Submitted by Fabiany Feitosa (fabiany.sousa@ufba.br) on 2016-04-06T13:20:49Z No. of bitstreams: 1 Ajagunna, Adenike Abiodun Aneys..pdf: 1886342 bytes, checksum: d8150534a8a86f4947ed7c1131588ef4 (MD5) / Approved for entry into archive by Uillis de Assis Santos (uillis.assis@ufba.br) on 2016-04-25T11:50:45Z (GMT) No. of bitstreams: 1 Ajagunna, Adenike Abiodun Aneys..pdf: 1886342 bytes, checksum: d8150534a8a86f4947ed7c1131588ef4 (MD5) / Made available in DSpace on 2016-04-25T11:50:45Z (GMT). No. of bitstreams: 1 Ajagunna, Adenike Abiodun Aneys..pdf: 1886342 bytes, checksum: d8150534a8a86f4947ed7c1131588ef4 (MD5) / A presente pesquisa dedicou-se ao estudo do comprometimento com a carreira, mais especificamente os antecedentes e consequentes do comprometimento com a carreira nas indústrias criativas. A escolha pelas indústrias criativas, representado pelo produtor cultural, deve-se ao forte destaque e crescimento da economia criativa e, sobretudo, à importância do papel social da arte e da cultura. Pelo exposto, o objetivo desta pesquisa consiste em entender como se percebe o comprometimento do produtor cultural com a carreira frente ao contexto de trabalho das indústrias criativas ao longo do seu desenvolvimento profissional. Para tanto, foi proposto a realização de três estudos. O primeiro estudo propõe-se a rever a produção acadêmica, nacional e internacional sobre o tema e vinculá-la ao campo promissor das indústrias criativas, mais precisamente identificar, descrever, classificar e analisar as pesquisas sobre comprometimento voltadas para o contexto da carreira profissional e das indústrias criativas. O segundo estudo buscou identificar, descrever, categorizar e ilustrar os antecedentes do comprometimento da carreira profissional de trabalhadores nas indústrias criativas, com enfoque para os produtores culturais. O terceiro estudo objetivou identificar, descrever, categorizar e ilustrar os consequentes do comprometimento da carreira profissional de trabalhadores nas indústrias criativas, também com enfoque para os produtores culturais. No que tange a metodologia, o primeiro estudo (teórico) realizou uma análise sistêmica para referenciar a produção científica, enquanto os dois últimos estudos utilizaram uma metodologia qualitativa com abordagem das histórias de vida através da técnica de entrevista biográfica. As entrevistas foram realizadas com oito produtores culturais de vasta experiência profissional em projetos no cenário das indústrias criativas baiana em duas etapas distintas. As narrativas foram tratadas a partir do procedimento de análise de conteúdo apoiado no paradigma interpretativo e com auxílio do software ATLAS.ti. Os resultados sugerem que há uma carência de estudos que inter-relacionem o comprometimento com a carreira e as indústrias criativas, além disso, carece ainda de estudos que incluem nas pesquisas o fator da temporalidade de uma carreira. Nesta pesquisa, as análises foram realizadas no sentido de buscar um suporte qualitativo para os antecedentes e consequentes apontadas na literatura, bem como propusemos a inclusão de novos antecedentes (Paixão, Apoio familiar, Apoio de Organizações Públicas e Privadas, Feedback do Público e Criatividade) e novos consequentes (Conflito Vida Profissional e Pessoal, Resiliência, Ser um Exemplo Profissional), de forma a contribuir com os avanços que vêm sendo realizado no campo a partir da utilização hegemônica de instrumentos quantitativos de pesquisa. / The present research was dedicated to study career commitment, more specifically the antecedents and consequences of career commitment in the creative industries. The choice for the creative industries, represented by the cultural producer, is due to the strong emphasis and growth of the creative economy and, above all, the importance of the social role of art and culture. That being exposed, the objective of this research is to understand how career commitment of cultural producers happens in the context of the creative industries workplace along their professional development. Therefore, it was proposed to develop three studies. The first study proposes a review of the academic literature on the subject, national and international, and links it to the promising field of creative industries, more precisely the objective is to identify, describe, classify and analyze the research focused on commitment under the context of career and the context of the creative industries. The second study sought to identify, describe, categorize and illustrate the antecedents to commitment of the professional career of workers in the creative industries, with a focus on cultural producers. The third study aimed to identify, describe, categorize and illustrate the consequences of commitment of the professional career of workers in the creative industries, also focusing on cultural producers. Regarding the methodology, the first study theoretical) conducted a systemic analysis to reference the scientific production, while the latter two studies used a qualitative methodology of the life story approach through the biographical interview technique. The interviews were conducted with eight cultural producers with extensive work experience in projects in Bahia’s creative industries scenario in two stages. The narratives were treated with the procedure of content analysis supported by the interpretative paradigm and with the help of ATLAS.ti software. The findings suggests that there is a lack of studies that inter-relates career commitment and creative industries. Also, has yet to exist studies that include the temporality factor of a career in researches. In this research, the analysis were made to qualitatively support the antecedents and consequences shown in the literature and propose the inclusion of new antecedents (Passion, Family Support, Support of Public and Private Organizations, Audience Feedback and Creativity) and new consequences (Professional and Personal Life Conflict, Resilience, Become a Professional Example), in order to contribute to the field's already made progress based on the hegemonic use of quantitative research tools.

Submitted by Maria Medeiros (maria.dilva1@ufcg.edu.br) on 2018-08-06T15:07:04Z No. of bitstreams: 1 JOSÉ FERREIRA JÚNIOR - TESE (PPGCS) 2014.pdf: 3762511 bytes, checksum: 7f275604704f424efd04b446e18ec2f9 (MD5) / Made available in DSpace on 2018-08-06T15:07:04Z (GMT). No. of bitstreams: 1 JOSÉ FERREIRA JÚNIOR - TESE (PPGCS) 2014.pdf: 3762511 bytes, checksum: 7f275604704f424efd04b446e18ec2f9 (MD5) Previous issue date: 2014 / O objetivo desta pesquisa foi investigar como, em Serra Talhada e em Triunfo, cidades da Mesorregião do Sertão Pernambucano, Microrregião do Pajeú, verifica-se o uso da memória lampiônica pelos produtores culturais e, no referente a esse uso, como são construídos os discursos desses atores sociais. Procedeu-se investigação bibliográfica. Foram examinadas obras diversificadas que tratam do assunto memória e mercadorização da memória. Também foram consultadas literaturas que circulam no âmbito regional, cujos autores são produtores culturais serratalhadenses e triunfenses e ex-soldados de volantes. Concernente à teoria empregada, buscou-se embasamento no discurso weberiano da ação social, mais especificamente, a que busca uma finalidade específica. Somado a essa incursão bibliográfica, também foram feitas entrevistas, tendo como instrumento de obtenção de dados o questionário semi-estruturado. Os conteúdos dos discursos dos sujeitos entrevistados foram analisados e utilizados na construção do texto que compõe esta tese. Como resultados, percebeu-se, de fato, a existência de disputa pela memória citada e, em decorrência de tal procedimento, a constatação de que, embora a intencionalidade seja a mesma, verifica-se a utilização de estratégias diferentes para se obter benefício da memória em questão. Enquanto em Serra Talhada a memória lampiônica é diretamente mercadejada, satisfazendo uma demanda turística, em Triunfo, seu uso se faz quando é agregada aos atrativos da cidade, ou seja, no espaço triunfense, a memória de Lampião funciona como elemento agregador de valor àquilo que a cidade, por si só, já oferece ao turista. / The objective of this research was to investigate how, Serra Talhada and Triunfo , the cities of Meso Hinterland Pernambucano microrregion the Pajeú, there is the use of memory lampiônica by cultural producers, and in respect of such use , how they are constructed discourses these social actors. Proceeded bibliographic research . Diversified works dealing with the subject memory and commodification of memory were examined. Literatures circulating regionally, whose authors are serratalhadenses cultural producers and triunfenses and former soldiers flywheels were also consulted. Concerning the theory employed, we sought grounding in the Weberian discourse of social action, more specifically, to search a particular purpose. Added to this literature raid, interviews were also carried out, and as a tool for obtaining data semi - structured questionnaire. The contents of the interviews subjects were analyzed and used in the construction of the text that makes up this thesis. As a result, it was realized, in fact, the existence of the dispute quoted memory and, as a result of such a procedure, the finding that, although the intention is the same, the use of different strategies it appears to give the benefit of the memory in question. While in Serra Talhada hewn lampiônica the memory is directly marketed, satisfying a demand for tourism, in Triunfo its use becomes attractive when it is aggregated to the city , or in triunfense space, memory of Lampião works as aggregator element value to what the city itself already offers the tourist

This dissertation explores the social patterns and cultural layers of musical "open mics" in New York City. The study uses a qualitative approach which includes methods such as ethnography, in-depth interviewing, historical and discourse analyses focusing on open mics and the popular musicians who attend and perform them. Open mics, short for "open microphones," are public events that allow musicians to perform songs without a pre-planned, formal booking with a club or venue. Owing a historical and discursive connection to the folk hootenannies and jazz jam sessions of the past, these events have proliferated and spread considerably across the United States since the 1990s since their development, by name, in the late 1970s. Open mics not only reflect a do-it-yourself and participatory cultural ethos manifested with other recent expressive cultural activities, but also demonstrate a growing interstitial "musical third place" residing between private practicing and public performance. Musical open mics as musical third places provide musicians and singer/songwriters to network with other musicians, practice new musical compositions and play when other performance opportunities are not readily available. It provides a means for musicians to "hone their craft" in terms of performance methods and also construct musical identities in the almost exclusive company of other working singer/songwriters. This "backstage region" is thus framed and keyed by the musicians onto a continuum between two theoretical poles: performance practicing and practicing performance. Performance practicing as defined in this study frames a more performance-oriented display for musicians in locations called "closed open mics" or COMs. These settings, also residing on a theoretical continuum are socially more exclusive in terms of performance types, the aesthetic careers of the performers, the genres represented and the sociological makeup of the setting participants in general. OOMs or "open open mics," on the other hand, usually have a more fluid, diverse sociological composition of musical performers, performance types, and musical genres played and represented in these mainly weekly events. Closed open mics align into more homogeneous, isomorphic settings comprising "local open mic scenes" and open open mics remain more heterogeneous, socially inclusive, and unsettled as "pre-scenes."