Esta pesquisa trata da formação continuada de Educadores Mediadores Culturais em ambientes informacionais educativos. A definição do objeto de pesquisa considerou a experiência de formação dos quadros de profissionais para o trabalho no dispositivo Estação do Conhecimento Einstein em Paraisópolis, na cidade de São Paulo. A partir dos referenciais da Infoeducação, abordagem de natureza histórico-cultural das relações entre Informação e Educação, a pesquisa objetiva identificar e sistematizar elementos teóricos e metodológicos para a formulação de um conceito de formação continuada, tendo em vista processos e práticas de mediação cultural pautados por princípios de apropriação e protagonismo cultural. Pesquisa de natureza qualitativa, toma como corpus de análise a documentação produzida nos programas e ações realizadas com grupos de educadores para a implantação do referido dispositivo informacional educativo, bem como coleta de depoimentos, por meio de entrevistas semiestruturadas e grupos focais com os educadores. Como resultado, foi possível identificar três eixos em razão da mútua articulação exercida na formação dos Educadores Mediadores Culturais: a experiência, condição para abordar a complexidade da questão, a formação do profissional reflexivo considerado nas dimensões social e política e o ambiente da ECE como uma modalidade de dispositivo formativo que redimensiona os saberes e fazeres educativo-culturais dos educadores. Ao considerar a complexidade social e política frente ao campo da formação continuada de Educadores Mediadores Culturais, a pesquisa mostra, assim, os limites de concepções que entendem a formação como instância de padronização de práticas e avança no sentido de evidenciar o espaço formativo como locus de encontro entre saberes teóricos e os da ação - Universidade e terreno. É pela ruptura com um paradigma difusionista que se pode afirmar que a formação com o dispositivo ECE traz implicado em seu projeto educativo-cultural ações para o desconfinamento de sujeitos ao se apresentar como uma plataforma que projeta-os para a cidadania cultural. / This research deals with the continuing education of Cultural Mediators Educators in educational informational environments. The definition of the research object considered the education experience of professional staff to work on the device Einstein Knowledge Station (EKE) in Paraisópolis, in the city of São Paulo. Based on Infoeducation frameworks, an historical-cultural approach of the relationship between Information and Education, the research aims to identify and systematize theoretical and methodological elements for the formulation of a concept of continuing education, focused on the processes and practices of cultural mediation guided by principles of appropriation and cultural protagonism. Research of a qualitative nature, takes as corpus of analysis the documentation produced in the programs and actions carried out with groups of educators from educational informational device, as well as collection of testimonies, through semi-structured interviews and focus groups with educators. As a result, it was possible to identify three axes due to the mutual articulation exercised at the education of Cultural Mediators Educators: the experience, condition to address the complexity of the question, the education of the reflective professional considered in the social and political dimensions and the environment da EKE as a modality of formative device that resizes the educational-cultural knowledge and actions of educators. When considering a social and political complexity in the field of continuing education of Cultural Mediators Educators, the research thus shows the limits of conceptions that understand education as an instance of standardization of practices and advances in the sense of evidencing the formative space as locus of dialogue between theoretical knowledge and active - University and terrain. It is through the rupture with a diffusionist paradigm that it is possible to affirm that the education with EKE device brings implied in its educationalcultural project actions for the deconfining of subjects when revealing itself as a platform that projects them for cultural citizenship.

Este trabalho interroga a formação do bibliotecário como um mediador cultural, sujeito comprometido com processos de apropriação e de protagonismo cultural no país. A pesquisa parte da hipótese de que a mediação cultural, intrínseca à profissão de bibliotecário, é tratada de forma insuficiente e confusa em normas, diretrizes e orientações para a sua formação. Desenvolve pesquisa bibliográfica e documental para compreender e aprofundar questões em torno dos conceitos estudados. Identifica e analisa documentos orientadores que manifestam representações do profissional bibliotecário - manifestos da International Federation of Library Associations and Institutions e Organização das Nações Unidas para a Educação, a Ciência e a Cultura, além da lei brasileira que regulamenta a profissão de bibliotecário e de diretrizes do Ministério da Educação. Também desenvolve pesquisa documental em propostas brasileiras e francesas de cursos de mediação cultural - graduação e pós-graduação - no sentido de embasar a ideia do \"bibliotecário mediador cultural\", já que as propostas permitem inferir descrições de mediador cultural. Percebe que nas normas, diretrizes e nos documentos orientadores o bibliotecário não é colocado de forma clara como um mediador cultural, tampouco como negociador cultural, mas como um educador e difusor de cultura, que oferta serviços direcionados à assimilação e ao consumo cultural, deixando de responder à demanda da apropriação e protagonismo cultural. Considera que o desafio que precede todos os outros, para a formação do bibliotecário como mediador cultural, é o de refletir, discutir, teorizar e explicitar os conceitos de formação, superando a visão dualista (tecnicismo x humanismo, técnica x prática, fazer x pensar...) que vem orientando historicamente a Ciência da Informação e a Biblioteconomia. / This work interrogates about the formation of a librarian as a cultural mediator, a person committed to processes of appropriation and cultural protagonist in the country. The research starts from the hypothesis that cultural mediation, intrinsics to the occupation of librarian is treated improperly and confusingly in standards and guidelines for their training. It carries out bibliographical and documentation research to understand and deepen issues around the concepts studied. It identifies and analyzes prescriptive documents showing representations of professional librarian - manifest of the International Federation of Library Associations and Institutions and Unesco, as well as Brazilian law that regulates the occupation of librarian and guidelines Ministry of Education. It also develops documentary research in Brazilian and French proposals of cultural mediation courses - graduate and postgraduate studies -in order to support the idea of \"Librarian cultural mediator\", since the proposals allow us to infer descriptions of cultural mediator. It realizes that the standards, guidelines and policy documents librarian is not placed clearly as a cultural mediator, neither as a negotiator, but as an educator and diffuser of culture, that offer services aimed at assimilation and cultural consumption, failing to respond to the demand of appropriation and cultural protagonism. It considers that the challenge that precedes all others, for the formation of the librarian as a cultural mediator, is to reflect, discuss, theorize and explain the concept of formation, surpassing the dualistic view (technicality x humanism, technical x practice, do x think...) which has historically guiding the Information Science and the Librarianship.

The United States has a long-standing history of appropriating Indigenous representations for the use of mascots in athletics. Despite protest by Indigenous groups against this practice, professional athletics teams continue to appropriate Indigenous representations as mascots. The National Congress of American Indians produced a public service announcement (PSA), Proud to Be (PTB), to elicit support from the general public for changing the name/mascot Redskins. The purpose of the proposed research is to experimentally examine the effects that PTB has on support among Non-Indigenous participants, as function of political alignment. We considered two competing outcomes: The Counterproductive Hypothesis predicts the more conservative participants are, the less supportive they will be of changing the Redskin name/mascot, especially after watching the PTB rather than two control PSAs (directed at ending the word retard or reducing texting and driving). We also expect that the more conservative participants are, the less supportive they will be of either “name change” campaign, especially the one that corresponds with the PSA they view. Alternately, The Effective Hypothesis predicts if the PSA induces empathy among viewers, it could elicit support independent of political perspective. That is, participants will be supportive of changing the Redskin name/mascot after watching PTB rather than either control PSA. This effect will occur through the effects of PTB on increased empathy (specific to the target group). Preliminary analyses provide support for the Effective Hypothesis: Regardless of political perspective, participants experienced increased empathy for Indigenous People after viewing PTB, which led to increased support for the message promoted by Proud to Be.

<p>Brazilian telenovelas have always been very popular in Portugal but in the last years this popularity is decreasing. It seems Portuguese audiences prefer Portuguese telenovelas instead. Why is this so? Within the context of the relationship between Portugal and Brazil, Portuguese identity and theories of cultural exchange and cultural appropriation, this essay, through interviews to ten different subjects, tries to analyse why this is happening.</p>

Brazilian telenovelas have always been very popular in Portugal but in the last years this popularity is decreasing. It seems Portuguese audiences prefer Portuguese telenovelas instead. Why is this so? Within the context of the relationship between Portugal and Brazil, Portuguese identity and theories of cultural exchange and cultural appropriation, this essay, through interviews to ten different subjects, tries to analyse why this is happening.

This study is based upon the idea that foreign language (FL) classrooms exist apart from their target language communities. While historically, this has been a geographic truth, divides between FL learners and native speakers may also reflect symbolic social distance. Given the symbolic, if not geographic, isolation of the FL classroom from the real world, this study presumes that a challenge inherent to the endeavor of FL education is that the authentic, real-world language and culture under study are, by definition, not naturally present in the FL classroom. This study considers how this challenge, referred to as the challenge of authenticity, is managed in one FL classroom. Seven eighth-grade students and their teacher comprise Classroom 204, a beginning Spanish FL classroom at a private school in the southwest U.S. This qualitative case study uses classroom observations, audio-recordings, classroom artifacts, and participant interviews as data to consider not only how authenticity is imported, imagined, and conjured by participants in Classroom 204, but how authenticity is assigned value therein. Data is analyzed largely with discourse analysis of transcripts of classroom talk about (and classroom talk that constituted) various facets of authenticity, value, and the real world. Ecology theory serves as a broad theoretical lens through which to understand (and accept) the complexity inherent to the social phenomena being researched. Benedict Anderson's (1991) theory of imagined communities is adopted to understand the boundaries that delineate the inside of the FL classroom from the outside, and Bourdieu's (1992) notion of symbolic capital is used to understand the ways by which authenticity becomes valuable (and, conversely, how that which is valuable becomes authentic). Findings suggest that, while participants are largely oriented to real-world manifestations of Spanish language and culture, authenticity is not most present in Classroom 204 in the form of stuff imported from elsewhere. Rather, authenticity emerges out of the highly local, socially-immediate interactions and value systems unique to Classroom 204. Suggestions for both pedagogy and future research focus on approaches that acknowledge and capitalize on the power of local authenticity in the FL classroom, as cultivated by local social actors. / text

This master’s report presents a literary criticism of the novel ¡Caramba! by Nina Marie Martínez that attends to both genre and mass culture theory. The novel, when recognized as a multigenre text consisting of both chick lit and Chicano literature conventions, reveals how informal economies employ methods of cultural appropriation in order to articulate an oppositional voice. In particular, Martinez’s literary intervention of the trademark symbol subverts dominant forms of consumption (and genre) to expose how her protagonists emerge as subjective, discerning consumers in her fictional Californian town. / text

The thesis analyses the discursive construction of migrants’ identities through their native language communications, using Russian-speaking migration in the UK as the case study. Material from internet forums these migrants were engaged in the years 2002-2005 forms the basis of this research. The project is concerned with the question of how Russian-speaking migrants, faced with the process of accustoming themselves to a new place of residence (UK), re-negotiate the Self, their homeland (in both real geographical terms and metaphorically through their cultural affiliations) and the Other. This study draws on theories from a range of research perspectives including hermeneutics, discourse analysis, cultural studies, and ethnography. The theoretical framework developed in this thesis combines Foucault’s analysis of discourse with Lotman’s model of dialogue between cultures. The thesis also develops sampling techniques for virtual data. By examining how the dichotomy Russia vs. Europe/the West is imagined in the researched data, this study argues that the concept of Europeanism obtains positive associations, while the concept of the West retains its ambiguity for Russian-speaking migrants. The thesis identifies Europeanism as a discursive object of knowledge and examines its categorizations. The study identifies kul`tura and tsivilizatsia as grids of specifications of Europeanism, and investigates Self/Other dialectics attached to the object of knowledge. Finally, the thesis analyses the dynamics of cultural appropriation under influences of the host context, and elaborates on semiotic “translation” of new phenomena.

In the 1960s and 1970s, American artists Claire Zeisler, Ed Rossbach, and Sheila Hicks helped forge an international art movement that expanded the boundaries of fiber usage and, by extension, the boundaries of art itself. Often with only a loom, hook, or their own hands as tools, they crafted soft sculptures from thread, string, and rope. In contrast to recent formalist and feminist attempts to recover the overlooked genre of Fiber Art, this dissertation explores the ways in which artists employed fiber to register the ethnic and economic tensions of their era. Zeisler, Rossbach, and Hicks borrowed anthropological strategies to research the materials and processes associated with non-Western, Native American, and South American textile histories. Incorporating these principles into their own work, the artists in this project promote such art forms while simultaneously appropriating them as a ground for articulating their own responses to issues of industrialization and globalization. Chapter One contextualizes the dissertation’s three case studies by describing the Fiber Art movement, its contemporary reception, and its relationship to anthropology. Chapter Two highlights Chicagoan Claire Zeisler, who used her personal collection of African, Oceanic, and Native American art as source material for her thread-based sculptures. She therefore promoted diverse cultural traditions while also taking advantage of these art forms to establish her own artistic identity. Ed Rossbach, the subject of Chapter Three, studied international textile traditions as a teacher and theorist at the University of California, Berkeley. He repurposed ancient and foreign techniques using ephemeral, mass-produced materials, thereby challenging the romanticized distinction between the industrial present and preindustrial past. Finally, Chapter Four considers how Sheila Hicks engaged directly with fiber workshops in Mexico, Chile, India, Morocco, and France through travel and collaboration. By assimilating motifs and materials from these experiences into installations that were shown in corporate settings, her art alluded to the complex relationships between workers around the world. In their respective roles as collector, scholar, and traveler, these artists drew from anthropological discourses to provide critical perspective on United States society at a time when global communication and transportation technologies brought cultures into collision. / 2020-02-14T00:00:00Z

This research will study cultural appropriation that is presentable in 2010th music videos by famous artists/bands like Coldplay, Beyoncé, Lana Del Rey, No Doubt and Iggy Azalea. The term cultural appropriation is about the taking over of practices, artistic forms or themes from usually a minority culture. The focus will lay on two different cultures, Indian culture and Native American culture. I will with the help of researchers like Erich Hatala Matthes and James. O Young argue the harms of cultural appropriation, where I will include bell hooks to supports my arguments. My task will also be to enlighten the common behavior traits that show occurring cultural appropriation in music videos. Deeply analysis of these music videos will help me reach my concluded arguments about the harms of cultural appropriation. Every music video will focus on three concepts and they are, romanticization, sexualization and exotification. With tracing these concepts, I will argue the differences of the cultural appropriation Indian culture and Native American culture experiences.