Made available in DSpace on 2015-04-11T13:57:16Z (GMT). No. of bitstreams: 1 Soriany Simas Neves.pdf: 1009286 bytes, checksum: fd55b9f503b27d44274f07f82fc5bfdd (MD5) Previous issue date: 2010-06-29 / Fundação de Amparo à Pesquisa do Estado do Amazonas / El estudio tiene como objetivo principal investigar la manifestación cultural de las Pastorinhas de Parintins mientras sistema folk comunicacional con foco en la interacción entre micro y macro redes comunicacionales. A partir de teóricos clásicos como Guy Debord, Adorno y Horkermeir (1985), que descortinaron el fenómeno de la cultura en la era industrial, el estudio problematizarla sus interfaces con los fenómenos comunicacionales embasado en una perspectiva alternativa, concerniente a Edgar Morin (1981) y Gilles Lipovetsky (1989), con vistas a entender el fenómeno de la Folk comunicación engendrado por Luís Beltrão (1980). También se estableció una interface entre las teorías de Beltrão (1980) con las miradas de Marshall Mcluhan sobre cultura popular y media de masas, y con los procesos miméticos del lenguaje concebidos por la filosofía de Walter Benjamin. Cuanto al aporte metodológico, la investigación se constituye en una pesquisa etnográfica según el bies de Malinowski (1978), el cual es compuesto de tres fases, a saber: anatomía de la cultura, identificación de los imponderables de la vida real, y desdoblamiento del corpus. En la primera etapa fue realizada una descripción densa del cotidiano físico de las micros redes de las Pastorinhas de Parintins . En la segunda, se identificó por medio de observación directa y con el uso de entrevistas semi estructuradas, los actos, comportamentales y hablas de los actores sociales que dan vida a esa manifestación. Tal medida fue significativa para llevarnos a la comprensión de las interrelaciones entre la manifestación cultural tradicional de las Pastorinhas y la lógica folk comunicacional. Por fin, fueron interpretados y analizados los discursos y los registros etnográficos, provenientes de las hablas pronunciadas por los grupos de las Pastorinhas empleando la técnica del análisis temático y categorial de Bardin (1977). La investigación constató que los grupos de Pastorinhas buscó en la técnica del espectáculo el prolongamiento de sus procesos comunicacionales, ancorados en el imaginario arcaico e inscritos en el plan de la experiencia de los cotidianos de eses ambientes folk comunicacionales con vistas a mantenerlos vigentes en el imaginario colectivo / O estudo tem como objetivo principal investigar o Festival das Pastorinhas de Parintins enquanto sistema folkcomunicacional com foco na interação entre micro e macro redes comunicacionais. A partir de teóricos clássicos como Guy Debord, Adorno e Horkermeir (1985), que descortinaram o fenômeno da cultura na era industrial, o estudo problematiza suas interfaces com os fenômenos comunicacionais com base numa perspectiva alternativa, concernente à Edgar Morin (1981) e Gilles Lipovetsky (1989), com vistas a entender o fenômeno da Folkcomunicação engendrado por Luís Beltrão (1980). Também se estabeleceu uma interface entre as teorias de Beltrão (1980) com os olhares de Marshall Mcluhan sobre cultura popular e mídia de massas e com os processos miméticos da linguagem concebidos pela filosofia de Walter Benjamin. Quanto ao aporte metodológico, a investigação constitui uma pesquisa etnográfica segundo o viés de Malinowski (1978), o qual é composto de três fases, a saber: anatomia da cultura, identificação dos imponderáveis da vida real, e desdobramento do corpus. Na primeira etapa foi realizada uma descrição densa do cotidiano físico das micro-redes das Pastorinhas de Parintins. Na segunda, identificou-se por meio de observação direta e com o uso de entrevistas semi-estruturadas, os atos, comportamentos e falas dos atores sociais que dão vida a essa manifestação. Tal medida foi significativa para nos levar à compreensão das inter-relações entre a manifestação cultural tradicional das Pastorinhas e a lógica folkcomunicacional. Por fim, foram interpretados e analisados os discursos e os registros etnográficos, provenientes das falas pronunciadas pelos grupos das Pastorinhas empregando a técnica da análise temática e categorial de Bardin (1977). A pesquisa constatou que os grupos de Pastorinhas buscam na técnica do espetáculo o prolongamento dos seus processos comunicacionais, ancorados no imaginário arcaico e inscritos no plano da experiência dos cotidianos desses ambientes folkcomunicacionais com vistas a mantê-los vigentes no imaginário coletivo.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-28T11:55:44Z No. of bitstreams: 2 Tese - Jorgeanny de Fátima Rodrigues Moreira - 2016.pdf: 17477896 bytes, checksum: 4ecfd92af1f3de5aefb67a918439ba69 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-28T11:56:22Z (GMT) No. of bitstreams: 2 Tese - Jorgeanny de Fátima Rodrigues Moreira - 2016.pdf: 17477896 bytes, checksum: 4ecfd92af1f3de5aefb67a918439ba69 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-28T11:56:22Z (GMT). No. of bitstreams: 2 Tese - Jorgeanny de Fátima Rodrigues Moreira - 2016.pdf: 17477896 bytes, checksum: 4ecfd92af1f3de5aefb67a918439ba69 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-08-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the thesis proposed, is concerned to argue about the micro-territorialities the LGBT Parade (Lesbian, Gay, Bisexual and Transsexual) in Goiânia, Goiás, from groups of individuals - or not, as there are those who prefer to remain isolated in space-time the event - which mediated by corporeality, performing and festive actions claim the to LGBT citizenship, and celebrate the Gay Pride movement in a party. A guiding question was revealed as thread for the development of research: how the public space of Goiânia is territorialized by participants of LGBT and how emerge micro-territorialities, guided in ephemeral relationships at the time of the event? Based on literature review on authors of Cultural Geography Critical, in Anthropology of Performance, in Social Psychology, and Philosophy; as well as field work in three editions of LGBT Parade (2013, 2014 and 2015) with semi structured interviews, questionnaires, photographs, cultural cartography and urban ethnography in the city's daily life; we analyze the discourses of hetero-normativity that imposes itself as mechanisms and power relations; break and daily transgression - based on speeches hostile to homosexuality - through the festive effervescence and the performances developed in the public space; and the construction of festive landscapes that come with own subversion of partying and celebrating diversity, sexuality and the possibility to show what is hidden in the city everyday. / Na tese proposta, preocupa-se em argumentar sobre as microterritorialidades na Parada LGBT (Lésbicas, Gays, Bissexuais e Travestis) em Goiânia, a partir dos ajuntamentos de indivíduos - ou não, pois há aqueles que preferem manter-se isolados no espaço-tempo do evento -, que mediados pela corporeidade, ações performáticas e festivas reivindicam os direitos à cidadania LGBT, e celebram o Orgulho Gay em um movimento-festa. Uma questão norteadora revelou-se como fio condutor para o desenvolvimento da pesquisa: como o espaço público de Goiânia é territorializado pelos indivíduos partícipes da Parada LGBT e de que forma emergem as microterritorialidades, pautadas em relações efêmeras no instante do evento? Baseado em revisão bibliográfica em autores da Geografia Cultural Crítica, na Antropologia da Performance, na Psicologia Social e na Filosofia; além de trabalho de campo em três edições da Parada LGBT (2013, 2014 e 2015) com entrevistas semi estruturadas, aplicação de questionários, fotografias, cartografia cultural e etnografia urbana no cotidiano da cidade; analisamos os discursos acerca da heteronormatividade que impõe-se como mecanismos e relações de poder; a ruptura e transgressão do cotidiano - baseado em discursos que hostiliza a homossexualidade -, por meio da efervescência festiva e nas performances desenvolvidas no espaço público; e a construção de paisagens festivas que surgem com a subversão próprias do festar e do celebrar a diversidade, a sexualidade e a possibilidade de mostrar o que é ocultado no cotidiano da cidade.

Titel: Sociala medier och musikfestivaler - En kvantitativ och jämförande studie om skillnaden mellan män och kvinnors användande av musikfestivaler`s konton på sociala medier sett från ett marknadsföringsperspektiv. Författare: Jenny Claurentzius, Fanny Malmborg och Sofie Svedin Handledare: Thomas Michel Institution: Managementhögskolan, Blekinge Tekniska Högskola  Kurs: Kandidatarbete i Företagsekonomi, 15 högskolepoäng  Syfte: Att öka förståelsen för de skillnader som finns mellan män och kvinnors användande av de konton som musikfestivaler innehar på sociala medier. Metod: En kvantitativ studie utfördes i form av en enkätundersökning som spreds via Facebook till festivalbesökare som besökt en festival i år (2017) eller föregående år (2016).  Resultat: Skillnader uppmättes i sätten som män och kvinnor använder sig av, interagerar och identifierar sig med en musikfestival och dess konton på sociala medier. Slutsater: Män är mer observerande i sin användning av musikfestivalens konton på sociala medier, mindre angelägna att festivalens image passar in med egna självbilden och mer impulsiva i sina uppdateringa och beslutsfattande. Kvinnor är mer interagerande i sin användning av musikfestivalens konton på sociala medier, mer angelägna att musikfestivalens image passar ihop med den egna självbilden, mer känslomässigt engagerade och praktiska i sitt beslutsfattande.  Nyckelord: sociala medier, musikfestival, marknadsföring, genusskillnad, varumärke / Title: Social media and music festivals - a quantitative and comparative study about men and women's differences in the use of the accounts run by music festivals on social media, seen from a marketing perspective. Authors: Jenny Claurentzius, Fanny Malmborg and Sofie Svedin Supervisor: Thomas Michel Department: School of Management, Blekinge Institute of Technology Course: Bachelor’s thesis in Business Administration, 15 credits Purpose: To increase the understanding of the differences between men and women´s usage of social media accounts run by music festivals. Method: We conducted a quantitative study where we distributed an online survey on Facebook where we asked people who had visited a festival this year (2017) or previous year (2016) to take part. Results: We discovered differences in the way men and women uses, interacts and identifies with a music festival and its accounts on social media. Conclusions: Men are more observant and interact less with accounts held by festival organisers on social media, they care less about the festivals image matching their own and they are more impulsive in the way they make updates and decisions. Women interact more with the accounts held by festival organisers on social media, they care more about the festivals image matching their own, they are more emotionally engaged and more practical in their decision making. Keywords: social media, music festival, marketing, gender difference, trademark

Concevoir la culture comme représentation sociale met en perspective les travaux de la sociologie despratiques culturelles en éclairant leurs liens à un univers de sens et de valeurs. Les composantesconnotatives qui la structurent à Issoudun constituent les modalités par lesquelles elle devient un outilde positionnement social.Les usages sociaux différenciés de la culture sont analysés par la distance des acteurs à la culturecultivée, d’abord définie par l’appartenance professionnelle. Intégrée dans le système culturel local, lareprésentation de la culture rend compte de rapports sociaux de force qui structurent la société locale,marquée par le poids de l’acteur politique. La cohérence des liens unissant les représentations etpratiques culturelles montre l’existence de modes de vie spécifiques de groupe. L’observation deperturbations dans la superposition de l’espace des pratiques culturelles et des positions socialessouligne la force de la dimension subjective des hiérarchies culturelles : c’est à ce niveau, plutôt qu’àcelui des pratiques, que s’expriment les différences sociales.Les effets de localité, alliant dimensions urbaines et rurales, sur les façons de penser la cultures’expriment particulièrement dans les discours politiques. Les conceptions différenciées de la culture àIssoudun, Vendôme et Châteaudun sont mises en oeuvre selon des modes et des intensités variablesd’intervention dans le champ culturel local. Les usages politiques de la culture mettent enfin en évidencel’élaboration de figures originales de la ruralité au service de l’élaboration d’une identité urbainespécifique, notamment à travers la fête. / Social representation of culture is interesting for a sociology of culture by putting in perspective theknowledge about cultural practices with their values and meanings for individuals. Different elementsallow an identification of a social representation in Issoudun, which is used in various ways by socialactors.The different uses of the notion of culture depend on occupation in general, and in the local system ofculture, in which political actors weight heavily in small cities. The relations between cultural practicesand representations underline different ways of life. Local factors of social representations are alsodescribed, specifically regarding the socioeconomic profile of the local population and the rural contextof the cities. The results show that the main expression of social differences stays rather on a mindlyperspective than on a practical one.The impact of rural context on social representation of culture appears mainly in political speeches. Thepolitical way to think the cultural phenomenon in rural spaces leads to specific actions which allow toidentify different types of cultural policies. In this way, culture is also used to revalue the idea of ruralityto build a new cultural identity of the city.

This study analyzes how spatial organization impacts science communication at the St. Petersburg Science Festival in Florida. Through map analysis, qualitative interviews, and a close reading of evaluation reports, the author determines that sponsorship, logistics, exhibitor ambience, and map usability and design are the factors most affecting the spatial performance of science. To mitigate their effects, technical communicators can identify these factors and provide the necessary revisions when considering how science is communicated to the public.

Esta investigación pretende recopilar las experiencias del FIACID a modo de guía de consulta a disposición de cualquier gestor cultural que pretenda producir o dirigir un festival de cine en el Perú. A consecuencia de lo anterior es importante señalar que la presente investigación es heurística, es por esto que se ha desarrollado por medio de la observación y de la exploración de campo, los cuales incluyen un análisis preliminar que no pretende ser exhaustivo, sino más bien cumple con una descripción por un lado histórica, sobre las diferentes etapas en que se desarrolló el FIACID, y por otro lado comparativa, respecto a otros festivales de cine que le sirvieron de modelo. Asimismo, se revelarán circunstancias ocurridas en el festival, como requerimientos, responsabilidades, dificultades, logros y algunas otras lecciones relevantes, que contribuyan al acompañamiento para resolver las dudas internas que suelen presentarse en la organización de este tipo de proyectos. / Trabajo de suficiencia profesional

After suffering heavy losses at the hands of the warriors of Zulu King Dingane (c. 1795-1840), a Voortrekker commando advanced against the former in December 1838. As it was evident that they would be faced by superior enemy numbers, the Voortrekkers were induced by A.W.J. Pretorius (1798-1853) and S.A. Cilliers (1801-1871), to enter into a covenant with God. Its exact words were not recorded, but eyewitnesses' later versions concurred that God had been requested to assist them in vanquishing the Zulu Army. Should they be victorious, the Voortrekkers undertook that they and their descendants would annually dedicate the day of the conquest to the glory of God alone. The Battle of Blood River took place on 16 December 1838, marking the Voortrekkers' desired victory. On the same day, the Covenant was fulfilled for the first time on the very battlefield. Thus the oldest Afrikaner national celebration, later known as Dingaan's Day or Day of the Covenant, came about. Initially the Covenant was commemorated in a small way by families and religious associates. In 1864 the General Synod of the Afrikaners' Natal Churches agreed that 16 December would henceforth be celebrated as ecclesiastical day of thanksgiving by all its congregations. This was the result of the efforts of two Dutch clergymen and supporters of Revival Theology, namely Revs. D.P.M. Huet (1827-1895) and F.L. Cachet (1835-1899). In 1865 the Executive Counsel of the South African Republic declared 16 December to be a public holiday in this Boer Republic. During the Anglo Transvaal (1880-1881) and Anglo Boer Wars (1899-1902), the commemoration of the Covenant inspired Afrikaners. The celebrations acquired a deeply nationalistic significance. A growing number of Covenant ceremonies were annually being organised throughout the Boer Republics and northern Natal. In 1894 the Government of the Free State also declared 16 December to be a public holiday. English-speaking compatriots and members of other races in general attached little importance to the Covenant, normally utilising 16 December for recreational purposes only. In 1910 an act was passed by Parliament according to which 16 December would be celebrated as a national holiday (Dingaan's Day) throughout the Union of South Africa, as of 1911. The celebration of the Covenant of 1838 has had an inestimable influence on Afrikaner and even South African cultural history. It played an important religious, national, social and educational role in everyday life, stimulating and shaping the Afrikaner's creativity, historical consciousness, ethics and intercultural relations. In 1952 the name of the day was changed from Dingaan's Day to Day of the Covenant. After 1994, in post-apartheid South Africa, it has still remained a public holiday, even though it is now known as Day of Reconciliation. The fact that it has been retained as a holiday is regarded as a significant gesture of goodwill towards Afrikaners. A study of South Africans' diverse attitudes towards the celebration of the Covenant of 1838, starting with the earliest commemorations between 1838 and 1910, may contribute towards mutual understanding and harmony. / Dissertation (MHCS)--University of Pretoria, 2004. / Historical and Heritage Studies / unrestricted

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research seeks to observe how film editing used the various imagery and sound elements to constitute the narratives in documentaries made in Sergipe, assuming that the cinematographic editing, more than a simple technique, is a principle of creation through which the elements are structured by a certain order forging dramatic, comedic, abstract, reflective stories etc (SPENCE; NAVARRO, 2011). We try to verify how the selection and ordering of takes, shots, lines and sounds that compose the storytelling are choices, and they keep a certain connection with the representation of the real. In this study, we seek to understand how contemporary documentaries made in Sergipe are structured. The corpus is composed of the winners of the Competitive Screening of Short Film in Sergipe, held by Festival Ibero Americano de Cinema – Curta-Se, between 2005 and 2015. For this matter, we will observe the operational processes, which according to Fernando Morales Morante (2013) consist of technical operations that select and order the elements of image and sound, as well conceptual operations through procedures that elaborate the production of rhetoric, sensations and feelings. / A pesquisa busca observar como a montagem empregou os diversos elementos imagéticos e sons para constituir as narrativas dos documentários sergipano. Ao entendermos que a montagem cinematográfica, mais do que uma simples técnica, é um princípio de criação através do qual os elementos são estruturados por uma determinada ordem forjando histórias dramáticas, cômicas, abstratas, reflexivas, etc (SPENCE; NAVARRO, 2011), procuramos verificar como a seleção e ordenação das tomadas, dos planos, das falas, dos sons que compõem a narrativa são escolhas e guardam uma determinada vinculação com a representação do real. Neste estudo buscamos compreender como a montagem estrutura os elementos imagéticos e sonoros nos documentários sergipanos contemporâneos que compreendem os vencedores da Mostra Competitiva de Curtas Sergipanos, realizada pelo Festival Ibero Americano de Cinema – Curta-Se, entre 2005 e 2015. Desta forma, observaremos 11 documentários, os quais acreditamos representar uma parcela significativa da produção sergipana: Estamos na Mussuca de Lívia Lessa, Viramundos e Você conhece La Conga? de Sérgio Borges, Deu Bode de Fátima Góes, O Arquivo de Ivan de Fábio Rogério, Dona Josefa: A guia da Serra de Rita Simone, Rezou à família e foi ao cinema do Núcleo de Produção Digital Orlando Vieira, Caixa d’Água Qui Lombo é esse? e Conflitos e Abismos – A expressão da condição humana de Everlane Moraes, A mão que borda de Caroline Mendonça e O Muro é o Meio de Eudaldo Monção Júnior. Para isso observaremos os processos operacionais, que de acordo com Fernando Morales Morante (2013) consistem em operações técnicas que selecionam e ordenam as imagens e os sons e também operações conceituais através de procedimentos que elaboram a produção de discursos, sensações e sentimentos. A partir dessas análises, procuramos compreender as transformações na utilização dos elementos imagéticos e sonoros pelos documentários sergipanos contemporâneos.

Das „Steinhaus e.V.“ mit der Stadtbibliothek Bautzen veranstaltete als jüngstes von zahlreichen kulturellen Angeboten eine Festwoche zu Ehren zu Friedrich Schillers 250. Geburtstag. Vor allem die Schüler waren aufgerufen, sich mit der Person des Dichters und seinen Werken aus heutiger Perspektive auseinanderzusetzen. Dies gelang mit großen Erfolg, da zahlreiche Schüler imaginäre Briefe an den Dichter richteten und damit einen Diskurs über den Stellenwert der Klassiker innerhalb der heutigen Gesellschaft führten.

Die „Archiv-Analysen“ richteten sich auf die Praktiken des Sammelns und die Prozesse des Erschließens und Nutzens verschiedener Akteure und Institutionen im Bereich Performancekunst / Freie Theater- und Tanzszene. Anhand der unterschiedlichen Arbeits- und Organisationsformen sowie Präsentationskontexte in diesem Feld von Aufführungskünsten untersuchten wir exemplarisch mit dem steirischen herbst (Graz) eines der ältesten und prominentesten interdisziplinären und experimentellen Festivals aller Kunstsparten.