This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

For more than thirty years, historians of the Holy Roman Empire have registered little discernible interest in imperial censorship during the sixteenth and seventeenth centuries. As historical scholarship has evolved in its understanding of the Holy Roman Empire during this period, it has lagged behind in its appreciation for how imperial authorities controlled expression and regulated the book trade. Old assumptions about imperial censorship have been slow to wither and decay even though assumptions about the Empire have been reexamined and revised. Where a growing appreciation for the Empire's complexities spurred interest in territorial and civic censorship, a corresponding interest in imperial censorship has not developed. Interestingly, the two–old assumptions and modern revisionist histories–have conspired to moot studies of the imperial government, its policies, and its procedures, which has meant that the significance of imperial censorship in the Empire has been largely overlooked. Moreover, historians' attention to local controls and regulations has inspired a more nuanced approach to censorship than had previously prevailed, leading to a general reassessment of how censorship influenced the circulation and reception of ideas in both positive and negative ways. Imperial censorship has failed to register its mark in this regard as well. Using a combination of imperial censorship legislation, archival documents, and printed primary sources, this dissertation charts imperial censorship during the sixteenth and seventeenth centuries as both a concept and a practice. Unable to enforce religious uniformity in the Empire after the Reformation's successful establishment in the 1520s, imperial legislation came to rely on libel, rather than heresy, as the formal basis for its censorship policies. Libel was an ambiguous category of illicit expression, the interpretation of which depended a great deal on the contingencies of context and the subjective preferences of enforcers. This affected how imperial and local authorities, respectively, interacted on matters of censorship, requiring more negotiation and cooperation than has heretofore been appreciated.

This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

Esta dissertação teve por objetivo investigar o suplemento infantil do jornal Estado de Minas, intitulado Gurilândia, no período de 1948 a 1956. Criado em um momento de expansão do mercado consumidor destinado às crianças e valendo-se de condições favoráveis de produção e circulação, explicadas por seu vínculo com o jornal Estado de Minas, o Gurilândia alcançou uma popularidade entre o público mineiro testemunhada por sua longevidade, visto que ainda hoje é produzido. O recorte temporal, necessário para viabilizar a pesquisa, privilegiou os primeiros anos de circulação do suplemento, momento no qual foi dirigido por Celso Brant. Confluiu para essa escolha a representatividade de Brant no cenário cultural e político mineiro, bem como a especificidade do projeto editorial da publicação no período que esteve sob sua responsabilidade. Assim sendo, foi definido, como corpus de análise, os números do suplemento infantil que circularam sob a direção de Celso Brant, ou seja, de 25 de janeiro de 1948 a 18 de março de 1956. Quantitativamente, isso representou 341 números da publicação. O diálogo com a área da História dos Livros, dos Impressos, da Leitura e da Infância subsidiou a tentativa de entendimento dos aspectos da produção, circulação e uso do suplemento infantil. A análise do conteúdo do Gurilândia permitiu concluir que o constante caminhar sobre uma linha educativa foi a marca constitutiva dessa publicação. Para dar corpo a essa proposta, o suplemento lançou mão do estreitamento dos laços com as instituições escolares mineiras, além de veicular uma grande parte de conteúdo com interesses escolares. Esse projeto educativo ficou ainda mais explícito quando se percebeu que pessoas ligadas à Revista do Ensino e à Escola de Aperfeiçoamento, provavelmente as principais responsáveis pela formação de professores mineiros na primeira metade do século XX, contribuíram regularmente no Gurilândia. Embora destinado prioritariamente ao público infantil, o suplemento também incluiu seções direcionadas aos professores, de um teor marcadamente escolanovista. Constatou-se, por fim, que a produção da imprensa escrita infantil desse período foi marcada por duas tendências principais: publicações com predominância de intenções recreativas e publicações com predominância de intenções educativas e até escolares. A análise do Gurilândia permite, seguramente, que o suplemento infantil do Estado de Minas seja encaixado nesse segundo grupo. / This research aims to analyze the children section of the Estado de Minas newspaper called Gurilândia during the period of 1948 to 1956. Gurilândia was created in a booming period for the children consumer market and was benefited by favorable conditions for its production and circulation by the Estado de Minas entrepreneurship group. Due to these facts, Gurilândia became very popular in the state of Minas Gerais, and it is until today printed. The decision to focus on the 1948-1956 years was based on the period in which Celso Brant, an influential person in the cultural and political scene in Minas Gerais during that time, was in charge of Gurilândia. From 01/25/1948 to 03/18/1956 Celso Brant implemented an innovative editorial project to that children supplement, and this research is direct to the 341 editions of Gurilândia under the Celso Brant management. The analyses of production, circulation and use of Gurilândia in this research are influenced by the dialogue with the fields of History of Books, Printing, Reading and Childhood. The main conclusion of this research is that under Celso Brant direction Gurilândia was developed under an editorial line determined by contemporary educational and pedagogic theories. Gurilândia was an important channel to the diffusion of educational material and it was always open to contributions by scholars and other educational institutions from Minas Gerais State. Many professionals linked to Revista do Ensino and Escola de Aperfeiçoamento, important institutions to the formation and education of many teachers during the first half of twentieth century in Minas Gerais State, made regular contributions to Gurilândia. An interesting aspect of Gurilândia is the production of special content not only to children, but also to teachers, under the influence of Escola Nova educational theories. During that time the editorial production aimed at the children market followed basically two movements: one towards the humor and games content, and other towards a more educative material. This research concludes that under Celso Brant direction Gurilândia can without doubts be included in the second group.

Esta dissertação teve por objetivo investigar o suplemento infantil do jornal Estado de Minas, intitulado Gurilândia, no período de 1948 a 1956. Criado em um momento de expansão do mercado consumidor destinado às crianças e valendo-se de condições favoráveis de produção e circulação, explicadas por seu vínculo com o jornal Estado de Minas, o Gurilândia alcançou uma popularidade entre o público mineiro testemunhada por sua longevidade, visto que ainda hoje é produzido. O recorte temporal, necessário para viabilizar a pesquisa, privilegiou os primeiros anos de circulação do suplemento, momento no qual foi dirigido por Celso Brant. Confluiu para essa escolha a representatividade de Brant no cenário cultural e político mineiro, bem como a especificidade do projeto editorial da publicação no período que esteve sob sua responsabilidade. Assim sendo, foi definido, como corpus de análise, os números do suplemento infantil que circularam sob a direção de Celso Brant, ou seja, de 25 de janeiro de 1948 a 18 de março de 1956. Quantitativamente, isso representou 341 números da publicação. O diálogo com a área da História dos Livros, dos Impressos, da Leitura e da Infância subsidiou a tentativa de entendimento dos aspectos da produção, circulação e uso do suplemento infantil. A análise do conteúdo do Gurilândia permitiu concluir que o constante caminhar sobre uma linha educativa foi a marca constitutiva dessa publicação. Para dar corpo a essa proposta, o suplemento lançou mão do estreitamento dos laços com as instituições escolares mineiras, além de veicular uma grande parte de conteúdo com interesses escolares. Esse projeto educativo ficou ainda mais explícito quando se percebeu que pessoas ligadas à Revista do Ensino e à Escola de Aperfeiçoamento, provavelmente as principais responsáveis pela formação de professores mineiros na primeira metade do século XX, contribuíram regularmente no Gurilândia. Embora destinado prioritariamente ao público infantil, o suplemento também incluiu seções direcionadas aos professores, de um teor marcadamente escolanovista. Constatou-se, por fim, que a produção da imprensa escrita infantil desse período foi marcada por duas tendências principais: publicações com predominância de intenções recreativas e publicações com predominância de intenções educativas e até escolares. A análise do Gurilândia permite, seguramente, que o suplemento infantil do Estado de Minas seja encaixado nesse segundo grupo. / This research aims to analyze the children section of the Estado de Minas newspaper called Gurilândia during the period of 1948 to 1956. Gurilândia was created in a booming period for the children consumer market and was benefited by favorable conditions for its production and circulation by the Estado de Minas entrepreneurship group. Due to these facts, Gurilândia became very popular in the state of Minas Gerais, and it is until today printed. The decision to focus on the 1948-1956 years was based on the period in which Celso Brant, an influential person in the cultural and political scene in Minas Gerais during that time, was in charge of Gurilândia. From 01/25/1948 to 03/18/1956 Celso Brant implemented an innovative editorial project to that children supplement, and this research is direct to the 341 editions of Gurilândia under the Celso Brant management. The analyses of production, circulation and use of Gurilândia in this research are influenced by the dialogue with the fields of History of Books, Printing, Reading and Childhood. The main conclusion of this research is that under Celso Brant direction Gurilândia was developed under an editorial line determined by contemporary educational and pedagogic theories. Gurilândia was an important channel to the diffusion of educational material and it was always open to contributions by scholars and other educational institutions from Minas Gerais State. Many professionals linked to Revista do Ensino and Escola de Aperfeiçoamento, important institutions to the formation and education of many teachers during the first half of twentieth century in Minas Gerais State, made regular contributions to Gurilândia. An interesting aspect of Gurilândia is the production of special content not only to children, but also to teachers, under the influence of Escola Nova educational theories. During that time the editorial production aimed at the children market followed basically two movements: one towards the humor and games content, and other towards a more educative material. This research concludes that under Celso Brant direction Gurilândia can without doubts be included in the second group.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-28T10:46:15Z No. of bitstreams: 1 camilacarvalhogomesdasilva.pdf: 895466 bytes, checksum: 6d64999c4c6939a42af9e350ebe5594a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-28T11:05:13Z (GMT) No. of bitstreams: 1 camilacarvalhogomesdasilva.pdf: 895466 bytes, checksum: 6d64999c4c6939a42af9e350ebe5594a (MD5) / Made available in DSpace on 2016-01-28T11:05:13Z (GMT). No. of bitstreams: 1 camilacarvalhogomesdasilva.pdf: 895466 bytes, checksum: 6d64999c4c6939a42af9e350ebe5594a (MD5) Previous issue date: 2014-02-14 / A dissertação investiga a trajetória do Jornal Local, periódico impresso semanal de Valença, no sul fluminense, com o objetivo de analisar de que forma este periódico narra a cidade, e, assim, que tipo de identidade do espaço urbano o jornal ajuda a construir. Para tanto, utilizamse autores dos Estudos Culturais como principal referência para o desenvolvimento da questão identitária na contemporaneidade. Além disso, levantou-se na bibliografia cânone local ideiasforça definidoras da identidade valenciana tradicional, com o intuito de verificar se é esta a identidade valenciana emergente nas narrativas do Jornal Local. Foram pesquisadas 12 edições do impresso em foco, abrangendo as edições de 18 de julho de 2013 a 03 de outubro de 2013, através da metodologia da Análise de Conteúdo. O objetivo do trabalho, mais do que levantar o espaço que o JL dedica a problematização do tema identidade valenciana, foi examinar como e com que intensidade o impresso trata o assunto. A pesquisa ainda caracterizou-se por um forte viés historiográfico, ao expor, além da história da cidade, a trajetória histórica da imprensa valenciana. / This dissertation investigates the history of Jornal Local, a weekly printed newspaper of Valença, in southern Rio de Janeiro, with the goal of analyzing how this newspaper chronicles the city, and thus what kind of urban space identity the newspaper helps build. For this, we used authors of Cultural Studies as the main reference for the development of the identity issue in contemporary times. In addition, we researched local canonical bibliography for key defining ideas of traditional valencian identity, in order to verify if this is the emerging valencian identity narratives in the Jornal Local. Twelve editions of the newspaper were analyzed, covering the issues of July 18, 2013 to October 3, 2013, using Content Analysis methodology. The goal, more than merely exposing the space dedicated by JL to questioning the valencian identity theme, was to examine how and with how much intensity the newspaper treats the subject. The research was also characterized by a strong historiographical focus, to expose, beyond the city’s history, the historical trajectory of the Valencian press.

The pedagogy of women printed material, more specifically, the photo-novels, is the object of research of this Thesis, whose proposal is linked to the research line "History, Society and Educational Thought" of the Graduate Program in Education at the Federal University of Sergipe (UFS), in a special way, to the Group of Studies and Research in History of Education: Intellectuals on Education, Educational Institutions and School Practices and relates to theoretical and methodological assumptions of Cultural History, History of Women's Education, The History of the Printed and the History of Reading. It aims to search as leisure readings, in particular, of photo-novels, contributed to teach, from a specific pedagogy, to its readers, ways of being and behaving, enabling them to representations about the world in which they lived. Thus, in order to investigate about the pedagogy of female prints and photo-novels, I selected as reader community Pedagogy students from The Institute of Education "Rui Barbosa" (IERB) during the period of investigation of this object of study (decades of 60 and 70 in the 20th century), in order to know signs of behavior, values and experiences acquired in these readings, including such practices as relevant in the process of formation of this public reader. Therefore, to achieve this research, I discussed about reading practices, in particular, those relating to photo-novels, from the historical moment in which they are granted greater spread in the country, i.e. , between the decades of 60 and 70 in the 20th century. On the other hand, this period coincided with the industrial growth, expansion of consumption and greater accessibility to information. This way, to prove that the female prints and the photo-novels entered therein were carriers of a Pedagogy of values and cultures, I analyze the content of ten editions of the women's magazines of greater movement in the country, the Capricho magazine, six of them being from the 1960s and four, the 1970s of the 20th century, comprising, as parameter established by the Brazilian Institute of Geography and Statistics (IBGE), a generation (1960 to 1975), as well as my interviews with readers of these printed materials that are inserted in the community reader selected for this research. Finally, I support the thesis that leisure readings, in the specific case, magazines directed to women, as well as the photo-novels, reflected in the universe of their readers through a Pedagogy that provided them instruments of an over scholar education, revealing different female models, disseminated by accession and/or resistance, and that, in some way, served as inspiration for some young people about standards to be followed by physical, moral and socially. / La pedagogia delle riviste femminili, più specificamente, i fotoromanzi, è l' oggetto di questa tesi. La proposta è legata alla linea di ricerca "Storia, Società e Pensiero Educazionale" del Programma di Post Laurea in Educazione della Universidade Federal de Sergipe, in modo particulare, allo Gruppo di Studi e Ricerche in Storia Dell Educazione: intellettuali della educazione, istituzioni educative e pratiche della scuola. Si riferisce a principi teorici e metodologici della storia culturale, storia dell educazione femminili, storia delle riviste e storia della lettura. Obiettiva indagare come le letture in tempo libero, in particolare i fotoromanzi, hanno contribuito ad insegnare, una pedagogia specifica ai loro lettori, in modi di essere e di comportarsi, consentendo loro rappresentazioni sul mondo in cui vivevano. Così, per indagare su la pedagogia delle riviste femminili e di fotoromanzi, ho selezionato studenti dei magistrali dello Instituto de Educação “Rui Barbosa” (IERB) nel periodo dell'inchiesta di questo oggetto (anni '60 e '70 del XX secolo), in modo ad verificare i comportamentali, i valori ed esperienze acquisita in queste letture, ed capire le pratiche come rilevante nel processo di formazione di questo lettori. Per raggiungere questa ricerca, ho discusso sulle pratiche di lettura, in particolare quelli relativi ai fotoromanzi, nel momento storico in cui hanno conseguito più diffusione nel paese, vale a dire, tra gli anni '60 e '70 del XX secolo. Questo periodo ha coinciso con la crescita industriale, l'aumento dei consumi e una maggiore accessibilità alle informazioni. Per dimostrare che le riviste di donne e in particolare i fotoromanzi, in loro inserìti, erano portatori di una Pedagogia dei valori e delle culture, ho analizzato il contenuto di dieci edizioni di una delle riviste femminili con la più grande circolazione nel paese, la rivista Capricho. Ci sono sei dei anni 60 e quattro degli anni '70 del XX secolo, comportandosi come parametro impostato dal Instituto Brasileiro de Geografia e Estatística (IBGE), una generazione (1960 al 1975). Ho realizzato interviste con i lettori di queste riviste che ci sono inseriti nella comunità che avevo selezionato per questa ricerca. La mia tesi è che la lettura in tempo libero, nel caso specifico, le riviste rivolte alle donne, cosi, come i fotoromanzi, ha influenzato l'universo dei suoi lettori attraverso una pedagogia che ha fornito loro gli strumenti di educazione non escolare, rivelando diversi modelli femminili, trasmessi da adesione e /o degli resistenza, e, in un certo senso, sono stati l'ispirazione per alcuni giovani circa le norme da seguire fisicamente, moralmente e socialmente. / La pedagogía de los impresos femeninos, pero específicamente, de las fotonovelas, es el objetivo de investigación de esta Tesis, cuya propuesta se vincula a la línea de investigación “Historia, Sociedad y Pensamiento Educacional” del Programa de Postgrado en Educación de la Universidad Federal de Sergipe, de modo peculiar, al Grupo de Estudios e Investigaciones en Historia de la Educación: Intelectuales de la Educación, Instituciones Educacionales y Prácticas Escolares, y se relaciona a los presupuestos teórico metodológicos de la Historia Cultural, Historia de la Educación Femenina, Historia del Impreso e Historia de la Lectura. Objetiva investigar como lecturas de ocio, en especial, de fotonovelas, contribuirían para enseñar, a partir de una pedagogía específica, a sus lectoras, modos de ser y de comportarse, posibilitándoles representaciones acerca del mundo en que vivían. Así siendo, para investigar acerca de la pedagogía del impreso femenino y de las fotonovelas, seleccioné como comunidad lectora estudiantes normalistas del Instituto de Educación “Rui Barbosa” (IERB) durante el periodo de investigación de este objetivo de estudio (décadas de 60 y 70 del siglo XX), a fin de conocer indicios del comportamiento, de los valores y de las experiencias adquiridas en estas lecturas, comprendiendo tales prácticas como relevantes en el proceso de formación de este público lector. Delante de eso, para concretizar esta investigación, discutí sobe prácticas de lectura, en especial, las referentes a las fotonovelas, a partir del momento histórico en que obtuvieron mayor difusión en el país, o sea, comprendido entre las décadas de 60 y 70 del siglo XX. En contrapartida, ese periodo coincidió con el crecimiento industrial, de ampliación del consumo y mayor accesibilidad a la información. De esa manera, para comprobar que el impreso femenino y las fotonovelas en él insertadas eran portadores de una Pedagogía de valores y de culturas, analizo el contenido de diez ediciones de una de las revistas femeninas de mayor circulación en el país, la Revista Capricho, siendo seis de la década de 60 y cuatro, de la década de 70 del siglo XX, comportando, conforme parámetro establecido por el Instituto Brasileño de Geografía y Estadísticas (IBGE), una generación (1960 a 1975), bien como realizo entrevistas con lectoras de estos impresos que están insertadas en la comunidad lectora seleccionada para esta investigación. Por fin, defiendo la tesis de que lecturas de ocio, en el caso específico, revistas dirigidas a mujeres, bien como las telenovelas, repercutirían en el universo de sus lectoras a través de una Pedagogía que les forneció instrumentos de una educación extraescolar, revelando distintos modelos femeninos, difundidos por adhesión y/o resistencia, y que, de cierta forma, sirvieron de inspiración para algunas jóvenes acerca de los patrones a ser seguidos física, moral y socialmente. / A pedagogia dos impressos femininos, mais especificamente, das fotonovelas, é o objeto de investigação desta Tese, cuja proposta vincula-se à linha de pesquisa “História, Sociedade e Pensamento Educacional” do Programa de Pós-Graduação em Educação da Universidade Federal de Sergipe, de modo peculiar, ao Grupo de Estudos e Pesquisas em História da Educação: Intelectuais da Educação, Instituições Educacionais e Práticas Escolares e relaciona-se aos pressupostos teórico-metodológicos da História Cultural, História da Educação Feminina, História do Impresso e História da Leitura. Objetiva pesquisar como leituras de lazer, em especial, de fotonovelas, contribuíram para ensinar, a partir de uma pedagogia específica, às suas leitoras, modos de ser e de se comportar, possibilitando-lhes representações acerca do mundo em que viviam. Assim sendo, para investigar acerca da pedagogia do impresso feminino e das fotonovelas, selecionei como comunidade leitora estudantes normalistas do Instituto de Educação “Rui Barbosa” (IERB), durante o período de investigação deste objeto de estudo (décadas de 60 e 70 do século XX), a fim de conhecer indícios do comportamento, dos valores e das experiências adquiridas nestas leituras, compreendendo tais práticas como relevantes no processo de formação deste público leitor. Diante disso, para concretizar esta investigação, discuti sobre práticas de leitura, em especial, as referentes às fotonovelas, a partir do momento histórico em que obtiveram maior difusão no país, ou seja, compreendido entre as décadas de 60 e 70 do século XX. Em contrapartida, esse período coincidiu com o crescimento industrial, de ampliação do consumo e maior acessibilidade à informação. Dessa maneira, para comprovar que o impresso feminino e as fotonovelas nele inseridas eram portadores de uma Pedagogia de valores e de culturas, analiso o conteúdo de 10 edições de uma das revistas femininas de maior circulação no país, a Revista Capricho, sendo seis da década de 60 e quatro, da década de 70 do século XX, comportando, conforme parâmetro estabelecido pelo Instituto Brasileiro de Geografia e Estatística (IBGE), uma geração (1960 a 1975), bem como realizo entrevistas com leitoras destes impressos que estão inseridas na comunidade leitora selecionada para esta pesquisa. Por fim, defendo a tese de que leituras de lazer, no caso específico, revistas direcionadas a mulheres, bem como as fotonovelas, repercutiram no universo de suas leitoras através de uma Pedagogia que lhes forneceu instrumentos de uma educação extraescolar, revelando diferentes modelos femininos, difundidos por adesão e/ou resistência, e que, de certa forma, serviram de inspiração para algumas jovens acerca de padrões a ser seguidos física, moral e socialmente.

Cette thèse s’interroge sur la difficulté qu’on rencontre pour définir l’œuvre de Théophile de Viau (1590-1626). Ensemble disparate sur le plan formel et esthétique, l’œuvre semble pâtir de l’émergence tardive d’un auteur que le procès en libertinage a construit, pour une large part (1623-1625). L’étude menée ici consiste à aller au rebours d’une lecture qui ferait des écrits théophiliens un ensemble dirigé vers cette création artificielle d’un auteur. En prenant appui sur la production poétique antérieure au procès (circa. 1614-1623), cette thèse tente de définir le mouvement de dispersion apparemment contradictoire d’une trajectoire sociale, entraînée par le mouvement de ses publications, et celui d’une densification de l’écriture littéraire autour de pratiques saillantes. En effet, pour envisager les procédures réelles de l’œuvre de Théophile de Viau, pour en dégager les lignes de force et les points de rupture, le présent travail prend appui sur le concept de désœuvrement. Qu’il s’agisse des origines sociales et symboliques du poète, des tensions que soulève le service de plume, ou des ambiguïtés des positionnements littéraires du poète vis-à-vis de la culture de l’imitation et de la tradition rhétorique des lieux communs, tout porte à croire que l’identité poétique de Théophile de Viau s’est construite sur un mouvement paradoxal de dégagement à autrui effectué dans les lieux mêmes de l’altérité, au cœur de l’identité du poète. / This thesis is concerned with the difficulty one encounters when trying to define the work of Theophile de Viau (1590-1626). The set of texts it consists in is heterogeneous both formally and aesthetically, and seems to suffer the late emergence of an author who was in a large part made by his trial for licentiousness. (1623-1625). My aim here is to go against the interpretation that considers theophelian writings as a unity directed towards the artificial creation of an author. By studying the poems written before the trial (around 1614-1623), this thesis aims at defining an apparently contradictory scattered social trajectory, led by the movement of his publications, as well as the densification of his literary writing around striking practices. Indeed, in order to consider the real processes at stake in Theophile de Viau’s work, in order to distinguish its lines of force and breaking points, the present study is based on the concept of désoeuvrement (deconstructing the concept of his oeuvre). Whether it be the social and symbolical origins of the poet, the tensions raised by his patronage, or the ambiguities of the literary positions of the poet regarding the culture of imitation and the rhetoric of common places, everything leads us to believe that Theophile de Viau’s poetic identity was built on a paradoxical movement of disengagement towards others carried out in the very places of otherness. Otherness is at the heart of the poet’s identity.