Made available in DSpace on 2014-06-11T19:24:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-10-31Bitstream added on 2014-06-13T19:30:36Z : No. of bitstreams: 1 lima_jfm_me_bauru.pdf: 929072 bytes, checksum: 3ffd93ac433c1a145915cb32c6dd851e (MD5) / Universidade Estadual Paulista (UNESP) / Esta dissertação de mestrado se propõe a analisar as paisagens sonoras construídas em prefixos comerciais de rádio. Para tanto, dois programas, de duas emissoras distintas em seus direcionamentos artísticos, que ocupam posições distantes na preferência dos ouvintes, segundo ranking divulgado pelo IBOPE, foram escolhidos para análise de conteúdo: Clássicos da Tupi e Reserva Eldorado. Assim, o trabalho percorreu os domínios da sonoridade destas produções, representada por vinhetas, spots publicitários e seleção musical. Valendo-se do entrelaçamento entre o reconhecimento da sonoridade dos programas e as contribuições de autores que explicitam noções e conceitos acerca dos desdobramentos socioculturais das mensagens midiáticas sonoras, procuramos perceber se é, de fato, a audiência quem determina como devem ser as paisagens sonoras destas emissoras. Desta forma, chegamos a resultados que nos levam a crer que os prefixos comerciais de rádio são reféns de suas audiências, tanto no que se refere à linguagem radiofônica aplicada para emoldurar suas mensagens, como para balizar a divulgação de seus produtos e idéias / This dissertation aims to analyse the soundscapes built in radio commercials. To this end, two programs in two different stations in their artistic directions, which occupy distant positions in the preference of listeners, according to a ranking published by IBOPE, were chosen for content analysis: Clássicos da Tupi and Reserva Eldorado. Thus, the work toured the sound of this areas of production, represented by vignettes, commercials and music selection. Building, on their cognition of the interweaving of sound programs and the contributions of authors explain concepts and notions about the cultural development of media messages sound, trying to answer is whether, in fact, the audience who determine show they should be the soundscapes of these stations. Although, we arrive at results that leal us to believe that the commercial radio prefixes are hotages to their audiences, both with regard to language radio applied to frame their messages, such as to mark the release of their products and ideas

Orientador: Ricardo Alexino Ferreira / Banca: Murilo Cesar Soares / Banca: Eduardo Vicente / Resumo: Esta dissertação de mestrado se propõe a analisar as paisagens sonoras construídas em prefixos comerciais de rádio. Para tanto, dois programas, de duas emissoras distintas em seus direcionamentos artísticos, que ocupam posições distantes na preferência dos ouvintes, segundo ranking divulgado pelo IBOPE, foram escolhidos para análise de conteúdo: "Clássicos da Tupi" e "Reserva Eldorado". Assim, o trabalho percorreu os domínios da sonoridade destas produções, representada por vinhetas, spots publicitários e seleção musical. Valendo-se do entrelaçamento entre o reconhecimento da sonoridade dos programas e as contribuições de autores que explicitam noções e conceitos acerca dos desdobramentos socioculturais das mensagens midiáticas sonoras, procuramos perceber se é, de fato, a audiência quem determina como devem ser as paisagens sonoras destas emissoras. Desta forma, chegamos a resultados que nos levam a crer que os prefixos comerciais de rádio são reféns de suas audiências, tanto no que se refere à linguagem radiofônica aplicada para emoldurar suas mensagens, como para balizar a divulgação de seus produtos e idéias / Abstract: This dissertation aims to analyse the soundscapes built in radio commercials. To this end, two programs in two different stations in their artistic directions, which occupy distant positions in the preference of listeners, according to a ranking published by IBOPE, were chosen for content analysis: "Clássicos da Tupi" and "Reserva Eldorado". Thus, the work toured the sound of this areas of production, represented by vignettes, commercials and music selection. Building, on their cognition of the interweaving of sound programs and the contributions of authors explain concepts and notions about the cultural development of media messages sound, trying to answer is whether, in fact, the audience who determine show they should be the soundscapes of these stations. Although, we arrive at results that leal us to believe that the commercial radio prefixes are hotages to their audiences, both with regard to language radio applied to frame their messages, such as to mark the release of their products and ideas / Mestre

Este trabalho investiga a atuação do repórter de TV, profissional que, apesar de ser o principal narrador das histórias retratadas na televisão, se encontra à margem das pesquisas em telejornalismo. O objetivo foi mapear um estilo do repórter sob uma perspectiva histórica, buscando identificar diferenças e permanências nos elementos visuais da passagem, termo que no jargão jornalístico se refere ao momento em que o repórter aparece na reportagem. Como referencial teórico, utiliza-se o conceito de habitus de Bourdieu (2011), estudos de performance e dramaturgia de Goffman (1985), Coutinho (2012) e Gutmann (2012), entre outros autores, como Vizeu (2005), Benjamin (1996), Abreu e Lima (2010) e Mota (2001). Foram analisadas 72 reportagens das primeiras décadas do telejornalismo brasileiro e 73 reportagens contemporâneas, totalizando 145 passagens. Os resultados apontam um aumento no uso de movimentos de câmera, assim como o repórter também está se movimentando mais durante a passagem. O enquadramento mais utilizado é o plano americano, mas o plano geral, em que o repórter aparece de corpo inteiro, se tornou mais usual. O tempo médio da passagem aumentou, a formalidade do figurino está sendo deixada de lado e o grafismo surge como elemento visual auxiliar do repórter. O trabalho ainda reafirma a importância do papel do repórter de TV, figura que conduz a narrativa, confere credibilidade ao relato e estabelece um elo com a audiência. / This paper investigates the performance of the TV reporter, a professional that, despite being the main narrator of the stories on television, is excluded of researches in television journalism. The goal was to map a reporter style from a historical perspective in order to identify differences and continuities in the visual elements of the piece to camera, a term that in the journalistic jargon refers to the moment the reporter appears on TV. As a theoretical framework, we use the concept of habitus of Bourdieu (2011), performance and dramaturgy studies of Goffman (1985), Coutinho (2012) and Gutmann (2012), among others, as Vizeu (2005), Benjamin (1996), Abreu e Lima (2010) and Mota (2001). For this study, we analyzed 73 reports from the first decades of Brazilian television and 72 current reports, totalizing 145 pieces to camera. The results show an increase in the use of camera movements, and the reporter is also moving more during the piece to camera. The most widely used framework is the medium shot, but the wide shot, in which the reporter appears full body, became more common. The average time the reporter is displayed on the vídeo increased, the formality of clothing is being left aside and the graphics appears as a visual element helping the reporter. The study also reaffirms the importance of the TV reporter, that leads the narrative, gives credibility to the report and establishes a link with the audience.

A matéria de que trata esta tese é a discussão do espetáculo Teatro-Esporte (tradução artística do método de improvisação teatral criado por Keith Johnstone) e suas contribuições para o trabalho do ator e para a formação de e do público de teatro. Este trabalho (desenvolvido por meio da discussão de situações reais, vivenciadas em treinamentos e apresentações do espetáculo) examina questões pertinentes ao processo de criação teatral, vistas sob a ótica dos fundamentos do referido método de improvisação, e como estes se materializam no espetáculo e em sua relação com o público. A partir desta análise, torna-se possível considerar a aplicação das ideias de Keith Johnstone como um caminho, tanto para o trabalho do ator na criação de cenas, personagens e narrativas, quanto para a construção do espetáculo, uma experiência teatral viva, na qual a imaginação e a espontaneidade ocupam lugar de destaque, enquanto uma pedagogia do espectador. / The subject matter of this thesis is the discussion of spectacle Theatresports (artistic rendering of the method of theatrical improvisation created by Keith Johnstone) and their contributions to the actors work as well as the formation to and of a theater audience. This work (developed through discussion of real situations that are experienced in training and presentations of the show) examines the issues that are pertinent to the process of theatrical creation, from the perspective of the grounds of the above mentioned method of improvisation and how they materialize in the show and their relationship to the audience. From this analysis, it becomes possible to consider the application of Keith Johnstones ideas as a way to both the work of the actor in creating scenes, characters and narratives as well as a construction of a spectacle, a lively theatrical experience in which imagination and spontaneity occupy a prominent position as a spectators pedagogy.

[pt] Este trabalho investiga as práticas narrativas no discurso de reclamado e reclamante em audiências de conciliação no PROCON de duas cidades do estado de Minas Gerais. Consideramos que o ato de contar estórias circunscrito pelo ambiente PROCON comporta especificidades que o difere, por exemplo, das narrativas observáveis em conversas cotidianas e em outros contextos institucionais. A partir de uma abordagem sócio-interacional para o discurso, de acordo com os pressupostos da Sociolingüística Interacional em interface com a Análise da Conversa, buscou-se observar em que medida as formas e funções que as construções narrativas assumem nas audiências moldam e são moldadas pela institucionalidade do encontro social em foco. Focalizamos em que medida reclamado e reclamante sinalizam orientações diferentes acerca da responsabilidade pela ação danosa, questão esta que perpassa a construção das narrativas no PROCON. Ao longo do percurso narrativo, as partes divergentes se engajam em uma disputa pela definição da situação, articulando manobras discursivas estratégicas no sentido de conferir legitimidade e credibilidade aos seus relatos. Consideramos que a dinâmica de formulações identitárias elaboradas nos relatos via elementos avaliativos está a serviço das intervenções estratégicas a que recorrem os participantes ao darem sentido ao ocorrido. Buscamos demonstrar também como a tarefa institucional exercida pelo mediador no decorrer das audiências revela-se decisiva para o desenvolvimento das práticas narrativas e para a construção e negociação da definição da situação. / [en] This work investigates narrative practices developed by complainant and complainer in conciliation hearings at PROCON from two cities of Minas Gerais State. We assume that the storytelling framed by this setting has some characteristics that differs for example from the narratives told in spontaneous and other institutional contexts. Based on the intersection between Interactional Sociolinguistics and Ethnomethodological conversation analysis, we examine how shapes and functions of narrative constructions in this setting build and are built by the institutionality of the interaction. We focused on how complainant and complainer show different orientations about the responsibility for that damaging action, which is very present on narrative constructions at PROCON. Throughout narrative development, the disputants engage on a dispute over the definition of the situation making use of discourse strategies in order to present legitimacy and credibility to their narrations. We consider that the dynamic of identity formulations developed during narrations through evaluation elements is focused on strategic interventions used by the participants to shape their meanings about the facts. We also examine how the mediator`s institutional task during hearings is crucial for the development of narrative practices and construction and negotiation of the definition of the situation.

This research is aimed at identifying political bias in mainstream media news channels. Specifically, this thesis focuses on political bias portrayed through the media following the inauguration of President Donald Trump. This analysis explores the media’s coverage of the initial travel ban (enforced by executive order) during the first month of the Trump presidency. The content in this research explores specific frames, facts, statistics, wording, phrasing, and overall presentations of two primetime media hosts, Rachel Maddow and Sean Hannity. This research explores several presentations from each host, all pertaining to the Trump Administration’s initial travel ban. Framing theory is used throughout the manuscript to emphasize the manner in which each host presents news and information, while also distinguishing the differences between each host due to their partisan agendas. Through this research, it was found that both media hosts presented news and information on the same issue (the travel ban) through completely different perspectives. Each host varied drastically in tone, phrasing, and facts of emphasis, while also presenting each issue in a manner that aligns with a specific partisan agenda. This research demonstrates that partisan agendas and perceived audience needs take priority over the reporting of objective facts and straightforward coverage on the issue of immigration in the United States.

Magister Artium (Psychology) - MA(Psych) / Menstruation can be defined as the cyclic shedding of the uterine wall in response to the production of hormones from the ovaries. Although menstruation is experienced as both a positive and negative phenomenon, the dominant view remains a negative one. Menstruation has been stigmatised across most cultures, and culturally constructed as something that needs to be hidden, and hygienically managed, and a source of shame and embarrassment. It is also seen as a dirty process and a source of discomfort, illness and emotional instability. Dominant cultural constructions of menstruation in advertisements convey the message that through the purchase of particular menstrual products, women will be “protected”, “fresh”, and thus the cultural beliefs of a hygiene crisis, concealment and secrecy are perpetuated. This study explored isi-Xhosa speaking women’s experiences and meaning-making related to the portrayal of menstruation and menstrual products in television advertisements. Active audience theory, a branch of media theory, formed the theoretical framework for this study. This research adopted a qualitative approach, and made use of Interpretive Phenomenological Analysis (IPA) to explore participants’ personal experiences. Three focus groups were conducted in English, consisting of 5 participants per focus group. Research began with two focus groups until saturation was reached. Participants were shown two television advertisements of two major South African companies (Kotex and Always) who sell menstrual products, as a means of stimulating discussion. The findings indicated that there were major discrepancies between what was portrayed in menstrual product advertisements and the reality of participants’ experiences; there was an exaggerated emphasis on checking behaviours; menstrual product advertisements avoided displaying the discomfort associated with menstruation; advertisements heightened the fear around leaking and emphasised hygiene and remaining clean. The positive finding to emerge was participants’ view that menstrual product advertisements served as a means of education, in the context where they were often misinformed about menstruation or provided with minimal or no information. This study extended on a previous study conducted at a different South African university, and contributed to the literature in this area within the South African context. All ethical guidelines stipulated by the University of the Western Cape were strictly adhered to.

Bibliografický záznam LABANTOVÁ, Zuzana. Mediální konvergence v prostředí internetu. Praha, 2011. 126 s. Diplomová práce (Mgr.) Univerzita Karlova, Fakulta sociálních věd, Institut komunikačních studií a žurnalistiky. Katedra mediálních studií. Vedoucí diplomové práce Mgr. Jaroslav Švelch Abstract Media convergence - continuous merging of media determined by new technologies development - is one of the most significant phenomenons nowadays. The theoretical portion of this thesis describes technological, economical and content aspects of convergence. It is emphasizing Henry Jenkins's definition, which characterizes convergence as change in audience behavior, their active media content consumption. This contrast between passive audience of old traditional media and active audience of convergence media is a premise of following empirical portion of the thesis. It aims to assign socio- demographic characteristics to these contradictory descriptions. Audience of MF DNES, Rádio Impuls and TV Nova are elected as representatives of traditional audience and their profile is compared with iDnes.cz, Impuls.cz and nova.cz users characteristics. Methodologically, the thesis uses a quantitative analyze of dates gained from continuous big media researches realized in the Czech Republic. The thesis focuses also on these...

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This thesis proposes a novel way to theorize genre, understand students' writing practices, and encourage more robust writing processes. I propose a method of categorizing texts according to temporal duration and use the resulting methodology as a lens to better understand student composing processes. I use temporal duration theory to analyze the composing processes of 53 BYU students over the course of two years. The results of my analysis suggest that a student's writing process correlates with the duration of a text's rhetorical influence. This is manifest in two ways: (1) as students write with a purpose of creating, promoting, or sharing an identity with the audience; and (2) as students write with the belief that the text will be useful to them at some future date. In both these circumstances, it isn't only that students have particular goals related to the audience and purpose—goals which drive process. Rather, it is also that students see how the influences and purposes of texts might endure, and their belief in duration motivates writers to engage in robust writing process activities. Genre temporal duration theory offers opportunities for future research about writing process, student engagement, and writing pedagogy.