Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-01-13T13:16:46Z No. of bitstreams: 1 HelioRonyvonGomesRocha_DISSERT.pdf: 1808478 bytes, checksum: 3e2d4c6833bac171a81bfdedfa0ce604 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-01-24T13:08:22Z (GMT) No. of bitstreams: 1 HelioRonyvonGomesRocha_DISSERT.pdf: 1808478 bytes, checksum: 3e2d4c6833bac171a81bfdedfa0ce604 (MD5) / Made available in DSpace on 2017-01-24T13:08:22Z (GMT). No. of bitstreams: 1 HelioRonyvonGomesRocha_DISSERT.pdf: 1808478 bytes, checksum: 3e2d4c6833bac171a81bfdedfa0ce604 (MD5) Previous issue date: 2016-04-08 / Esta pesquisa reflete sobre o encontro de subjetividades em A pessoa ? para o que nasce (2004), de Roberto Berliner, onde enxergamos o tempo como fator determinante para a constru??o de v?nculos entre o diretor e as personagens centrais da obra. Esse longametragem documental conta a hist?ria de Maria, Regina e Concei??o, tr?s senhoras irm?s cegas que viveram maior parte da vida nas feiras de rua no Nordeste brasileiro, cantando e tocando ganz? em troca de dinheiro. Durante o filme, vemos os quase sete anos de contato e produ??o servirem como ferramenta para a constru??o da narrativa da obra. Para entender a subjetividade das rela??es e o tempo partilhado, temos Bachelard (1988), Serres (2001) e Sodr? (2006) como corpus te?rico principal, e para identificar a influ?ncia desses encontros subjetivos no corte-final da obra, trazemos Todorov (1996) e Baitello (1997), pois interpretamos a produ??o de imagens n?o-visuais, criadas ao longo do filme, como reflexo da partilha do sens?vel (Ranci?re, 2009). Ao final da pesquisa, percebemos uma influ?ncia direta entre os anos de intera??o e o conhecimento m?tuo entre diretor e personagens, levando para a tela n?o apenas a hist?ria de vida dessas irm?s, mas o pr?prio encontro de subjetividades que extrapolam as grava??es. / This work reflects on the encounter between subjectivities in Born to be blind (2004), by Robert Berliner. There, we can see time as an important factor which establishes a link between the director and the film characters. This documentary feature narrates the life story of Maria, Regina and Concei??o, three blind sisters who make a living by singing in Brazilian fairs. During the film, the almost seven years of production and relations serve as a tool for the construction of the film narrative. In order to understand the subjectivity of relations and the shared time, we bring up Bachelard (1988), Serres (2001) and Sodr? (2006) as main theorists, and to identify how these encounters are reflected in the final cut of the movie, we use Todorov (1996) and Baitello (1997), once we read the production of non-visual images as a reflection of the distribution of the sensible (Ranci?re, 2009). At the end of the research, we see a rather direct influence between the shared years and the mutual understanding between director and characters, which puts on screen not only the history of these women, but also the subjectivities encounter itself.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-22T18:54:34Z No. of bitstreams: 1 AndreLuizDosSantosPaiva_DISSERT.pdf: 5183930 bytes, checksum: 4cb99553f96825e87991c192d83dc351 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-04T00:05:00Z (GMT) No. of bitstreams: 1 AndreLuizDosSantosPaiva_DISSERT.pdf: 5183930 bytes, checksum: 4cb99553f96825e87991c192d83dc351 (MD5) / Made available in DSpace on 2017-03-04T00:05:00Z (GMT). No. of bitstreams: 1 AndreLuizDosSantosPaiva_DISSERT.pdf: 5183930 bytes, checksum: 4cb99553f96825e87991c192d83dc351 (MD5) Previous issue date: 2016-12-05 / Na presente disserta??o de mestrado realiza-se a an?lise de Tatuagem, o filme (Hilton Lacerda, 2013) a partir dos conceitos de coragem da verdade e est?tica da exist?ncia discutidos por Michel Foucault. Para isso focaliza-se na modalidade c?nica da coragem da verdade e nas pol?ticas e estudos queer como ferramentas te?ricas de an?lise, criando um di?logo entre essas duas correntes te?ricas do pensamento que, ao encontrarem-se com o filme analisado, exercitam elas mesmo uma forma de parres?a no discurso acad?mico. No que tange aos aspectos metodol?gicos parte-se da perspectiva de an?lise de discurso foucaultiana, com destaque para o per?odo geneal?gico desse autor, inserindo nesse processo algumas desobedi?ncias epistemol?gicas a partir dos Estudos Queer. Com foco nas cenas de apresenta??es do grupo fict?cio do filme, Ch?o de Estrelas, a pesquisa analisou a produ??o das performatividades e dos corpos como express?es da coragem da verdade no discurso f?lmico de Tatuagem, concluindo que o discurso do filme se institui como um contra discurso que se articula com pr?ticas sociais de questionamento das normatividades, subvers?o das identidades e produ??o ut?pica dos corpos. / This work is an analysis of Tatuagem, o filme (Hilton Lacerda, 2013) from the concepts of courage of truth and aesthetics of existence discussed by Foucault. It focuses on the cynical form of the courage of truth and in queer policies and studies as theoretical analysis tools creating a dialogue between these two theoretical currents of thought that, with the analyzed film, exercise even a form of parres?a in academic discourse. The methodological framework is based on Foucault's discourse analysis perspective, highlighting the genealogical period of this author introducing in the process some epistemological disobedience from Queer Studies. Focusing on the presentation of the fictitious group of the film, Ch?o de Estrelas, this work presents an analysis of the production of performativities and bodies as expressions of the courage of truth in the Tatuagem filmic discourse concluding that the film establishes itself as a counter discourse that is articulated with social practices of questioning normativities, subversion of identities and utopian production of bodies.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-02-22T18:54:35Z No. of bitstreams: 1 AnnaPaulaDeAndradeVasconcelos_DISSERT.pdf: 1583871 bytes, checksum: 3f327b9da51e9ab33448e340346b00bc (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-04T00:11:27Z (GMT) No. of bitstreams: 1 AnnaPaulaDeAndradeVasconcelos_DISSERT.pdf: 1583871 bytes, checksum: 3f327b9da51e9ab33448e340346b00bc (MD5) / Made available in DSpace on 2017-03-04T00:11:27Z (GMT). No. of bitstreams: 1 AnnaPaulaDeAndradeVasconcelos_DISSERT.pdf: 1583871 bytes, checksum: 3f327b9da51e9ab33448e340346b00bc (MD5) Previous issue date: 2016-03-15 / A proposta deste trabalho foi a de analisar o telejornalismo empregado no Rio Grande do Norte, agindo no recorte da emissora Intertv Cabugi e na sua rela??o de di?logo com a audi?ncia sob o ponto de vista das rotinas produtivas dos jornalistas que selecionam as not?cias e pautam o telejornal RNTV, primeira edi??o. Compreendido nas novas tecnologias da comunica??o, o trabalho est? baseado nas teorias midi?ticas utilizadas por Muniz Sodr? e Hjavard. Apontamentos sobre o futuro do jornalismo de Chaparro s?o fundamentais para o desenvolvimento da perspectiva cient?fica. Uma vez que, segundo pesquisa recente, a quantidade telespectadores no Rio Grande do Norte permanece acima da m?dia nacional, justifica-se o interesse por estudos dessa natureza. Buscou-se analisar quais s?o as estrat?gias e as inova??es empregadas pelo ve?culo para garantir o interesse do p?blico, sob a ?tica dos autores, Ren? e Flores, Scolari e Shirky. A metodologia utilizada foi um estudo de caso, como prop?e Yin e fazendo-se uso da pesquisa participante relatada por Peruzzo. Para isso analisou-se, al?m das rotinas produtivas de produtores e editores, o poder de fala do telespectador na produ??o deste conte?do, atrav?s de um conjunto de m?todos e t?cnicas de pesquisa, entre eles a observa??o participante. Houve a inten??o de se verificar como se d? a sele??o do p?blico participante, e com base em quais crit?rios de noticiabilidade isso acontece. A partir dos resultados obtidos observou-se que o jornalismo vive uma crise de identidade e est? testando empiricamente solu??es empregadas em outros meios tradicionais de comunica??o. Assim, observou-se a presen?a do fen?meno denominado ?transbordamento?. Notou-se tamb?m, ao se analisar as rotinas produtivas, a inexist?ncia de n?cleo especializado em participa??o para intermediar essas falas. Sabe-se que a proposta do aplicativo estudado ? a de que todos sejam respons?veis pela sua atualiza??o e retorno aos emissores, o que n?o ocorreu de forma satisfat?ria. / The purpose of this study aims to analyze the Telejournalism used in Rio Grande do Norte, acting by means of clipping of Intertv Cabugi station and its relationship with the audience dialogue response, from the point of view of the productive routines of journalists who select the news and guided the newscast RNTV first edition. Being included in New Communication Technologies, the work is based on media theories used by Muniz Sodr? and Hjavard. Notes on the future of journalism by Chaparro are fundamental in the development of a scientific perspective. Justified interest, given the fact that according to recent research the viewers of Rio Grande do Norte remain above the national average. It attempted to analyze what are the strategies and innovations used by the vehicle to ensure the public interest, from the perspective of the authors, Ren? and flowers, Scolari and Shirky. The methodology used was a case study, as proposed by Yin and making use of participatory research reported by Peruzzo. In order to accomplish this, was analyzed well beyond production routines, producers, and editors, but also to determine the power of speech from the viewer in the production of content by a number of methods and searching techniques, including participant observation. In order to know if there are in fact newsworthiness criteria and how based upon that they are used to select the audience participation. Results show that journalism is experiencing an identity crisis and is empirically testing solutions used in other traditional communication media. Also there was the presence of the overflow phenomenon. It was also noted, when analyzing the production routines, the lack of a core nucleus specialized in participation to intermediate these lines, and the studied application proposal is that everyone is responsible for being up to date and for the feedback to issuers, which does not occur in a satisfactory manner.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-03-14T22:38:31Z No. of bitstreams: 1 MaisaCarvalhoDeSouzaViega_DISSERT.pdf: 5614843 bytes, checksum: 78313f9131296f4f648c5f8e5c6ce96e (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-03-16T20:16:37Z (GMT) No. of bitstreams: 1 MaisaCarvalhoDeSouzaViega_DISSERT.pdf: 5614843 bytes, checksum: 78313f9131296f4f648c5f8e5c6ce96e (MD5) / Made available in DSpace on 2017-03-16T20:16:37Z (GMT). No. of bitstreams: 1 MaisaCarvalhoDeSouzaViega_DISSERT.pdf: 5614843 bytes, checksum: 78313f9131296f4f648c5f8e5c6ce96e (MD5) Previous issue date: 2016-11-10 / Este trabalho investiga filmes coletivos de fic??o contempor?neos, pertencentes a franquia cinematogr?fica Cities of Love, enquanto espa?os voltados ? recorda??o, engendramento, circula??o e silenciamentos de mem?rias urbanas. Paris, Je T?aime (2006), New York, I Love You (2009) e Rio, Eu Te Amo (2014) formam o objeto emp?rico da pesquisa. A discuss?o te?rica apoia-se na interlocu??o entre mem?ria, m?dia e cinematografia urbana. Destacam-se na condi??o de aporte te?rico, os escritos de Almeida (1999), Assmann, A. (2008; 2011), Assmann, J. (2008; 2011), Calvino (2013), Comolli (2008), Costa (2002; 2008a), Erll (2008a; 2008b; 2012), Huyssen (2000), Mongin (2009), Pollak (1992) e Schorske (2000). Quanto aos procedimentos metodol?gicos, efetua-se abordagem predominantemente qualitativa e faz-se uso conjugado das an?lises f?lmica e de conte?do, do tipo tem?tica, com base em Aumont e Marie (2013) e Bardin (2011). Dentre os objetivos alcan?ados, tem-se: a identifica??o das cidades filmadas de Paris, Nova York e Rio de Janeiro a partir da narrativa, tipos humanos, locais e acontecimentos valorizados pelas produ??es; a sinaliza??o dos discursos e imagens relativos ?s particularidades da experi?ncia humana em movimento nas Cidades do Amor; e a reflex?o sobre a forma??o de mem?rias e as opera??es de recorda??o e lembran?a concernentes ?s cidades suscitadas pelos filmes e nos filmes. Conclui-se que os longas-metragens pertencentes ? franquia cinematogr?fica Cities of Love, ao mesmo tempo que edificam cidades filmadas, tornam-se campos de disputa de mem?rias urbanas. / This work investigates collective films of contemporary fiction as spaces dedicated to remembrance, engendering, circulation and silencing of urban memories. Paris, I Love You (2006), New York, I Love You (2009) and Rio, I Love You (2014) form the empirical object of research and the franchise Cities of Love is responsible for the production of feature analyzed films. The theoretical discussion relied on dialog between memory, media and urban cinematography. Stand out in a condition of theoretical contribution, the written of Almeida (1999), Assmann, A. (2008; 2011), Assmann, J. (2008; 2011), Calvino (2013), Comolli (2008), Costa (2002; 2008a), Erll (2008a; 2008b; 2012), Huyssen (2000), Mongin (2009), Pollak (1992) and Schorske (2000). As for the methodological procedures, is predominantly approach in qualitative and it is use in conjunction of the content analysis of the type of themes and film, based on Aumont and Marie (2013) and Bardin (2011). The objectives achieved are: identification of the cities of Paris, New York and Rio de Janeiro from the narrative, human types, places and events valued by the productions; indication of discourses and images related to the particularities of the human experience in movement in the Cities of Love; and reflection about formation of memories and the operations of remembrance related to the cities by the films and in the films. In conclusion, that the films belonging to the relief cinematic Cities of Love, at the same time that build cities index become fields of dispute of urban memories.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-03T23:10:10Z No. of bitstreams: 1 JulianaHermenegildoDaSilva_DISSERT.pdf: 5637594 bytes, checksum: 939ecbb0ca8b5d89152fef6422f49638 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-11T23:20:26Z (GMT) No. of bitstreams: 1 JulianaHermenegildoDaSilva_DISSERT.pdf: 5637594 bytes, checksum: 939ecbb0ca8b5d89152fef6422f49638 (MD5) / Made available in DSpace on 2017-04-11T23:20:26Z (GMT). No. of bitstreams: 1 JulianaHermenegildoDaSilva_DISSERT.pdf: 5637594 bytes, checksum: 939ecbb0ca8b5d89152fef6422f49638 (MD5) Previous issue date: 2017-02-24 / Ao longo de todo o s?culo passado os meios de comunica??o avan?aram nas diferentes esferas sociais, florescendo fen?menos diversos. A inser??o das manifesta??es culturais populares no campo midi?tico traz ? tona antagonismos entre tradi??o e modernidade e a constru??o de nossas representa??es identit?rias. Neste estudo problematiza-se a rela??o da visibilidade midi?tica com nossa identidade cultural e regional. Objetiva-se, de modo geral, analisar as representa??es da cultura popular nordestina ao ser colocado como produto midi?tico, econ?mico e tur?stico. Especificamente, demonstramos as pr?ticas sociais e comunicativas que se manifestam nas quadrilhas juninas ao serem introduzidas no cen?rio televisivo. Com a utiliza??o do m?todo etnogr?fico buscamos evidenciar que tais processos s?o mecanismos para a constru??o da identidade cultural da regi?o Nordeste. Nesse sentido questionamos a apropria??o das manifesta??es populares pela m?dia, analisando como os grupos juninos se mant?m dentro de um cen?rio cada vez mais restrito ao consumo e ao espet?culo. Embasados em autores como Marques de Melo, Benjamin, Lima, Chianca e Albuquerque Junior abordamos o cen?rio das festas populares do Nordeste e suas constantes reconfigura??es nos espa?os urbanos e de m?dia. / Throughout the last century the media have advanced in different social spheres, flourishing diverse phenomena. The insertion of popular cultural manifestations in the media field brings to the fore antagonisms between tradition and modernity and the construction of our identity representations. In this study the relationship of media visibility with our cultural and regional identity is problematized. In general, the objective is to analyze the representations of the popular culture of the Northeast when it is placed as a media, economic and tourist product. Specifically, we demonstrate the social and communicative practices that are manifested in the Juninas gangs when they are introduced to the television scene. With the use of the ethnographic method we seek to show that these processes are mechanisms for the construction of the cultural identity of the Northeast region. In this sense, we question the appropriation of the popular manifestations by the media, analyzing how the Junino groups remain within a scenario increasingly restricted to consumption and spectacle. Based on authors such as Marques de Melo, Benjamin, Lima, Chianca and Albuquerque Junior, we approach the scene of popular festivals in the Northeast and their constant reconfigurations in urban and media spaces.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-06-02T22:42:00Z No. of bitstreams: 1 MarilliaGraziellaOliveiraDaSilva_DISSERT.pdf: 2339445 bytes, checksum: 9af3f80027bb877e6a17de86a7eab058 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-06-08T23:47:03Z (GMT) No. of bitstreams: 1 MarilliaGraziellaOliveiraDaSilva_DISSERT.pdf: 2339445 bytes, checksum: 9af3f80027bb877e6a17de86a7eab058 (MD5) / Made available in DSpace on 2017-06-08T23:47:03Z (GMT). No. of bitstreams: 1 MarilliaGraziellaOliveiraDaSilva_DISSERT.pdf: 2339445 bytes, checksum: 9af3f80027bb877e6a17de86a7eab058 (MD5) Previous issue date: 2017-02-23 / Esta disserta??o tem como objetivo investigar de que maneira a midiatiza??o do cotidiano protagonizada pela programa??o do canal 4, de Currais Novos (RN), contribui para a constru??o da identidade local. O canal pertence ? primeira operadora de TV a Cabo do Norte/Nordeste brasileiro, a Sidy?s TV a Cabo, criada em 1992 pelo empres?rio Siderley Menezes. Pela empiria, percebemos que a rela??o de constru??o e de apropria??o da identidade ? de mutualidade: o canal 4 se apropria da identidade curraisnovense para transmitir o seu conte?do ao ponto que o seu conte?do tamb?m contribui para a constru??o identit?ria local. Tomamos como base o m?todo de estudo de caso (YIN, 2005), partindo de uma pesquisa bibliogr?fica que abordou, especialmente, os conceitos de midiatiza??o, cotidiano, m?dia local e identidade. A fim de otimizar as evid?ncias colhidas com a empiria, a metodologia teve como suporte a triangula??o de dados, obtidos atrav?s de tr?s t?cnicas: entrevistas em profundidade (DUARTE, 2012), observa??o participante (PERUZZO, 2012) e documenta??o. Trazemos tamb?m uma breve linha do tempo sobre a chegada da TV a Cabo no Brasil, abarcamos os tra?os hist?ricos e econ?micos da cidade de Currais Novos (RN), al?m dos detalhes acerca da implementa??o e consolida??o da Sidy?s TV a Cabo na cidade. Por fim, esta disserta??o aponta a necessidade de pesquisas midi?ticas mais aprofundadas nesta regi?o, contemplando, principalmente, todos os canais televisivos com conte?do local e de que forma eles reconfiguram a din?mica social daqueles que vivem em cidades de pequeno porte. / This dissertation has as its main objective, to investigate in which way the mediatization of everyday life in Currais Novos (RN) by local channel 4 contributes to the construction of local identity. The channel belongs to the first cable TV network in the North/Northeast regions of Brazil, Sidy?s TV a Cabo, created in 1992 by entrepreneur Siderley Menezes. Based on empiricism, we realized that the relationship responsible for identity construction and appropriation is of a mutuality nature: channel 4 appropriates itself of Currais Novos?s identity to transmit its content to the point that its content also contributes construct local identity. The method of choice was case study (YIN, 2005), starting with a bibliographic inquiry approaching specifically the concepts of mediatization, everyday life, local media and identity. In order to optimize the empirically collected evidences, the methodology was supported by data triangulation, obtained through three distinct techniques: in-depth interviews (DUARTE, 2012), participant observation (PERUZZO, 2012) and documentation. A brief timeline, explaining the arrival of cable TV in Brazil is presented, as well as the historic and economic traits of Currais Novos (RN), and the details of Sidy?s TV a Cabo?s implementation and consolidation in the city. Finally, this paper points to the necessity of more in-depth media researches in the region, specially contemplating all the local content television channels and in which way they reconfigure the social dynamics of small town residents.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-07-04T13:54:58Z No. of bitstreams: 1 AnaPaulaDeBarrosFerreira_DISSERT.pdf: 23947014 bytes, checksum: 00ed29dc18f2544b35ace9e034031976 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-07-12T14:43:32Z (GMT) No. of bitstreams: 1 AnaPaulaDeBarrosFerreira_DISSERT.pdf: 23947014 bytes, checksum: 00ed29dc18f2544b35ace9e034031976 (MD5) / Made available in DSpace on 2017-07-12T14:43:32Z (GMT). No. of bitstreams: 1 AnaPaulaDeBarrosFerreira_DISSERT.pdf: 23947014 bytes, checksum: 00ed29dc18f2544b35ace9e034031976 (MD5) Previous issue date: 2017-03-17 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Esta pesquisa ? sobre o consumo de tatuagem de imagens de produtos da ind?stria cultural na Praia da Pipa, Tibau do Sul, Rio Grande do Norte. Foi realizada uma an?lise sobre o agenciamento de imagens de produtos da ind?stria cultural na constru??o de narrativas pessoais e escritas no corpo em forma de tatuagens. Para isso, foram constru?das uma metodologia etnogr?fica e uma pesquisa de campo que durou cinco meses. Levamos em conta tamb?m a hist?ria de vida de tr?s moradores do lugar e a observa??o emp?rica em um est?dio de tatuagem, entre os meses de julho e agosto de 2016. As reflex?es aqui apresentadas s?o fundamentadas, principalmente, nas obras de Le Breton (2007), Luiz Braga (2011), Goffman (2012), Giddens (2003) e Lipovetsky (2007), Sodr? (2013), Canevacci (2008) e Appadurai (2004). O objetivo ? aprofundar a compreens?o sobre epis?dios comunicacionais e intera??es sociais que se estabelecem no cotidiano dos moradores da Pipa e, que s?o acionadas pelo corpo tatuado com imagens de produtos da ind?stria cultural. / This research is about the consumption of images of cultural industry products in the form of tattoos, at Pipa beach, Tibau do Sul, Rio Grande do Norte. An analysis was performed on the agency of cultural industry products? images, making personal and written narratives in the body with tattoos. Thereunto, an ethnographic methodology and a field research that took five months were made.We also took into account the life?s story of three local residents and the empirical observation in a tattoo studio, between July and August 2016. The reflections presented here are mainly based in the works of Le Breton (2007), Luiz Braga (2011), Goffman (2012), Giddens (2003) and Lipovetsky (2007), Sodr? (2013), Canevacci (2008) and Appadurai (2004). The aim is to deepen understanding about communicational episodes and social interactions that are stablished in the daily life of Pipa residents, and which are stimulated by the tattooed body with images of cultural industry products.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-08-01T14:27:29Z No. of bitstreams: 1 ArthurDeOliveiraRocha_DISSERT.pdf: 1144693 bytes, checksum: 2e13c7ccc2317b024241fa7dae47feb0 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-08-08T12:56:27Z (GMT) No. of bitstreams: 1 ArthurDeOliveiraRocha_DISSERT.pdf: 1144693 bytes, checksum: 2e13c7ccc2317b024241fa7dae47feb0 (MD5) / Made available in DSpace on 2017-08-08T12:56:27Z (GMT). No. of bitstreams: 1 ArthurDeOliveiraRocha_DISSERT.pdf: 1144693 bytes, checksum: 2e13c7ccc2317b024241fa7dae47feb0 (MD5) Previous issue date: 2017-03-27 / Este trabalho investiga a par?dia sat?rica ao jornalismo produzida pelo site de humor Sensacionalista, e como esse ve?culo de m?dia par?dico desenvolve, de maneira c?mica, cr?ticas ? m?dia. A par?dia sat?rica promovida por sites de not?cias fict?cias, como o Sensacionalista, subverte valores e dogmas do jornalismo. Nesse movimento, os ve?culos par?dicos questionam o trabalho da m?dia, a atua??o de seus profissionais, seus produtos, processos, l?gicas e rotinas. O conte?do cr?tico disseminado comicamente promove, ainda que de forma moment?nea, reflex?es cr?ticas no leitor. As desnot?cias funcionam, ent?o, dentro do sistema social cr?tico-interpretativo, proposto por Braga (2006), como uma alternativa ?s cr?ticas de m?dia mais elaboradas, aprofundadas, s?rias e desenvolvidas por especialistas em cr?tica para um p?blico de iniciados. O embasamento te?rico inclui estudos sobre humor, comicidade e riso de Bergson, Propp, Alberti, Minois e Bakhtin; sobre not?cias fict?cias e par?dia jornal?stica de Oliveira, Gerson e Dornelles, Silveira, Barbosa de Sousa e Santiago, Figueira e Santos; e sobre cr?tica midi?tica de Dines, Traquina, Bertrand, Marcondes Filho, Braga, Motta, Hamilton, Silva e Paulino, Loures e Christofoletti. Adota-se como metodologia a an?lise de conte?do, proposta por Bardin (2008), aplicada a um corpus de 101 publica??es com conte?do cr?tico acerca da m?dia, num recorte de oito meses (1? de janeiro de 2016 a 31 de agosto de 2016). / This work investigates the satirical parody of the journalism produced by the humor website known as Sensacionalista, and how this parody media vehicle comically develops criticism of the media. The satirical parody promoted by fictional news sites, such as Sensacionalista, subverts values and dogmas of journalism. In this movement, parody vehicles question the work of the media, the performance of its professionals, its products, processes, logic and routines. Critically disseminated content comically promotes, even momentaneously, critical reflections on the reader. The unnews work within the critical-interpretive social system, proposed by Braga (2006), as an alternative to more elaborate, in-depth, serious and criticized media critics for an audience made of initiates. The theoretical basis includes studies on humor, comedy and laughter, by Bergson, Propp, Alberti, Minois and Bakhtin; on fictional news and journalistic parody, by Oliveira, Gerson and Dornelles, Silveira, Barbosa de Sousa and Santiago, Figueira and Santos; and on media critique, by Dines, Traquina, Bertrand, Marcondes Filho, Braga, Motta, Hamilton, Silva and Paulino, Loures and Christofoletti. The analysis of content proposed by Bardin (2008), applied to a corpus of 101 publications with critical content about the media, in a peiord of eight months (January 1st, 2016 to August 31st, 2016) is adopted as the methodology.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-09-05T19:48:03Z No. of bitstreams: 1 AllysonDarlanMoreiraDaSilva_DISSERT.pdf: 10151264 bytes, checksum: c83ebd78212aba5ac16cd9b578d524b6 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-09-15T21:50:58Z (GMT) No. of bitstreams: 1 AllysonDarlanMoreiraDaSilva_DISSERT.pdf: 10151264 bytes, checksum: c83ebd78212aba5ac16cd9b578d524b6 (MD5) / Made available in DSpace on 2017-09-15T21:50:58Z (GMT). No. of bitstreams: 1 AllysonDarlanMoreiraDaSilva_DISSERT.pdf: 10151264 bytes, checksum: c83ebd78212aba5ac16cd9b578d524b6 (MD5) Previous issue date: 2017-06-29 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / O presente trabalho busca investigar como o corpo sujeito ? constru?do enquanto objeto sexual, desejante e desejado, de consumo no site de relacionamentos sexuais com usos de webcam, denominado C?mera Priv?, tensionando a respeito das potencialidades do corpo p?s-moderno em contexto de virtualiza??o do sexo entre duas ou mais pessoas em intera??o no ciberespa?o. Considerando a virtualiza??o da intera??o social como uma consequ?ncia da midiatiza??o, o corpo na sociedade atual encontra no avan?o tecnol?gico, que alcan?a n?veis de profundas mudan?as sociais e econ?micas, novas possibilidades de experi?ncias sexuais entre os sujeitos, motivadas, entre outras coisas, por desejos e/ou interesses financeiros. Para a realiza??o deste estudo, partimos de uma pesquisa explorat?ria interpretativa nas janelas de transmiss?es via webcam de modelos do g?nero masculino, feminino e transexual no site de relacionamento C?mera Priv?, ao longo do ano 2016 e parte de 2017, onde buscamos observar a rotina dos modelos, as estrat?gias de negocia??o destes com os clientes durante as performances sexuais no online. Estas performances se elaboram em uma composi??o de imagem e texto, integrada ao repert?rio er?tico de seus interlocutores e constru?da na rela??o individual da inter-a??o de falas, gestos e est?mulos visuais, poss?veis somente no quadro social da atualidade com a midiatiza??o. Em C?mera Priv?, percebemos como o corpo est? atrelado ao consumo a partir da virtualiza??o do desejo e das rela??es sexuais mediante transa??es comerciais entre seus usu?rios, em um mundo dominado pelo mercado de bens simb?licos. Se por um lado a sensa??o de liberdade de produ??o intelectual e audiovisual, virtualiza??o de nossas capacidades sensoriais, compartilhamento de informa??es e articula??o social no ciberespa?o na contemporaneidade t?m encorajado discursos libert?rios, a ind?stria do entretenimento, por sua vez, nos instrumentaliza em forma de rede e lan?a a sexualidade em um futuro de incertezas. / The present work seeks to investigate how the subject body is constructed as a desired and desired sexual object of consumption on the site of sexual relationships with webcam uses, called the Priv? Camera, stressing about the potentialities of the postmodern body in the context of virtualisation of the Sex between two or more people interacting in cyberspace.. Considering the virtualization of social interaction as a consequence of mediatization, the body in today's society finds in the technological advance, which reaches levels of deep social and economic changes, new possibilities of sexual experiences between the subjects, motivated among other things by desires and/or financial interests. In order to carry out this study, we started with an exploratory research on the windows of webcam transmissions of male, female and transsexual models on the C?mera Priv? relationship site, throughout 2016 and part of 2017, where we sought to observe the routine of the models, the strategies of negotiating these with clients during sexual performances in the online. These performances are elaborated in a composition of image and text, integrated to the erotic repertoire of its interlocutors and constructed in the individual relation of the inter-action of speeches, gestures and visual stimuli, possible only in the current social context with mediatization. In C?mera Priv?, we perceive how the body is linked to consumption from the virtualization of desire and sexual relations through commercial transactions among its users, in a world dominated by the market of symbolic goods. While on the one hand the sensation of freedom of intellectual and audiovisual production, virtualization of our sensorial capacities, information sharing and social articulation in contemporary cyberspace have encouraged libertarian discourses, the entertainment industry, in turn, instrumentalizes us in the form of a network And launches sexuality into a future of uncertainties.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-15T23:11:20Z No. of bitstreams: 1 LidiaRaquelHerculanoMaia_DISSERT.pdf: 1221848 bytes, checksum: 3d5818f136ea9aa14f81cffb37f891b2 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-20T22:14:02Z (GMT) No. of bitstreams: 1 LidiaRaquelHerculanoMaia_DISSERT.pdf: 1221848 bytes, checksum: 3d5818f136ea9aa14f81cffb37f891b2 (MD5) / Made available in DSpace on 2016-04-20T22:14:02Z (GMT). No. of bitstreams: 1 LidiaRaquelHerculanoMaia_DISSERT.pdf: 1221848 bytes, checksum: 3d5818f136ea9aa14f81cffb37f891b2 (MD5) Previous issue date: 2015-01-09 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Esta pesquisa analisa as din?micas de conversa??es sobre pol?tica estabelecidas no espa?o simb?lico do YouTube. Interessa - nos examinar o modo pelo qual os comentaristas do v?deo ? Globo e os Protestos ? articularam, no campo destinado aos coment?rios, um esp a?o p?blico voltado ? dissemina??o e circula??o de sentidos sobre quest?es pol?ticas. O v?deo estudado foi publicado por PC Siqueira e Diego Quinteiro, durante os protestos de junho de 2013 no Brasil, para direcionar a compreens?o pol?tica acerca do movime nto vivido naquele per?odo. Segundo eles, os protestos possu?am posi??o pol?tica de esquerda e, por isso, os manifestantes deviam rejeitar a cobertura realizada pela Rede Globo (um ve?culo com ideais de direita) e permitir a participa??o de partidos ligado s ao espectro ideol?gico da esquerda. Essa narrativa gerou empatia e controv?rsias por parte dos comentaristas, o que produziu no ?mbito dos coment?rios, um intenso processo argumentativo acerca dessas teses (direita e esquerda). Para entender o fen?meno, realizamos uma pesquisa explorat? ria com abordagem qualitativa, t endo como principal procedimento metodol?gico a an?lise etn ometodol?gica do discurso. B uscamos a observa??o dos modos pelos quais os sujeitos estabeleciam conversa??es sobre pol?tica no espa? o dos coment?rios, para , a partir de ent?o, organizar categorias de an?lise com base nas recorr?ncias discursivas identificadas. As reflex?es emp?ricas s?o sustentadas a partir de discuss?es sobre o potencial do YouTube, enquanto m?dia digital que comporta estrat?gias massivas e enquanto espa?o articulador no engajamento dos sujeitos em quest?es pol?ticas; problematizamos tamb?m os aspectos que envolvem as pr?ticas de conversa??o que decorrem em din?micas de sociabilidades e, principalmente , de conflito, na s redes sociot?cnicas; e por fim, suscitamos uma reflex?o sobre o acionamento de circuitos nos quais os sujeitos se apropriam e realizam novas leituras acerca dos produtos recebidos. Concluindo que a utiliza??o de m?dias digitais, como o YouTube, tem provo cado importantes mudan?as nas formas de produ??o e recep??o de produtos simb?licos e nos modos como as pessoas participam das quest?es pol?ticas concernentes ? vida em sociedade. / This re search analyzes the talks dynamics about policy established in YouTube symbolic space. We are interested in examining the way in which the commentators of the video " Globo e os Protestos " articulated in the field intended for comments, a public space directed to the dissemination and circulation of meanings about policy issues. The video studied was published by PC Siqueira and Diego Quint eiro , during the June 2013 protests in Br azil, to direct the political understanding of the movement lived in that period. According to them, the protests had left political position and therefore the protesters should reject the coverage by TV Globo (a comunication vehicle with ideals of right) and allow the participation of political parties linked to the ideological left spectrum. This narrative generated empathy and controversy betwe en commentators, which produced in the comments, an intense argumentative process about these theses (right and left). To understand the phenomenon, we conducted an exploratory qualitative research, the main methodological procedure was a ethnomethodological discourse analysis. We seek the observation of the ways in which the commentators es tablished talks about politics in the comments space, for, thereafter , organize categories of analysis based on identified discursive recurrences. The empirical reflections are supported from discussions about the YouTube potential, while digital media com prising massive strategies and while articulating space in the engagement of individuals in political issues; also confront the aspects involved in the conversation practices that results in sociability dynamics and , especially , in conflict, on the socio - t echnical networks; and finally, we propose a reflection about the circuit actuation in which the people take ownership and realize new readings about the products received. Concluding that the use of digital media , such as YouTube, has caused significant c hanges in the forms of production and reception of symbolic products and ways in which people participate in political issues concerning life in society.