En aquest treball hem aprofundit en l'estudi del factor de transcripció GAGA de Drosophila melanogaster, codificat pel gen Trithorax-like (Trl). GAGA s'uneix al DNA per seqüències de tipus d(GA)n, presents a moltes regions reguladores. Ja inicialment es va comprovar que és un factor essencial, que activa multitud de gens. Tot i així, també s'ha vist que reprimeix l'expressió del gen que la codifica, Trl. En aquest treball hem fet especial èmfasi en l'estudi d'aquest mecanisme d'autoregulació negativa. A més, també hem realitzat un estudi funcional global de GAGA en cèl·lules, per tal d'identificar els processos en que hi podria participar.Per mitjà d'assajos a sistemes cel·lulars heteròlegs, hem conclòs que l'autoregulació negativa de Trl està conservada entre D. melanogaster i D. virilis, però no així a cèl·lules HeLa humanes, on lluny de reprimir, GAGA activa Trl. Partint de la idea de que ha d'existir algun element a la seqüència del promotor de Trl que determini aquesta autoregulació, hem buscat aquest element emprant diverses estratègies i metodologies. Tot i que no hem aconseguit definir exactament les regions imprescindibles per a la repressió, pels nostres resultats proposem que GAGA actuaria desplaçant a un activador més potent del promotor de Trl, resultant en una davallada de l'activitat transcripcional. Alternativament, també podria ser que existís algun factor repressor que actués juntament amb GAGA per a reprimir Trl. En aquest sentit, hem analitzat la contribució d'altres factors de transcripció al mecanisme de repressió. D'aquests, només dCtBP ha mostrat una certa activitat repressora de Trl, encara que probablement per un mecanisme independent de GAGA. D'altra banda, hem analitzat la contribució de les diferents regions de GAGA al mecanisme de repressió, determinant que el domini d'unió al DNA, tot i que imprescindible, no és suficient per a que es doni la repressió, ja que la correcta disposició nuclear i per tant, també l'activitat de GAGA, depenen en part de la regió X. Posteriorment, vàrem passar a validar els resultats en un sistema de mosques transgèniques, concloent que la repressió de Trl per GAGA es dóna igualment, de forma independent de teixit i d'estadi de desenvolupament. A més, emprant RT-PCR quantitativa hem demostrat que, tant a mosca com a cèl·lules, la sobreexpressió de GAGA es tradueix en una davallada dels mRNAs transcrits a partir de la còpia endògena de Trl, indicant que la repressió és molt probablement a nivell transcripcional.Finalment, hem realitzat un experiment de transcriptòmica global en funció de la sobreexpressió i depleció de GAGA via RNAi. Els resultats obtinguts indiquen clarament que GAGA és un activador en tots els casos excepte, potser, en uns pocs promotors en els que està per veure si ho fa directa o indirectament. A més, qualsevol sobreexpressió de GAGA és extraordinàriament letal per a la mosca, fet que justifica la rellevància de l'autoregulació de Trl in vivo. A més, hem vist que la sobreexpressió de la isoforma GAGA519 comporta una major letalitat que la de GAGA581, indicant un possible camí funcional diferent per a les dues isoformes. / In this work we have gone into the study of the Drosophila melanogaster's GAGA factor in depth. This factor is codified by the Trithorax-like (Trl) gene and it binds to d(GA)n DNA sequences, which are present in many regulatory regions. It is known that GAGA is an essential transcription factor that activates dozens of genes. In spite of this, it has been shown that GAGA factor can repress its own expression. In this work we have studied this negative self-regulation mechanism in detail. Moreover, with the aim to identify the processes in which GAGA factor can participate, a global functional analysis of GAGA in cells has also been performed.Taking advantage of working in heterologous cellular systems, we have concluded that the negative self-regulation of Trl is conserved between D.melanogaster and D.virilis, but not in HeLa human cells where on the contrary GAGA activates Trl. Assuming that it has to be some element in the Trl promoter sequence that should determine this negative regulation, we have made many efforts to find this element with different strategies and methodologies. Even though we have not been able to precisely define the essential regions for the repression, our results suggest that GAGA could be acting by displacing a stronger activator from the Trl promoter that leads to a decrease in transcriptional activation. On the other hand, it could be possible that a repressor factor could work with GAGA to repress Trl. In this direction, we have analyzed the possible contribution of different transcription factors in this repressing mechanism. Only dCtBP has shown some repressing activity but probably due to an independent mechanism not related to GAGA. Apart from that, we have also analyzed the contribution of the different domains of GAGA to the repressing mechanism, determining that the DNA binding domain is necessary but not sufficient to this repression, because the correct nuclear distribution and also the GAGA activity depend in part on the X region. Later on we validated the results in a transgenic fly system, concluding that Trl repression by GAGA exists and it is independent of the tissue and developmental stage. Furthermore, using quantitative RT-PCR we also demonstrate that both in flies and in cells, GAGA over-expression results in a depletion of the mRNA transcripts from the endogenous Trl copy, indicating that repression is probably taking place at transcriptional level.Finally, we have performed a high throughput transcriptome analysis, by over-expressing and also depleting GAGA factor, by using RNAi. The results obtained clearly indicate that GAGA is an activator except in few promoters in which it is still unclear whether it acts in a direct or indirect manner. Besides, any GAGA over-expression is extremely lethal for the fly, and that justifies the great importance of the self-regulation of Trl in vivo. We have also observed that over-expression of GAGA519 isoform results in more lethality than over-expression of GAGA581, indicating a differential way of function for the two isoforms.

This dissertation engages Israeli choreographer Ohad Naharin and his movement language Gaga as significant and celebrated in the world of dance in the contemporary moment. Naharin’s choreography and Gaga present significant contradictions that ultimately reveal important tensions at work in the category of the contemporary. I unpack what I identify to be five tensions in place. First, Gaga is discursively and critically described as a style and technique, yet Naharin rejects these classifications. Second, Naharin disavows politics in his choreography, yet his work cannot be separated from the politics of his and Batsheva’s home base in the State of Israel. The third tension can be found within the language and principles of Gaga itself as a practice of producing and managing embodied contradiction. Fourth, Naharin claims Gaga as a universally accessible “toolbox” for all movers and all other forms of dance, yet it is uniquely personal. Its applicability to other forms of dance reveals important paradoxes in older genres of dance as they endure in the twenty-first century. Fifth, as a practice marketed separately to “dancers” and “people,” Gaga problematizes the distinction between high art concert dance and popular dance. Ultimately, this project demonstrates the significance of Gaga as a movement practice. The context of its development and deployment, its particular dynamic aesthetic, and the way it circulates among communities of professional dancers and non-dancers all point to the complexities of this form that exemplify the complexities of the contemporary as a multi-faceted category and signifier.This research is foregrounded in my experiences as a professional dancer taking Gaga classes, workshops and intensives in New York City and Tel Aviv from 2011-2016, and backed by research in the field of dance studies, critical reviews, rhetorical and discursive analysis, and close readings of Naharin’s choreography and of Gaga movement. This research engages the complexities in the relationship between these aesthetic, rhetorical, discursive, and embodied contradictions and the contemporary as the label holding them together. I ask how Naharin and Gaga articulate the contradictory terms of this elusive category. This project furthers the academic discourse on Gaga and Naharin as well as broader scholarly studies of popular dance and concert dance practices and aesthetics of the twenty-first century. / Dance

Uppsatsen behandlar det postmoderna popfenomenet Lady Gaga och framställningen av henne i dagspress världen över. Lady Gagas spektakulära och inflytelserika kändisskap reproduceras dagligen i media och hon påverkar således vår samtid vilket gör henne till ett intressant forskningsobjekt. Med hjälp av Norman Faircloughs kritiska diskursanalys som metod har vi kunnat göra djupgående kvalitativa analyser och undersökt Lady Gagas framställning i dagspress. Vi har tittat på den bild som ges av Lady Gaga genom att göra grundliga språkliga analyser. Materialet som ligger till grund för undersökningen behandlar Lady Gaga i sin köttklänning som hon bar på MTV Video Music Awards i september 2010. Materialet utgörs av tio nyhetsartiklar tagna från tidningars onlinesidor och kommer främst från USA och Englands största dagstidningar. Den teoretiska ramen för uppsatsen utgörs främst av postmoderna teorier av Mikhail Bakhtin och Dominic Strinati då vi ser Lady Gaga som ett postmodernt fenomen. Bakhtins teorier om karnevalens upplösande av gränser och social tillhörighet sammanfattar han i begreppet qarnevalesque som vi applicerar på framställningen av Lady Gaga. Vidare använder vi Bakhtins teori om pajasens roll i det sociala. Faircloughs kritiska diskursanalys är förutom en metod även ett teoretiskt förhållningssätt. Vi har använt oss av hans teorier om diskurs och ideologi och hur makt upprätthålls och reproduceras genom dem. Den postmoderna teoretiska ramen i kombination med den valda metoden har på en mikronivå gett oss konkreta resultat och vi har trots vårt begränsade material kunnat utläsa mönster och strukturer som går igen i artiklarna. De diskurser och förhållningssätt som framträder i texterna har vi sammanfattat i en LadyGaga-köttklänningsdiskurs. Diskursen ser vi som en deldiskurs ur en större LadyGaga-diskurs. LadyGagaköttklänningsdiskursen innehåller inslag av ironi, skandal- och sensationsjournalistik och en vi-mothenne- atmosfär. Bilden som ges av Lady Gaga framställer henne som en förvirrad och löjlig pajas. Vidare kan vi se på en makronivå hur den här diskursen konstituerar och konstitueras av den sociala praktiken och den rådande kapitalistiska ideologin.

This study examines how poetry can be understood as intersectional activism. Doing intersectional activism can be expressed in many different forms, and there is also no consensus in Sweden on how the intersectional perspective should be used or handled in academic, political and activist contexts. Based on performativity theory, intersectionality and gagafeminism, this study explores the potential of using artistic strategies such as poetry to deal with feminist intersectional issues in activism.  The study more specifically examine how the poet Yolanda Bohm does intersectional activism in her performance "Icon Medley".

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2014-10-20T12:27:08Z No. of bitstreams: 2 Dissertacao Rafael Mendonca Lisita Pinto - 2014.pdf: 3410801 bytes, checksum: 568a59b5ffe00961f389baa657ee1671 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-20T17:34:24Z (GMT) No. of bitstreams: 2 Dissertacao Rafael Mendonca Lisita Pinto - 2014.pdf: 3410801 bytes, checksum: 568a59b5ffe00961f389baa657ee1671 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-20T17:34:24Z (GMT). No. of bitstreams: 2 Dissertacao Rafael Mendonca Lisita Pinto - 2014.pdf: 3410801 bytes, checksum: 568a59b5ffe00961f389baa657ee1671 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation results of the research developed throughout the Master’s Degree course within the Art and Visual Culture Graduate Program in FAV-UFG. It aims to investigate de representation of uncanny identities in music videos, starting out with some analysis of Lady Gaga’s videos, in order to develop my videographic discourse in my music video “Electric Guitar”. The main goal is to continue creating subversive audiovisuals, which consist in primary and complex products that contemplate several parameters of approach, exploring sensorial matters and establishing bonds with historical, sociological and cultural issues. The first chapter presents Lady Gaga and her artistic body of work which, curiously, defends minorities in spite of the singer being inserted into the star system. The second chapter introduces concept of “the uncanny”, from teoretical dialogues and, also, addresses their presence in music videos. The third chapter focuses on the study of music video as a audiovusal format, its relevance in visual culture and how they develop through media. The forth chapter reapproaches Lady Gaga’s music videos, selected according to this investigation theme, focusing on their analysis. The last chapter discusses the creative experience of “Electric Guitar” through my goal of reassuring the relevance of studying the uncanny and, also, my attempt to expand music video’s frontiers by employing new perspectives to them, without escaping the plastic aesthetics predominant in pop. / Esta dissertação é resultante do projeto de pesquisa realizado através do Programa de Pós-graduação em Arte e Cultura Visual, nível mestrado, da FAV-UFG, e visa apresentar o tema da representação de identidades estranhas em videoclipes, partindo de uma investigação no campo, acompanhada de análises dos clipes da artista Lady Gaga, para a construção do meu discurso videográfico no videoclipe “Electric Guitar”. O principal objetivo é dar continuidade aos discursos audiovisuais de formato subversivo, que consistam em produtos primários complexos os quais contemplem diversos parâmetros de abordagem audiovisual, explorando o sensorial e estabelecendo vínculos com questões de teor histórico, sociológico, cultural etc. O primeiro capítulo apresenta Lady Gaga e seu trabalho artístico que, curiosamente, defende minorias com uma postura favorável da cantora, ainda que ela esteja inserida no star system. O segundo capítulo introduz a temática dos estranhos, explica este conceito a partir de diálogos teóricos e, também, aborda a presença dos estranhos em videoclipes. Já o terceiro capítulo foca no estudo do videoclipe como formato audiovisual, trata da sua relevância na cultura visual e dos seus desdobramentos na mídia. O quarto capítulo volta a tratar dos discursos videográficos de Lady Gaga, porém, com foco na análise de alguns dos seus videoclipes, selecionados de acordo com o tema desta pesquisa. O quinto e último capítulo trata da experiência criativa do videoclipe “Electric Guitar” e do meu objetivo de reforçar as discussões sobre o “estranho” buscando expandir as fronteiras do senso comum a respeito do videoclipe por meio do emprego de novas linguagens, sem promover uma fuga da estética plástica predominante no pop.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-05-19T17:42:46Z No. of bitstreams: 1 TES_TICIANO_RICARDO_PALUDO_COMPLETO.pdf: 4503183 bytes, checksum: 26a6e1ee4a05505a08456c1b16493040 (MD5) / Made available in DSpace on 2017-05-19T17:42:46Z (GMT). No. of bitstreams: 1 TES_TICIANO_RICARDO_PALUDO_COMPLETO.pdf: 4503183 bytes, checksum: 26a6e1ee4a05505a08456c1b16493040 (MD5) Previous issue date: 2017-03-22 / This thesis aims to study the articulations and tensions that exist in the 21st century musical myths, and will verify the possibility of tracing a 2000?s mythic construction paradigm to understand the plurality of proposals, platforms and contemporary languages. For this, it presents its own analysis method to think about the total artist concept. An illustrative cut occurs through David Bowie, Kiss and Lady Gaga?s music videos. Bowie will be presented as one of the very first total artists in pop culture, fowward by Kiss, and Gaga. Music videos will be presented as encapsulated operas. In the end, the thesis discuss the adversongs, an union between music, and advertising, apex of the total artist of the 2010 decade. / A presente tese busca compreender as articula??es e tens?es existentes nos mitos musicais do s?culo XXI para verificar a possibilidade de tra?ar-se um paradigma de constru??o m?tica p?s anos 2000 que d? conta da pluralidade de propostas, plataformas e linguagens contempor?neas. Para isso, apresenta metodologia pr?pria de an?lise do que chama de artista total. O recorte ilustrativo se d? atrav?s de videoclipes dos artistas David Bowie, Kiss e Lady Gaga, sendo esta ?ltima uma expoente do referido artista total, e David Bowie, o fundador do modelo. Os videoclipes s?o pensados como ?peras encapsuladas e vetores de constru??o m?tico-espetacular, desde que obede?am a certos crit?rios que s?o explanados durante a pesquisa. Ao final, a tese apresenta o conceito de adversong que compreende a uni?o entre m?sica e publicidade, ?pice do artista total da d?cada de 2010.

Syftet med uppsatsen är att undersöka vilka underliggande mönster som styr två populärkulturella texter i form av musikvideor publicerade på webbsajten YouTube: Madonnas Like A Virgin och Lady Gagas Bad Romance, samt undersöka om dessa mönster lever vidare inom populärkulturen genom ständigt återskapande.Metoden som används är diskursanalys med genusperspektiv för att ta reda på hur maskulinitet och femininitet konstrueras i det här sammanhanget. En diakron tillika jämförande analys görs för att se om liknande diskurser styr de båda musikvideorna. I arbetet används det vidgade textbegreppet och således utgörs texterna i det här fallet av rörliga bilder, sångtexter och YouTube-kommentarer.Frågeställningarna som ligger till grund för undersökningen är följande: Vilka diskurser, sedda ur genusperspektiv, genomsyrar texterna samt hur gestaltas och förmedlas dessa? Har de båda texterna liknande underliggande mönster, trots att de producerats med 25 års mellanrum? Kan man genom intertextuella kopplingar till de analyserade verken påvisa att diskurserna hela tiden skapas och återskapas i samhället genom populärkulturella texter?Slutsatser: texterna genomsyras av fem dominerande diskurser: kvinnan som oskuld respektive hora, drömprinsen, ”en riktig karl”, mannen har makten samt den starka kvinnan. De båda texterna har liknande underliggande kulturella mönster trots de mellanliggande 25 åren. Intertextuella kopplingar till äldre verk samt moderna texter visar att diskurserna hela tiden skapas och återskapas i populärkulturen.

Submitted by Mariane Carvalho Vischi (mazicarvalho@bol.com.br) on 2017-03-31T02:44:30Z No. of bitstreams: 1 DEFESA - VERSÃO FINAL MARIANE CARVALHO VISCHI.pdf: 6742229 bytes, checksum: 05af4a4bb57ab550fefe7fac1686e50e (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2017-04-06T17:14:36Z (GMT) No. of bitstreams: 1 vischi_mc_dr_arafcl.pdf: 6742229 bytes, checksum: 05af4a4bb57ab550fefe7fac1686e50e (MD5) / Made available in DSpace on 2017-04-06T17:14:36Z (GMT). No. of bitstreams: 1 vischi_mc_dr_arafcl.pdf: 6742229 bytes, checksum: 05af4a4bb57ab550fefe7fac1686e50e (MD5) Previous issue date: 2017-03-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho investiga e compara a disfluência na fala de pessoas gagas e não gagas. O primeiro tipo foi denominado de disfluência gaga e o segundo, de disfluência comum. De uma maneira geral, as disfluências são caracterizadas pelo não fluir normal dos segmentos sonoros da fala, devido à presença de hesitações e de interrupções durante o processo comunicativo. Inicialmente, foi feita uma revisão bibliográfica sobre a relação da fluência com a disfluência a partir de uma compilação dos principais estudos sobre o assunto. Na sequência, apresentamos os trabalhos da literatura especializada e da linguística para a disfluência gaga, bem como dos aspectos que tratam da articulação da fala e dos elementos suprassegmentais. A metodologia consistiu na gravação semiespontânea de seis informantes gagos e seis não gagos. Como parte da metodologia para a formação do corpus, foi pedido a eles que narrassem algum fato que tivesse marcado suas vidas. Não foi definida de uma temática específica. Os dados foram analisados auditivamente e acusticamente. Para a análise acústica utilizou-se o software PRAAT. Para análise e interpretação dos dados foram usados modelos teóricos referentes à fonologia autossegmental (Pierrehumbert,1980; Ladd, 1996, entre outros) e, como apoio teórico, o da fonologia funcional (Halliday, 1970; Cagliari, 2007). Também foram utilizados os trabalhos relacionados ao estudo da fluência e disfluência da fala de uma maneira geral (Scarpa, 1995; Cruz, 2009; Koch, 2009; Scarpa; Fernandes-Svartman, 2012; Merlo, 2015, entre outros), bem como da disfluência gaga (Van Riper, 1971; Friedman 1986; Azevedo, 2000, entre outros). A investigação acústica estuda os segmentos fonéticos, as pausas, as repetições, as hesitações, os alongamentos e os bloqueios de fala. A interpretação fonológica investiga o comportamento dos fonemas nos dois tipos de disfluências. Os resultados mostraram, em relação à análise da F0 e padrão da intensitade, diferenças pouco significativas para a comparação entre os dois tipos de disfluências. A duração foi o evento que mais distanciou os dois tipos de fala, sendo maior para os falantes com disfluência gaga. Em relação aos tipos de disfluências (repetições, inserções, hesitações, entre outros), tanto os informantes gagos quanto os não gagos realizaram o mesmo tipo de disfluência. A diferença entre eles deve-se à quantidade e à complexidade das disfluências. Nesse caso, os informantes gagos tendem a apresentar um maior número de disfluências por grupo tonal, bem como uma quantidade maior de disfluências complexas. Outra diferença entre os dois grupos está na duração e quantidade de pausas, que tende a ser maior para os informantes com disfluência gaga. A análise fonológica, por sua vez, mostrou que gagos e não gagos tendem a manter o padrão entoacional para as repetições, inserções e hesitações. Esses resultados confirmam a hipótese de que a gagueira estaria mais relacionada a uma questão articulatória que leva, por meio de uma empatia fonética negativa, a quebra na expectativa do interlocutor. Já a disfluência comum, por estar mais relacionada a fenômenos estilísticos, não é sentida da mesma maneira. Mesmo assim, o caminho mais adequado não é o de distanciar negativamente esses dois tipos de fala, uma vez que os eventos são os mesmos, o que muda é o modo como eles são refletidos e sentidos. / The present work investigates and compares the dysfluency speech of stuttering and non-stuttering people. The first type was called stutterer dysfluency and the second common disfluency. In general, dysfluencies are characterized by no expected flow of the phonetic segments of speech due to the presence of hesitations and interruptions during the communication process. A general review of the literature on the relationship between fluency and dysfluency is presented with comments. A special review presents works of linguists, discussing stutterer dysfluency in particular in relation to segmental and suprasegmental articulatory problems. The methodology consists of recordings of semi spontaneous speech by six stutterers and non-stutterers informants. As part of the methodology for the formation of the corpus, the informants were asked to report any fact that marked their lives. Data were analyzed auditorily and acoustically. For acoustic analysis, the PRAAT software was used. Theoretical models regarding autosegmental phonology (Pierrehumbert, 1980; Ladd, 1996 among others) and functional phonology (Halliday, 1970, Cagliari, 2007) were used for theoretical support. The study of fluency and dysfluency discusses in particular the works from Scarpa (1995); Cruz (2009); Koch (2009) and Merlo (2015). On the other hand, stutterer dysfluency reminds the works of Van Riper (1971); Friedman (1986); Azevedo (2000), among others. The acoustic analyses take into consideration the phonetic segments, pauses, repetitions, hesitations, speech stretching and blocking. The phonological interpretation investigates the phoneme behavior in both types of disfluency. The results revealed, in relation to the analysis of F0 and intensity standard, minor differences in comparing the two types of disfluency. The duration was the event that more distanced the two types of speech behavior, being higher for speakers with stutterer dysfluency. The difference between them is due to the amount of occurrences and the types of complex disfluencies. Stuttering informants tend to have a larger number of dysfluency by tonal group as well as a greater amount of complex dysfluency. The phonological analyses, in turn, showed that stuttering and non-stuttering tend to maintain the intonation pattern for repeats, insertions and hesitations. These results confirm the hypothesis that stuttering is more related to an articulation process which leads, through a negative phonetic empathy, to break the expectation of the interlocutor. On the other hand, common dysfluency which is more related to stylistic phenomena is also involved with the same kind of speech problems but in a different dimension. Indeed, the most appropriate conclusion is to set a scale for the events with the two types of disfluency in opposite positions. This scale is interpreted as such by the persons involved in the problem, being framed by different expectations. / CNPq: 141913/2013-4

De frågeställningar som jag har utgått från är vem eller vilka personer, och vilka andra faktorer skapade superstjärnan Lady Gaga? Har Lady Gaga blivit framgångsrik på egen hand eller huvudsakligen som ett resultat av andra personer och deras inverkan? Syftet är att analysera bakgrunden till Lady Gagas enorma succé och utforska möjliga orsaker och förklaringar till den, för att sedan kunna använda och föra vidare kunskapen om dessa framgångsstrategier i musikbranschen. Jag har använt mig av kvalitativa intervjuer med fallstudien som metod. Intervjuerna är gjorda i New York, USA och omfattar inflytelserika personer från musik-, konst- och modevärlden, med inriktning på vilka faktorer och personer som varit viktiga och avgörande för Lady Gagas karriär. Analysen är baserad på en teori om Lady Gagas strategier kallad 4E efter ledorden emotions (känslor), erfarenhet, engagemang och exklusivitet. Intervjuerna och fallstudien bekräftar 4E-teorin på alla fyra punkter. Analysen visar att två ytterligare viktiga faktorer är vikten av stödjande grupper runt en ny okänd artist och New Yorks mångfald av artister, musiker och konstnärer.

The purpose of this study is to see how gender is produced in one music video, chosen by a stratified, purposive sampling. This is done partly by studying the visual and linguistic dimensions of the text, partly by defining its discourse. The analysis is conducted by using MCDA (Multimodal critical discourse analysis). To study the material, the video was segmented into smaller sections based on the parts of the song (chours, verse etcetera). The semiotic resources that is considered in this analysis is participants, gaze and poses. The result of this study shows that, in this particular music video, gender is portrayed in similar ways through the resources. The gender of the dominant and strong woman is mostly portrayed through hands placed in the waist, legs placed wide and a neutral face combined with eye contact or hidden eyes/gaze. The innocent, emotional woman is portrayed through a including gaze towards the viewer. The gender man on the other hand is portrayed as dominant and strong through a intense, observing gaze and a relaxed body in combination with a broad-legged position. It also became clear that women were more sexualized that men in the video, even though they both established dominance through the same use of the resources in the bigger part of the video. The discourse for the material was connotated to be mostly a sexual discourse with a hint of and emotionaland/ or love discourse.