Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-29T14:34:50Z No. of bitstreams: 1 TES_MARIO_ABEL_BRESSAN_JUNIOR_COMPLETO.pdf: 2519099 bytes, checksum: 937424692b4782fbf7968ed35d4a3e20 (MD5) / Made available in DSpace on 2017-06-29T14:34:50Z (GMT). No. of bitstreams: 1 TES_MARIO_ABEL_BRESSAN_JUNIOR_COMPLETO.pdf: 2519099 bytes, checksum: 937424692b4782fbf7968ed35d4a3e20 (MD5) Previous issue date: 2017-03-29 / This doctoral thesis has as general objective, to analyze how Canal Viva viewers' affective memory is constituted in Brazil. We try to answer in which way the audience conquest happens, how the affective memory can interfere in this process of acceptance, who are and how these viewers interact in social media and what memories and affections are shown in the posts. We use the Content Analysis of Laurence Bardin (2011), which establishes the research on the semantic meanings of comments, observing the verbs, adjectives and expressions that provide meaning in the conversation published on the network. With the analysis of content it was possible to construct categories of analysis that allowed to understand viewers? manifestations about Canal Viva. We analyzed the comments posted by viewers on twitter website on the telenovelas Cambalacho and La?os de Fam?lia. For this, we use Grid Monitoring software as a data collection tool. As a methodological course the posts were classified in two moments. The first one was positive, negative and neutral, and the second was in accordance with the categorization criteria presented in the methodology. After these divisions were made, the data were analyzed with the co-occurrences of terms that appear incidental or not. The final results showed that, in addition to being affective, there is a tele-affective memory, resulting from the emotional effects of television, socialization and the affections built with reference groups. Canal Viva becomes a place of revisitation, which evokes the memories and affectivities of the public. It is a pleasure to return to the past because it is a social bond reconstructed by remembrances, in which the TV was part of the private and collective moments of people. / Esta tese de doutorado possui como objetivo geral analisar como ? constitu?da a mem?ria afetiva dos telespectadores do Canal Viva no Brasil. Procuramos responder de que forma acontece a conquista da audi?ncia, como a mem?ria afetiva pode interferir neste processo de aceita??o, quem s?o e como interagem esses telespectadores nas redes sociais e que mem?rias e afetos aparecem nas publica??es. Utilizamos a An?lise de Conte?do de Laurence Bardin (2011), a qual estabelece a investiga??o sobre os sentidos sem?nticos dos coment?rios, observando os verbos, os adjetivos e express?es que proporcionam um sentido na conversa publicada na rede. Com a an?lise de conte?do foi poss?vel construir categorias que permitiram compreender as manifesta??es dos telespectadores sobre o Canal Viva. Analisamos os coment?rios postados pelos telespectadores, no site de rede social twitter, sobre as telenovelas Cambalacho e La?os de Fam?lia. Para isso, empregamos como ferramenta de coleta dos dados o software Grid Monitoramento. No percurso metodol?gico, as postagens foram classificadas em dois momentos. No primeiro, em positivas, negativas e neutras. No segundo, obedece aos crit?rios de categoriza??o apresentados na metodologia. Ap?s a realiza??o dessas divis?es, os dados foram analisados a partir das coocorr?ncias de termos que aparecem incidentes ou n?o. Os resultados mostraram que, al?m da afetiva, h? uma mem?ria teleafetiva, resultante dos efeitos emocionais advindos da televis?o, da socializa??o e dos afetos constru?dos com os grupos de refer?ncia. O Canal Viva passa a ser um lugar de revisita??o, que evoca as mem?rias e as afetividades do p?blico. H? um prazer em voltar ao passado por constituir um la?o social reconstru?do pelas rememora??es, das quais a TV fez parte em momentos particulares e coletivos das pessoas.