Filme B e The Internet Movie Database / The digitalization of media and the influence of technology lead to the difusion of a new type of cinema, a complex set of changes related to specific logics of economics and to specific processes of cognition. In this context, in the new organization of cinema, it is possible to behold the process of filmic narrative changing into new formats and new audiovisual content. In order to investigate the phenomenon of the poly-dimensionality of the concept of narrative in the contemporary cinema, the present thesis performs a qualitative analysis of significative examples of the commercial cinema, taking into consideration the concepts of nonlinearity, transnationalization and transmedia. It also highlights the aspects of narrative multiplicity and poly-dimensionality in experimental cinema and installation art. In order to exemplify the research object, the thesis analyzes the movie Slumdog Millionaire (2008), in which concerns transnationalization and nonlinearity; both the movies Watchmen (2008) and Batman (The Dark Knight, 2008), as transmedia franchises; besides approaching the multiplicity of the experimental cinema piece What we will and some installation art pieces. The criterion for the selection of the movies was their good results in theaters for their respective categories in the last two years, according to the websites Filme B and The Internet Movie Database.

Made available in DSpace on 2016-06-02T20:23:15Z (GMT). No. of bitstreams: 1 5599.pdf: 718283 bytes, checksum: a7688fb91506f6be08f0ce6820626588 (MD5) Previous issue date: 2012-06-28 / The concept of transmedia storytelling by Henry Jenkins is taken in order to differentiate it from the concept of cross-media, older and worked earlier by several authors. Based on a comparison, it is proposed that the criterion of differentiation is the fact that transmedia storytelling necessarily tells a story and requires a specific type of cohesion of diegetic facts, here called fictional canon. These references are used to analyze an illustrative example: the series LOST (Lost, USA, 2004-2010), created by JJ Abrams, Jeffrey Lieber and Damon Lindelof, and its narrative extensions, since the body of work brings together some pieces that exhibit characteristics of both cross-media and transmedia storytelling, allowing discussion of the criterion of fictional canon. The text discusses the importance of adding the definition of transmedia storytelling the fictional canon variable, to better define the concept and to support future transmedia productions. / O conceito de narrativa transmidiática em Henry Jenkins é tomado visando diferenciá-lo do conceito de cross-media, mais antigo e trabalhado por diversos autores. A partir da comparação, propõe-se que o critério de diferenciação seja o fato de a narrativa transmidiática necessariamente contar uma história e exigir um tipo específico de coesão dos fatos diegéticos, aqui chamada de canonicidade ficcional. Essas referências são utilizadas para analisar um exemplo ilustrativo: a série LOST (Lost, EUA, 2004-2010), criada por J. J. Abrams, Jeffrey Lieber e Damon Lindelof, e suas extensões narrativas, uma vez que o conjunto da obra reúne algumas peças que apresentam características do crossmedia e da narrativa transmidiática, permitindo a discussão do critério da canonicidade ficcional. Discute-se a importância de acrescentar à definição de narrativa transmidiática a variável canonicidade ficcional, para melhor delimitar o conceito e embasar futuras produções transmidiáticas.

Cette thèse de doctorat a pour but d’étudier l’image d’Ernesto Che Guevara construite par le Neuvième art révélant ainsi les perceptions des auteurs, mais aussi celle de leur société. Notre corpus principal se compose de neuf œuvres provenant de divers horizons, Vida del Che de H. G. Oesterheld, A. et E. Breccia (1968) ; la trilogie de P. Muriana : CHE – Génesis, CHE – Cenit (1977) et CHE – Ocaso (1978) ; ABChé de Rius (1978) ; Libertad ! Che Guevara (2006) de M., J. F. Charles et Wozniak ; CHE de K. Yong-Hwe (2006) ; LE CHE – Une icône révolutionnaire de S. Rodriguez (2008) et EL CHE – La victoire ou la mort de G. Ramella et S. Cattaneo (2012). Notre travail d’analyse se divise en trois parties et postule que les bandes dessinées contribuent à l’élaboration d’un imaginaire guévariste en partageant plusieurs similitudes narratives et visuelles. Une première partie est consacrée à la présentation du corpus large et du sous-corpus afin de saisir les spécificités de chaque bande dessinée. Nous nous attachons ensuite à l’étude de la première phase ascendante du schéma actantiel héroïque de la naissance du guérillero à l’épiphanie héroïque. Enfin, notre dernière partie revient sur la phase descendante du schéma actantiel depuis la rupture jusqu’au devenir post mortem d’Ernesto Che Guevara. Les spécificités de chaque album apparaissent dans l’analyse du langage bédéïque qui modernise, de par son hybridité iconique et linguistique, la représentation d’Ernesto Che Guevara. Le Neuvième art s’inscrit ainsi dans la tradition de l’écriture de la vie du héros héritée de l’Antiquité et de la chrétienté, mais il interroge également l’écriture de l’Histoire. / This dissertation considers the representation of Ernesto Che Guevara as constructed by the Ninth Art, thus revealing the perceptions of the authors and the perception of their respective societies. Our main corpus is composed of nine works originating from diverse backgrounds, Vida del Che by H. G. Oesterheld, A. and E. Breccia (1968); P. Muriana’s trilogy : CHE – Génesis, CHE – Cenit (1977) and CHE – Ocaso (1978) ; ABChé by Rius (1978) ; Libertad ! Che Guevara (2006) by M., J. F. Charles and Wozniak ; CHE by K. Yong-Hwe (2006) ; LE CHE – Une icône révolutionnaire by S. Rodriguez (2008) and EL CHE – La victoire ou la mort by G. Ramella and S. Cattaneo (2012). Our analysis is divided into three parts and postulates that graphic novels contribute to the elaboration of a Guevarist imaginary by sharing several narrative and visual similarities. A first part is dedicated to the presentation of the large corpus and the secondary corpus in order to grasp the specificities of each graphic novel. Then we address the first phase of the upward heroic actantial model from the birth of the guerrillero to the heroic epiphany. To finish with, our last part tackles the downward phase of the actantial model from the break up to the post mortem process of becoming of Ernesto Che Guevara. Each album’s specificities appear in an analysis of the specific language at stake in the graphic novel, a language which, through its iconic and linguistic hybridity, modernizes the representation of Ernesto Che Guevara. Therefore, the Ninth Art is in line with the tradition of the writing of heroic lives, inherited from Antiquity and Christianity; the Ninth Art also delves into the writing of History.