Submitted by Valdinei Souza (neisouza@hotmail.com) on 2015-10-07T18:27:22Z No. of bitstreams: 1 Maria Cristina Santos.pdf: 4409140 bytes, checksum: 5750b7f0b3afa40b41a74ccdd1590d3f (MD5) / Approved for entry into archive by Urania Araujo (urania@ufba.br) on 2015-10-29T19:06:05Z (GMT) No. of bitstreams: 1 Maria Cristina Santos.pdf: 4409140 bytes, checksum: 5750b7f0b3afa40b41a74ccdd1590d3f (MD5) / Made available in DSpace on 2015-10-29T19:06:05Z (GMT). No. of bitstreams: 1 Maria Cristina Santos.pdf: 4409140 bytes, checksum: 5750b7f0b3afa40b41a74ccdd1590d3f (MD5) / As bibliotecas públicas se caracterizam como importantes dispositivos para a democratização da cultura, o que justificou a escolha do tema da mediação para o acesso, uso e apropriação da informação, realizada por este tipo de biblioteca como objeto deste estudo descritivo, no universo das Bibliotecas Públicas Municipais (BPM) do Estado da Bahia. A questão que se buscou responder com a pesquisa foi se as BPM do Estado da Bahia vêm atuando no paradigma de apropriação cultural, com vistas à realização de ações mediadoras que favoreçam o processo de apropriação dos conteúdos informacionais pelos usuários. Para tanto, adotou-se o método de estudo de múltiplos casos, com o objetivo de verificar se as BPM do Estado da Bahia atuam como dispositivo de apropriação cultural, com ênfase ao processo de apropriação da informação, identificando suas configurações, bem como verificando se as práticas informacionais e culturais favorecem o processo de apropriação da informação, como também reconhecendo e analisando suas práticas de mediações interpessoais. A amostra da pesquisa foi composta por cinco municípios baianos (Alagoinhas, Barreiras, Ipirá, Salvador e Serrinha), perfazendo um total de seis BPM, sendo duas delas pertencentes ao município de Salvador. Os resultados obtidos permitem afirmar que as BPM do Estado da Bahia não possuem uma ambiência acolhedora e funcional, necessária ao conforto dos usuários. Seus repertórios informacionais pouco traduzem as necessidades do público local, não oferecendo acesso às diversas mídias e à internet. O quadro funcional é insuficiente e sem qualificação adequada, o que compromete o uso da linguagem informacional e a qualidade das mediações interpessoais. Essas BPM têm se restringido à realização de animações culturais, sem proporcionar as condições para o desenvolvimento de uma consciência crítica pelos sujeitos. Por fim, concluiu-se que as BPM do Estado da Bahia não têm atuado sob a perspectiva do paradigma da apropriação cultural, mediando o acesso, uso e apropriação da informação e, sim, do paradigma da biblioteca de conservação e difusão, limitadas à manutenção do acervo e disseminação da informação, sem a preocupação central de realizar a mediação para o acesso, uso e apropriação da informação. / ABSTRACT Public libraries are characterized as important devices for the democratization of culture, which justified the choice of the theme of mediation to access, use and ownership of information held by this type of library as an object of this descriptive study, the universe of Public Libraries Municipal (BPM) of the State of Bahia. The question sought to answer the research was that the BPM of Bahia have been working in the paradigm of cultural appropriation, performing actions that favor the mediating process of appropriation of informational content by users. Therefore we adopted the method of multiple cases, in order to verify that the BPM of Bahia device act as cultural appropriation, with emphasis on the process of appropriation of information, identifying your settings, making sure that the information practices and favor the process of cultural appropriation of information, as well as recognizing and analyzing their practices interpersonal mediations. The study sample was composed of five municipalities in Bahia (Alagoinhas, Barreiras, Ipirá, Salvador and Serrinha), making a total of six BPM, two of them belonging to the municipality of Salvador. The results allow us to affirm that the BPM of Bahia do not have a cozy ambience and functional, necessary to the comfort of the users. Their repertoires informational bit translate the needs of the local public, not offering access to various media and internet. The workforce is insufficient without proper qualification, which compromises the use of language and the informational quality of interpersonal mediation. These BPM have been restricted to carrying out cultural activities, without providing the conditions for the development of a critical awareness by the subjects. Finally, it was concluded that the BPM of Bahia have not acted from the perspective of the paradigm of cultural appropriation, mediating access, use and ownership information, and yes, the paradigm of library preservation and diffusion limited maintenance the collection and dissemination of information, not the central concern of performing mediation to access, use and ownership information.

Disney is known for their family animation movies with a non-western or indigenous cultural background. Nevertheless, Disney is basically very influential for the perception of cultures by a global audience. Many studies have proven that Disney’s depiction of a certain represented culture has not always been that clean. Of course two side notes are that Disney does make movies from an American dominant perspective and second, there is no such thing as a ‘real’ or ‘correct’ culture.   Now, with the movie Moana freshly released in 2016, Disney took a step in the indigenous Polynesian culture. This research uses a thorough Critical Discourse Analysis to analyse how Disney portrays Polynesia and the Polynesian culture inside four selected samples of the movie Moana. This analysis is combined with the theories and concepts of Americanisation, Disneyfication and cultural appropriation to find out mixtures of the portrayed Polynesian culture with American and Disney values.   Interesting findings were that Disney indeed portrays a hotchpotch of many cultures that can be found in Polynesia. Disney took care of highlighting the culture in the general storyline, in the characters and in the small details. Disney uses details of Polynesian mythology and the history around the ancient voyagers and wayfinding techniques for the storyline. What Disney emphasises is the importance of family, their history and their culture. Disney always portrays the culture with a certain emission of power and pride.   However, the American dominancy is still noticeable. For example, the depiction of the coconut and the plumeria flower are signs of Americanised Polynesia. The American and Disney values are all visible during the whole movie and can be found in quotes, gestures and behaviour of characters as Moana, the ocean and demigod Maui. Especially Maui is being portrayed as the ‘American dominant hero’ even though Maui is considered to be a honoured and popular Polynesian demigod.

abstract: Buddhism is thriving in US-America, attracting many converts with college and post-graduate degrees as well as selling all forms of popular culture. Yet little is known about the communication dynamics behind the diffusion of Buddhist religious/spiritual traditions into the United States. Religion is an underexplored area of intercultural communication studies (Nakayama & Halualani, 2010) and this study meets the lacuna in critical intercultural communication scholarship by investigating the communication practices of US-Americans adopting Asian Buddhist religious/spiritual traditions. Ethnographic observations were conducted at events where US-Americans gathered to learn about and practice Buddhist religious/spiritual traditions. In addition, interviews were conducted with US-Americans who were both learning and teaching Buddhism. The grounded theory method was used for data analysis. The findings of this study describe an emerging theory of the paracultural imaginary -- the space of imagining that one could be better than who one was today by taking on the cultural vestments of (an)Other. The embodied communication dynamics of intercultural exchange that take place when individuals adopt the rituals and philosophies of a foreign culture are described. In addition, a self-reflexive narrative of my struggle with the silence of witnessing the paracultural imaginary is weaved into the analysis. The findings from this study extend critical theorizing on cultural identity, performativity, and cultural appropriation in the diffusion of traditions between cultural groups. In addition, the study addresses the complexity of speaking out against the subtle prejudices in encountered in intercultural communication. / Dissertation/Thesis / Ph.D. Communication 2013

Kwakwaka’wakw laws surrounding cultural property and Canadian intellectual property laws often treat art objects differently. How can the divergences between the two legal systems be reconciled? This thesis attempts to answer this question by examining the relationships surrounding the Victory Through Honour totem pole that was gifted by Ellen Neel, a Kwakwaka’wakw totem pole carver, to UBC to make right the use of the Thunderbirds name for the university’s varsity sports teams. The first chapter of this thesis, explores the notion of reconciliation as defined by the Truth and Reconciliation Commission and locates the gifting of Victory Through Honour as one of many gestures of reconciliation regarding the historic wrong against the Kwakwaka’wakw that was the potlatch ban. The second chapter delves deeper into the ceremonial aspect of the transactions surrounding Victory Through Honour to articulate various parties’ social obligations under Kwakwaka’wakw law. The third chapter sheds light on the differences between the treatment of cultural property under the Kwakwaka’wakw legal order and Canadian intellectual property laws. The fourth chapter inquires whether the Kwakwaka’wakw legal approach to cultural property and Canadian intellectual property law can be reconciled despite their divergences. / Graduate

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Trata-se de uma tese cuja reflexÃo fundamenta-se na anÃlise do processo de apropriaÃÃo cultural exposto no campo musical brasileiro, que se evidencia no contexto contemporÃneo facilitado pelo acesso à informaÃÃo e as novas tecnologias, a partir dos anos 2000. Diante deste contexto, os sujeitos participantes deste processo recriam e reelaboram novas identidades no percurso de sua trajetÃria artÃstica transitando mais livremente em meio a estÃticas que atravessam o local/nacional/internacional. O campo empÃrico desta pesquisa se constitui no estudo de caso de uma banda integrante do cenÃrio musical cearense intitulada como Banda Dona Zefinha, nessa perspectiva a proposta desta tese busca compreender como este coletivo de artistas se apropria de sÃmbolos culturais associados historicamente a regiÃo Nordeste, recriando os mesmos, por meio de linguagens e performances especÃficas elaborando estratÃgias de participaÃÃo e sobrevivÃncia no cenÃrio artÃstico cearense. Nesse estudo serÃo retratadas a trajetÃria coletiva destes artistas tendo como enfoque tanto as disposiÃÃes internas como os influxos externos que os influenciaram durante o processo de criaÃÃo. A banda Dona Zefinha surgiu no cenÃrio pÃblico cearense em 2001, o grupo buscou unir folguedos nordestinos, a partir da musicalidade inspiradas em bandas cabaÃais e entrecortadas com muito humor, alÃm de exibir outras influÃncias claras de bandas latino-americanas, Ãrabes e medievais. Os dados aqui apresentados foram colhidos por meio de observaÃÃo durante os shows da banda, entrevistas com os mÃsicos, material fonogrÃfico e meios virtuais pelos quais estes sujeitos compartilham a partir de um viÃs qualitativo, alÃm de um amplo referencial bibliogrÃfico como ferramenta de anÃlise. A partir de seus relatos e do trabalho artÃstico, percebeu-se que a discussÃo interposta pelos integrantes da banda Dona Zefinha, revela-se a partir de um conceito sobre a regiÃo Nordestina como algo em constante transformaÃÃo. Neste movimento constante, os integrantes da banda em seu processo de criaÃÃo realizam uma espÃcie de aproveitamento, re (elaborando) valores, imagens e sÃmbolos, os quais garantem a interaÃÃo e facilitam a comunicaÃÃo entre seus ouvintes e com o prÃprio mercado.

nÃo hà / Esta pesquisa tem como objetivo descrever os principais aspectos das culturas da infÃncia Tapeba, com base nas produÃÃes culturais dessa etnia e na reconstruÃÃo dos significados dessas produÃÃes pelas crianÃas. Como fundamentaÃÃo teÃrica para o alcance de tal objetivo, baseamo-nos na Sociologia da InfÃncia, e para esse fim foram utilizados principalmente os estudo de Sarmento (2003, 2004, 2005), Corsaro (2009), Canclini (2000) e Bujes (1012). Os dados analisados resultaram de uma pesquisa qualitativa, de cunho etnogrÃfico, constituÃdo a partir da tÃcnica da entrevista semiestruturada e da observaÃÃo participante. A anÃlise realizada revelou que as crianÃas sÃo sujeitos que participam ativamente dos processos culturais da comunidade Tapeba, que se apropriam dos costumes dessa etnia na escola e na famÃlia. AlÃm disso, essas crianÃas criam e recriam sua cultura nas prÃticas lÃdicas entre pares. Portanto, elas criam e recriam sua cultura no brincar, nas atividades escolares e no cotidiano familiar.

Foodways, which in short refers to eating and drinking practices, are constitutive of personal and group identity. In this thesis, I explore the symbolic values of food and drink in group identification processes evolving across North America. Through the cases of poutine, mezcal, and hard cider, I investigate cultural identity formation, negotiation, and transformation; from everyday practices to global interactions. What I develop in this thesis is a rationale that can be actively used by members of a group, as well as by community development practitioners, governments, and industry stakeholders to bolster community capitals and agency through making, supporting or rejecting food and drink ownership claims. In the first article, titled Poutine Dynamics, I explore both the culinary and social status of poutine. First, I identify poutine as a new(er) and distinct way to consume food that is increasingly adopted and adapted, and I propose a working definition of poutine as a new dish classification label in its own. Then, by coupling poutine’s sociohistorical stigma and its growing Canadization (that is, the presentation, not the consumption per say, of poutine as a Canadian dish), I expose two related situations: the ongoing culinary appropriation of poutine and the threat of Quebecois cultural absorption by Canadians. In Poutine Dynamics, I problematize the notion of a “national cuisine” in the context of multinational and settler states. Although the focus is about cuisine, Poutine Dynamics provides elements of analysis regarding how the Canadian nationalist project is constructed and articulated today, in current celebrations of the 150th anniversary of Confederation in Canada. The second article of this thesis, titled Strategic Authenticity: The Case of Mezcal, draws upon the recent major update to the mezcal denomination of origin certification (DO) that was long-awaited and requested by “traditional mezcaleros.” This tour de force in the modification of the mezcal DO leads me to identify the notion of authenticity in food as a powerful rhetorical strategy in social negotiation between groups. Through the case of mezcal, I assert that the tasting experience is the most legitimate group identification path and authentication boundary (as opposed to political, ethnical or religious boundaries) in terms of foodways. The third article, titled The Identity Crisis of Hard Cider, looks at the ongoing cultural affirmation of hard cider from its European counterparts. So far, the research on hard cider in Vermont has looked at the low-level of cider-specific apple production in that state as a supply issue. Instead, I approach this problematic from a demand angle, specifically from the low demand for hard ciders made with cider-specific apples. In this study, I survey the Vermont hard cider industry stakeholders as to possible mechanisms in order to differentiate between hard cider styles, as well as strategies to boost the demand for hard ciders made with cider-specific apples. The implementation of a geographical indication (GI) label was of high interests among participating cider makers. In this study, I also suggest that the hard cider foodways found in Vermont are part of a broader emerging hard cider identity that is taste-based and which crosses political borders within the American Northeast.

El objetivo de esta investigación es el de analizar el proceso de apropiación y resignificación de los elementos gráficos de la cultura popular por parte de espacios de consumo masivo. En base a ello, se plantearía como hipótesis los efectos en la percepción de los usuarios en base a la resignificación de los elementos iconoplásticos de la gráfica popular utilizada por parte de espacios de consumo masivo y las alteraciones gráficas a las que es sometida. La investigación que se efectuó es descriptiva y se utilizó el método mixto. Para el desarrollo de este trabajo, se realizó entrevistas con diferentes especialistas, así como la realización de trabajo de campo, análisis de piezas gráficas y encuestas al público objeto de estudio dentro del análisis. Los resultados hallados muestran que la mayor cantidad de personas encuestadas relacionan los murales utilizados por parte del centro comercial como representaciones de gráfica popular peruana, de igual manera son estas mismas gráficas lo que más llama la atención del espacio visitado. Finalmente, como conclusiones se obtuvo que la apropiación y resignificación de la gráfica popular utilizada por parte de espacios de consumo masivo ha tenido un impacto positivo en su aplicación, pues en primera instancia, logró obtener la atención del público objetivo deseado y de esta manera mejorar el flujo de consumidores en esta área del centro comercial, de igual manera logra el objetivo de representar la cultura popular del país. / The objective of this research is to analyze the process of appropriation and resignification of the graphic elements of popular culture by mass consumption spaces. Based on this, the effects on the perception of users based on the resignification of the iconoplastic elements of popular graphics used by mass consumption spaces and the graphic alterations to which it is subjected would be hypothesized. The research that was carried out is descriptive and the mixed method was used. For the development of this work, interviews were conducted with different specialists, as well as the realization of field work, analysis of graphic pieces and surveys of the public under study within the analysis. The results found show that the largest number of people surveyed relate the murals used by the shopping center as representations of Peruvian popular graphics, in the same way it is these same graphics that most attract the attention of the space visited. Finally, as conclusions, it was obtained that the appropriation and resignification of the popular graphics used by mass consumption spaces has had a positive impact on its application, since in the first instance, it managed to obtain the attention of the desired target audience and thus improve the flow of consumers in this area of ​​the shopping center, likewise achieves the objective of representing the popular culture of the country. / Trabajo de investigación

No description available.

This thesis is a comparative study between Far Cry 3 (2012), Overwatch (2016) and Horizon Zero Dawn (2017) to determine how game developers appropriate minority cultures in character design. The character designs are compared to the cultures of origin to determine whether they have been appropriated and to what extent. Far Cry 3 appropriates Maori and Samoan cultures, Horizon Zero Dawn appropriates native American cultures, and Overwatch appropriates both Maori and native American cultures. Appropriation leads to stereotypes which may influence the way the audience regard and understand the real world. / Denna rapport är en komparativ studie mellan Far Cry 3 (2012), Overwatch (2016) och Horizon Zero Dawn (2017) för att avgöra hur spelutvecklare approprierar minoritetskulturer i karaktärsdesign. Karaktärsdesignerna jämförs med ursprungskulturerna för att avgöra om de har blivit approprierade och hur mycket. Far Cry 3 approprierar Maori- och Samoakulturer, Horizon Zero Dawn approprierar ursprungsamerikanska kulturer, och Overwatch approprierar både Maori- och ursprungsamerikanska kulturer. Appropriering leder till stereotyper som kan påverka hur publiken uppfattar och förstår den verkliga världen.