Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-13T14:43:55Z No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-13T14:44:14Z (GMT) No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) / Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-11-22T12:54:00Z (GMT) No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) / Made available in DSpace on 2017-11-22T13:01:52Z (GMT). No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) Previous issue date: 2017-03-31 / This research has the theme of female aging in contemporary times: the debate on the subject and its growing media presence through based on assumptions that attribute the responsibility of "aging well" to the self-management of the individual. It is a pedagogy of behaviors that will utter lifestyles and ways to age successfully. From the representations in the media that not take into account the aging in their differences and diversities, we use the term "ready-to-wear aging", to designate an aging model idealized to serve all women, indiscriminately. We understand that this ideal of aging has its basis in the spirit of time in the historical interface that the transformations of modernity and its interconnections between communication and consumption, which alt ered the way of living and consuming. To anchor our research, we chose as empirical object the actress and celebrity Jane Fonda, that turned into author of self-help and is willing to serve as a model for what she calls "the third act of life "- a self-management project to age" well "and" live life fully "in the maturity. The research is supported by three main axes: communication and consumption, subjectivities and female aging. The discussion is based on the contributions of the cultural studies, from celebrity studies; aging studies; feminist studies and studies that relate communication, consumption and entertainment to critically analyze the empirical corpus selected. From the reflective analysis we present a selection of materials in which Fonda appears as a mentor and model of aging considered "successful" based on the youth imperative and the project of self-management of the modern self. In conclusion, Jane Fonda's trajectory is presented in in harmony with capitalism - its socioeconomic configuration of neoliberal society - and the social project based on the management of the "entrepreneurial self". / Esta pesquisa tem como tema o envelhecimento feminino na contemporaneidade: o debate social sobre o assunto e sua crescente presença midiática por meio de narrativas imagéticas positivas e apoiadas em premissas que atribuem a responsabilidade de “envelhecer bem” à autogestão do indivíduo. Trata-se de uma pedagogia de comportamentos que irão proferir estilos de vida e modos de envelhecer com sucesso. A partir das representações na mídia que costumam não levar em conta o envelhecimento em suas diferenças e diversidades, utilizamos a expressão “envelhecimento prêt-à-porter”, para designar um modelo de envelhecimento idealizado que se propõe a servir a todas as mulheres, indiscriminadamente. Entendemos que esse ideal de envelhecimento tem suas bases no espírito do tempo na interface histórica que conduziu as transformações da modernidade e suas interligações entre comunicação e consumo, as quais alteraram o modo de viver e consumir. Para ancorar nossa pesquisa, elegemos como objeto empírico a atriz e celebridade Jane Fonda, que se transformou em autora de autoajuda e se dispõe a servir como modelo para o que ela chama de “o terceiro ato da vida” – um projeto de autogestão para envelhecer “bem” e “viver a vida plenamente” na maturidade. A pesquisa está apoiada em três eixos principais: comunicação e consumo, subjetividades e o envelhecimento feminino. A discussão se fundamenta à luz dos aportes dos estudos culturais, dos estudos de celebridades; estudos do envelhecimento; estudos feministas e estudos que relacionam comunicação, consumo e entretenimento para analisar criticamente o corpus empírico selecionado. A partir da análise de cunho reflexivo apresentamos uma seleção de materiais nos quais Fonda se afigura como mentora e modelo do envelhecimento considerado “bem-sucedido” fundamentado no imperativo da juventude e no projeto de autogestão do eu moderno. Como conclusão, se apresenta a trajetória de Jane Fonda em sintonia com o capitalismo - sua configuração socioeconômica da sociedade neoliberal - e o projeto social alicerçado na gestão do “eu empreendedor”.

This thesis examines Jane Fonda’s antiwar activism during the Vietnam War, focusing on the period from late 1969 through 1973. Her early activism was characterized by frequent protests against the war, speeches at antiwar rallies and college campuses, and involvement with the organization Vietnam Veterans Against the War. In 1971 Fonda organized an antiwar troupe, FTA, which performed antiwar songs and sketches to active-duty servicemen in America and Southeast Asia. Fonda’s notorious trip to North Vietnam is examined in detail, as are her comments in 1973 regarding American POWs. Negative reaction to Fonda’s activism is examined, and the myth of “Hanoi Jane” is traced from its wartime origins through its postwar evolution. The John Kerry-Jane Fonda photograph incident of 2004 is reviewed, and treated as a symptom of decades-long anti-Hanoi Jane ideas, rather than an isolated incident. Fonda’s gender, the media’s treatment of her at various stages, and her own missteps all receive consideration in determining where Jane Fonda ends and the myth of Hanoi Jane begins.

This thesis examines Jane Fonda’s antiwar activism during the Vietnam War, focusing on the period from late 1969 through 1973. Her early activism was characterized by frequent protests against the war, speeches at antiwar rallies and college campuses, and involvement with the organization Vietnam Veterans Against the War. In 1971 Fonda organized an antiwar troupe, FTA, which performed antiwar songs and sketches to active-duty servicemen in America and Southeast Asia. Fonda’s notorious trip to North Vietnam is examined in detail, as are her comments in 1973 regarding American POWs. Negative reaction to Fonda’s activism is examined, and the myth of “Hanoi Jane” is traced from its wartime origins through its postwar evolution. The John Kerry-Jane Fonda photograph incident of 2004 is reviewed, and treated as a symptom of decades-long anti-Hanoi Jane ideas, rather than an isolated incident. Fonda’s gender, the media’s treatment of her at various stages, and her own missteps all receive consideration in determining where Jane Fonda ends and the myth of Hanoi Jane begins.