Thesis (doctoral)--Université de droit, d'économie et de sciences sociales de Paris, 1998. / At head of title: Université Pantheón-Assas, Paris II, Droit économie, Sciences sociales. Includes bibliographical references.

Thesis (doctoral)--Université de droit, d'économie et de sciences sociales de Paris, 1998. / At head of title: Université Pantheón-Assas, Paris II, Droit économie, Sciences sociales. Includes bibliographical references.

Thesis (Ph.D.)--Ohio University, August, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.A.)--Brigham Young University, Dept. of Art. / Includes bibliographical references (leaves 92-93).

The problem of this study is to determine what elements are significant in creating a periodical for LDS youth that will be competitive with the attractions of other published materials currently available to youth without sacrificing LDS standards.

This thesis investigates various representational modes and strategies in the Shanghai courtesan illustrations in Dianshizhai Pictorial. The aim of the study is to examine how Shanghai's early modern identity was imaged, imagined and contested through the courtesan figure. I argue that by establishing a new urban iconography, Dianshizhai Pictorial transformed the Shanghai courtesan from a traditional archetypical meiren to a universal image of the urban beauty. On the one hand, the modern city, previously an alien concept, was made familiar and acceptable through the image of the Shanghai courtesan. On the other hand, the ambivalence of the courtesan's new image mirrored a mixed feeling of fear, anxiety and disdain towards the emerging metropolis. The courtesan illustrations, hence, served as an important domain where different public understandings of the city were negotiated and expressed in pictorial terms.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

No description available.

This thesis examines the articles the Brazilian writer Lima Barreto (1881-1922) published in the popular satirical magazine Careta. It argues that Careta epitomises Lima Barreto’s aim to create social impact through literature, as it provided him with the largest readership he enjoyed in his lifetime, reaching hundreds of thousands of readers weekly nationwide and internationally. The thesis expands the knowledge about the strategies Lima Barreto used to convey his ideas, showing how he endeavoured to engage with mass audiences in order to combat social fragmentation and intellectual alienation in early twentieth century Brazil. The significance of this thesis is evident on two levels. First, I demonstrate throughout the chapters that Barreto fully engaged with Careta to convey his ideas to a mass audience, choosing the magazine as his main periodical voice in the last years of his life. This argument challenges the idea that Lima Barreto was a marginal writer in the First Republic. Second, the originality of this thesis lies in locating and uncovering almost one hundred and fifty hitherto unknown texts, most of them published pseudonymously in Careta. Chapter one discusses the militancy of Barreto's works. Chapter two argues that Barreto elected magazines, more than newspapers, to convey his message to a large audience. Chapter three relates the early history of Careta. Chapter four suggests that Barreto incorporated pictorial strategies into his articles. Chapter five argues that Barreto embraced Careta's central theme derived from the Commedia dell'Arte. Chapter six discusses systematically the pseudonyms attributed to Barreto in Careta and provides robust evidence that he published many hitherto unknown texts pseudonymously. Finally, I conclude that Careta encapsulates Barreto's efforts to reach a mass readership and communicate with readers beyond literary circles.

CAPES / Esta pesquisa investiga como a fotografia, a partir das fotorreportagens de Jean Manzon e José Medeiros presentes na revista O Cruzeiro, contribuiu para a representação de modos de vida urbanos no Brasil na passagem dos anos 1940 para os 1950. Busco compreender quais conceitos são destacados através da produção desses fotógrafos no período de 1947 a 1951. Assim, foram analisadas 11 reportagens publicadas dentro do período escolhido. A partir dos Estudos Sociais da Ciência e da Tecnologia propõe-se que os modos de ver são componentes essenciais do sistema tecnológico fotográfico, porque os modos particulares e coletivos de interpretar o mundo, nos quais fotógrafos e editores estão embebidos, se cristalizam em fotografias durante a produção das mesmas. A associação da fotografia à imprensa, especialmente no início do século XX, ampliou o acesso às representações de cidades, pessoas e modos de vida de lugares que muitas pessoas não veriam com os próprios olhos. O Cruzeiro foi uma revista ilustrada semanal que circulou a partir de 1928 e, na década de 1940 se tornou vetor da modernização do fotojornalismo brasileiro ao aplicar modelos inspirados em revistas europeias. Com grande variedade temática e distribuição nacional, O Cruzeiro atingiu um grande número de leitores e se tornou um importante veículo de comunicação no país. Eu entendo que a fotografia influencia na relação entre as pessoas e o mundo quando a percepção de objetos, lugares, conceitos é mediada pelas representações presentes nas imagens. Através das análises, foi possível perceber que as reportagens constroem conceitos pelas representações a partir de binômios como feminilidade e masculinidade, lazer e trabalho, civilizado e selvagem, classes baixas e altas, entre outros. Porém, esses temas se articulam entre si, entrecruzam-se: por exemplo, as representações de feminilidade ou masculinidade são atravessadas por marcadores de classe social, geração e etnia. As escolhas dos fotógrafos e da revista na produção e circulação de fotografias, ao se repetirem ao longo dos anos, funcionam como proposições de modelos de vida. / This research investigates how photography, present in photo reportages made by Jean Manzon and José Medeiros in the magazine O Cruzeiro, contributed to representation of urban ways of life in Brazil during the passage of the 1940s to 1950s. I seek to understand which concepts were highlighted through the production of these photographers in the period 1947-1951. Therefore, 11 reportages published during the chosen period were analyzed. Based on the Science and Technology Studies, I propose that the ways of seeing are essential components of photographic technological system. Because the private and collective ways of interpreting the world in which photographers and editors are embedded are crystallized in photos during production. The association of photography to the press, especially in the early twentieth century, expanded the access to representations of cities, people and lifestyles from places that many people would not be able to see with their own eyes. O Cruzeiro was a weekly illustrated magazine started in 1928. In the 1940s, inspired by European magazines, it became a modernization's vector of Brazilian photojournalism. With thematic variety and national distribution, O Cruzeiro reached a wide audience and became an important media in Brazil. I understand that photography influences the relationship between people and the world when the perception of objects, places, concepts is mediated by representations. Throughout the analysis was observed that the reportages build concepts by representations using dichotomies as femininity and masculinity, leisure and work, civilized and savage, lower and upper classes, among others. However, these themes are articulated to each other: for example, femininity or masculinity representations are crossed by social class, generation and ethnicity markers. The choices made by photographers and magazine, during photographic production and circulation, work like proposals of life models when representations are repeated over the years.