Thesis (M.A.)--University of Hawaii at Manoa, 2007. / Includes bibliographical references (leaves 65-72). / iv, 72 leaves, bound ports. 29 cm

Ce travail de recherche met à l'épreuve l'hypothèse de la mystification entendue comme stratégie communicationnelle manifestée par des tendances spécifiques où la dialectique entre obscurcissant et révélant jouent un rôle fondamental dans la production des formes symboliques. Dans ce cadre, le concept de mystification comme paradigme de sens est en rapport avec un modèle de communication qui se manifeste partout où s'impose la médiation entre le sacré et le profane ainsi que le maintien de l'ordre symbolique. Les médias non seulement qu'ils utilisent la mystification comme une stratégie, mais ils fonctionnent dans le paradigme de la mystification notamment quand il s'agit d'intervenir pour préserver l'ordre social par une production des formes symboliques spécifiques. Pour identifier les thèmes récurrents qui apparaissent dans les représentations médiatiques internationaux, des thèmes qui fournissent des indications sur les tendances qui sont spécifiques pour le paradigme de la mystification, l'analyse empirique aborde la production et la transmission des formes symboliques concernant les représentations médiatiques dans le contexte de l'attaque terroriste contre journal Charlie Hebdo du 7 Janvier 2015. / The present research work advances the following hypothesis – mystification is acommunicational strategy manifested through specific trends where the dialectic between obscuring and revealing plays a fundamental role in the production of the symbolic forms. It is therefore proposed that the concept of the mystification paradigm requires a communication model that manifests itself wherever the mediation between sacred and profane and maintaining the symbolic order are required. Media not only use this model as a strategy but function in the mystification paradigm especially when it is supposed to intervene for preserving the social order through a specific production of symbolic forms. To identify recurring themes that arise in the media representations generated by the international press, themes that provides indicators of particular trends that are specific in the mystification paradigm, an empirical analysis of this production and transmision of the symbolic forms has been employed in the special context of the terrorist attack against the journal Charlie Hebdo on January 7, 2015.

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No. of bitstreams: 2 Dissertação - Enelice Milhomem Jacobina Teixeira - 2018.pdf: 2412819 bytes, checksum: a774037f1ad89201edcf9c3feb5d58c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-15 / Research on religious intolerance, following the attack on Charlie Hebdo Weekly in January 2015 in Paris, France, provocative event of narratives on the subject. We carry out research with the students of a school (Elementary School), of the Municipal Department of Education in Goiânia. The problem referred to religious intolerance, discussed in the history lessons of CICLO III, group "G" (7th Year), in 2015, following the groupings "H" and "I" (8th and 9th years), until 2017. The investigative tools were elaborated with inquiries based on journalistic and scientific texts about the attack on the weekly Charlie Hebdo. The students hypothetically wondered what they would choose if they were in the bombing: being a terrorist or a cartoonist, justifying their options. After observing the students' narratives, we relate them to religious intolerance. We analyze the narratives of the students about the attack, using as theoretical contribution the historical education. Subsequently, we used texts, cartoons and other sources on religious intolerance, attacks, immigration, xenophobia, Islam, interculturalism, among others. After the interventions based on these texts, we applied the research instruments for the second time, in order to verify the possible changes in the reconstructed narratives of the students, with observation and changes in their historical awareness. We identified in the narratives in the second intervention that there was little progress in relation to religious tolerance and respect for freedom of expression of religious and non-religious. We then developed a third intervention, using, however, other investigative tools that questioned why Charlie Hebdo's cartoons were offensive to the Islamic religion and asked for an explanation of what religious intolerance is today. After answering these last requests, we noticed changes, since some students demonstrated a change in the historical consciousness presenting critical temporal orientation. / Investigação sobre a intolerância religiosa, a partir do atentado ao Semanário Charlie Hebdo, em janeiro de 2015, em Paris, na França, acontecimento provocativo de narrativas sobre a temática. Realizamos a investigação com os estudantes de uma escola (Ensino Fundamental), da Secretaria Municipal de Educação em Goiânia. A problemática referiu-se à intolerância religiosa, discutida nas aulas de história do CICLO III, agrupamento “G” (7º. Ano), em 2015, acompanhando os agrupamentos “H” e “I” (8º. e 9º. anos), até 2017. O instrumental de investigação foi elaborado com indagações apoiadas em textos jornalísticos e científicos sobre o atentado ao Semanário Charlie Hebdo. Os estudantes hipoteticamente imaginaram o que escolheriam se estivessem no atentado: ser terrorista ou cartunista, justificando suas opções. Após a observação das narrativas dos estudantes, relacionamos as mesmas com a intolerância religiosa. Analisamos as narrativas dos estudantes sobre o atentado, utilizando como aporte teórico a educação histórica.  Posteriormente, recorremos a textos, charges e outras fontes sobre intolerância religiosa, atentados, imigração, xenofobia, Islamismo, interculturalidade, entre outros. Após as intervenções pautadas nestes textos, aplicamos o instrumental de investigação pela segunda vez, a fim de verificarmos as possíveis alterações nas narrativas reconstruídas dos estudantes, com observação e alterações na consciência histórica dos mesmos. Identificamos nas narrativas na segunda intervenção que houve pouco avanço em relação à tolerância religiosa e ao respeito à liberdade de expressão de religiosos e não religiosos. Desenvolvemos, então, uma terceira intervenção, usando, no entanto, outro instrumental de investigação que questionou o motivo de as charges do Semanário Charlie Hebdo serem ofensivas à religião islâmica e solicitou uma explicação sobre o que é intolerância religiosa na atualidade. Respondidas estas últimas solicitações, percebemos alterações, visto que alguns estudantes demonstraram mudança na consciência histórica apresentando orientação temporal crítica.

This study aims to examine the argumentation regarding freedom of speech and the statement “je suis Charlie” (“I am Charlie”) in eight opinion articles from different Swedish web magazines. Two doctotral dissertations who’s main topics are the freedom of speech and different types of arguments regarding freedom of speach, was used in this study. The study also uses the actual Swedish law surrounding the freedom of speech, as well as the freedom of the press and breaches of these laws. Also mentioned as different types of theories are; utilitarianism and journalism ethics and standards. This is a qualitative study using rhetorical analysis as a main method, but the study also uses some tools from the field of argument analysis, such as theses and main arguments. The results from this study shows, amongst other things, that various arguments can be used when trying to get your view surrounding the freedom of speech across. However there seems to be a clear difference between the writers who argue that the freedom of speech is more important than the right to not having to be discriminated by a statement or an utterance, and the writers who argue that the right to not having to be discriminated by a statement is more important than the right to potentially disciminate someone while uttering something. The writers who share the first view presented here, that the freedom of speech is more important, are also the ones who support the expression ”I am Charlie”, and the writers who don’t think that the freedom of speech is of more importance than the right to not having to be discriminated, does not support the expression ”I am Charlie”. However, while looking at this study, it’s imoportant that the reader bares in mind that the results from it doesn’t say anythning about anything else apart from the articles studied.

Freedom of speech is under serious threat in the west, primarily in the US with policies and regulations infringing on this core value in democratic societies. Universities form policy in order to silence opinions they find contradictory to their values, causing students and teachers alike to risk academic punishment for statements which normally would be guarded within the First Amendment. The central argument behind these infringments are individuals subjective feelings towards, as one may put it, controversial opinions. The aim of this study is through an argument analysis, illustrate the values of freedom of speech in contrast to the demands of primarily minority groups and their advocates, using respectable philosophers and scientists such as John Stuart Mill to answer the question if infringements are applicable in democracies. The conclusions drawn in this essay based on all relevant arguments concludes the answer to be no; a democracy should not infringe on the freedom of speech to safeguard individuals from negative emotional reactions as a result of any legal speech.

This thesis is neither a textbook of pantomime, with instructions for the development of mimetic expertise, nor a history of pantomime. What is recorded here is the personal philosophy of the art of pantomime advanced by Jean-Louis Barrault, Étienne Decroux, Charlie Chaplin, Marcel Marceau, and Red Skelton. The section devoted to each artist contains the portions of his biography pertaining to his development as a mime and a representative sample of critical reactions to his work. In addition to this purpose, this thesis also offers evidence that the comic style of pantomime underwent a change in nature in its use by the mimes who are studied here. Whereas the comic style was original! y unique to pantomimes that had no other intent but to produce laughter or, at most, pathos by physical comedy, these mimes took the comic pantomime into the realms of introspection and philosophy.

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening by distinguishing between <em>l’e´coute</em> and <em>l’entente</em>. <em>L’e´coute </em>is an attending to and answering the demand of the other and <em>l’entente</em> is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of <em>l’e´coute</em>, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (<em>il s’e´coute</em>) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (<em>se fait entendre</em>) as he makes himself listened to (<em>se fait e´couter</em>). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both <em>l’entente</em> and <em>l’e´coute</em> when it listens as Chaplin listens.

A key term in the cultural criticism of Walter Benjamin is his notion of "reception in distraction" as an antidote to ideology's domination over the mass society in the modern age. This dissertation attempts to illuminate this idea by offering case studies of three projects that summon into existence a new kind of reader, one capable of a trained apperception we may describe as "distracted."; One objective of the mass society according to a Frankfurt model of culture is the erasure of the subject; reception in distraction serves at once to create a space for the social dream and to re-inscribe the subject at the moment of reception through an insistence on its unruly, embodied presence. "Reception in Distraction" creates a cognitive space for disengagement from ideology, modeling what Michael Denning called the "dream work of the social." Critical theory is thus available to the mass public in the form of the "dream of history" that is solely accessible to a distracted apperception and whose subject is the faint possibility that the crisis of the present may be redeemed and repaired in the future. This project attempts to locate this dream of history in the autobiographical writings of Gertrude Stein, the detective fiction of Kenneth Fearing and the late silent cinema of Charlie Chaplin, each of which illustrates clearly the manner in which "distraction" functions to generate contradiction in the face of ideology's mass cultural form. Stein's experiments with the autobiographical form call for exactly this manner of reception, for which "Alice B. Toklas" becomes a key model. Similarly, Kenneth Fearing's Marxist detective novel The Big Clock and Modern Times , Charlie Chaplin's final silent film, reflect on the possibility of a productive reception-in-distraction that may co-opt the social forms of capitalism into a project of resistance and counter-discourse. "Distraction" is therefore more than merely an attitude of reception: it occasions a cognitive distance from ideology that is a key form of critical theory in the modern period.

Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. The purpose of this study is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian. The dissertation investigates the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The solo transcriptions are limited to Montgomery’s early recordings between 1957 and ending with his 1960 album The Incredible Jazz Guitar of Wes Montgomery. The study also examines the relationship imitation has with creativity in jazz and how originality is influenced by the past. The dissertation examines the two guitarists’ use of five harmonic and melodic devices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulas and enclosures, and harmonic substitutions. The study focuses on how Montgomery’s melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The study examines how Montgomery differentiated himself in his improvisations from Christian’s. A strong emphasis is given to the significance of these differences and how these differences are connected to Montgomery’s originality and innovation. This dissertation confirms that Montgomery’s innovation was strongly linked to his imitation of Charlie Christian. It also suggests that devotion to the imitation of past artists is needed in developing an original voice in jazz. / Biographical history and musical development of Charlie Christian -- Biographical history and musical development of Wes Montgomery -- Stylistic traits of Charlie Christian over dominant-seventh harmonies -- Stylistic traits of Wes Montgomery influenced by Charlie Christian -- Conclusion. / School of Music

Journalism's role in the “Twitter age” is becoming an increasingly hot topic in media studies. This thesis was aimed at analyzing the media portrayal, with special emphasis on the difference between traditional and citizen journalism, in one of the UK’s most talked about recent short films on the media topic, Black Mirror – The National Anthem, and how this could affect the public. Qualitative methods were used to examine the portrayal of both traditional journalism and citizen journalism in the film and the effects aspect was researched through focus group interviews. The results of the content analysis showed that the film depicts traditional journalism as seriously challenged by the speed and extent that citizen journalism can reach through social media – but it also shows a dark side of citizen journalism. My content analysis came to support the idea that the negative portrayal of journalism in the film can affect the public opinion on journalism, in an indirect and complex way.