As diversas nuanças de Comunicação Organizacional e de Relações Públicas moveram este trabalho a partir da hipótese de que ambas e cada qual sejam efetivamente um campo – segundo o conceito de campo de Bourdieu -, marcado, cada um, por suas características identitárias e por suas construções de conceito, de teorias, de práticas, de pesquisas e pelas personalidades que trafegaram por eles ao longo da história. A busca do melhor conhecimento acerca das duas áreas se deu por meio de revisão do referencial teórico dos dois campos, pautado em autores nacionais e do Exterior, notadamente do México e dos Estados Unidos. Além disso, foi realizada uma pesquisa qualitativa por meio de entrevistas em profundidade, junto aos mais representativos nomes da academia e do mercado no Brasil e no México. Essa diversidade permitiu a composição do cenário dos campos ora estudados. Foram relacionados os conceitos, os autores e as escolas de Relações Públicas e de Comunicação Organizacional que pudessem dar suporte, conceitual e historicamente, à hipótese de que se trata de dois campos independentes – ou interdependentes. / Los diferentes puntos de Comunicación Organizacional y de Relaciones Públicas movieran este trabajo a partir de la hipótesis de que ambas y cada cual sean efectivamente un sólo campo – se valiendo del concepto de campo de Bourdieu -, marcado, cada uno, por sus características de identidad y por sus construcciones de conceptos, de teorías, de prácticas, de investigación y por las personalidades que han señalado toda su historia. La búsqueda del mejor conocimiento a respecto de los dos áreas fue hecha a través de revisión del referencial teórico de los dos campos, basado en autores nacionales y del Exterior, en especial de México y de los Estados Unidos. También se realizó una investigación cualitativa por medio de entrevistas en profundidad con los nombres más representativos de la academia y del mercado de Brasil y de México. Esa diversidad permitió la composición del escenario de los campos que han sido estudiados. Conceptos fueron relacionados, así como los autores y las escuelas de Relaciones Públicas y de Comunicación Organizacional que pudiesen dar suporte, conceptual e históricamente, a la hipótesis de que se trata de dos campos independientes – o interdependientes.

Este trabalho teve o objetivo de analisar retrospectivamente o significado da interseção de dois fenômenos sociomodernos. Em primeiro lugar, a epidemia de HIV/AIDS (Vírus da Imunodeficiência Humana/Síndrome de Imunodeficiência Adquirida), com suas características históricas pouco usuais e alta letalidade; e, por outro lado, a intrusão de leis de propriedade intelectual na sociedade, como o Acordo TRIPS (Trade Related Intellectual Property Subjects), com amplas repercussões sobre a saúde pública assim como sobre o desenvolvimento econômico e tecnológico dos países, sendo aqui tratados especificamente os casos de Brasil e México. Ambos os países modificaram suas leis de propiedade intelectual (LPI) para implementar o Acordo TRIPS (e, no caso do México, também o NAFTA) nas últimas duas décadas, levando a patamares mais elevados de proteção de propriedade intelectual no México, quando comparado ao Brasil. Estas mudanças, porém, podem ter contribuído, no caso do México, para um menor rendimento e eficácia do seu programa de combate à epidemia de AIDS/HIV já que, para dar uma cobertura mais adequada de tratamento com medicamentos antirretrovirais (ARVs) para sua população, teve que enfrentar maiores dificuldades para sua aquisição. / This work analyzed retrospectively the meaning of the intersection of two modern social phenomena. Firstly, the epidemic of HIV/AIDS (Human Immunodeficiency Virus/Acquired Immunodeficiency Syndrome), with its unusual historical characteristics and high lethality; and , on the other hand, the intrusion of intellectual property laws in society as the TRIPS (Trade Related Intellectual Property Subjects) Agreement, that has far-reaching consequences on public health as well as on the economic and technological development of countries, and here we treated specifically the cases of Brazil and Mexico. Both countries changed their intellectual property laws to implement the TRIPS Agreement (and in the case of Mexico also NAFTA) during the last two decades, leading to higher levels of intellectual property protection in Mexico compared to Brazil. However these changes may have contributed in the case of Mexico to a lower performance and effectiveness of its programme to combat the epidemic of HIV/AIDS, since to give a more adequate coverage of treatment with antiretroviral drugs (ARVs) for its population, had to face major difficulties for the purchase of these medicines.

A escolha do México como cidade sede para os Jogos Olímpicos de 1968 ocorre em um momento em que o mundo se voltava para a corrida espacial, em que as periferias do mundo, vivia o confronto com a violência, com as ditaduras e as guerras genocidas, em que eram testados os produtos da corrida armamentista, incluindo armas químicas, biológicas e mísseis teleguiados. Pela primeira vez na história os Jogos Olímpicos seriam realizados em um país não industrializado, na América Latina, o que despertou controvérsias e manifestações em relação a escolha da cidade sede e aversão dos anglo-saxões. Atletas em sintonia com a juventude de seu tempo, frequentadores de universidades e atentos ao que se passava em seus países, foram aos Jogos não apenas para competir. Eles tinham ideais, posicionamento político e fizeram do esporte um meio para dar visibilidade às suas manifestações. O Brasil vivia sob a ditadura militar com a restrição de direitos civis, fechamento do congresso nacional, mandatos de parlamentares cassados, estabelecimento da censura aos meios de comunicação e inquéritos militares sigilosos. Intimidações, torturas, sequestros, desaparecimentos e mortes marcaram o auge do autoritarismo militar no Brasil. É nesse contexto que a delegação brasileira viaja para os Jogos Olímpicos do México, em 1968. O objetivo desta tese é construir uma narrativa sobre os Jogos Olímpicos do México, de 1968, a partir das sínteses biográficas e das estilhas das narrativas de 54 dos 81 atletas brasileiros participantes desta competição. Essa construção se dá a partir uma discussão sobre os fundamentos teóricos-metodológicos da pesquisa na história oral, das narrativas biográficas e do banco de histórias, onde são encontrados os conceitos de fragmento biográfico e história oral de família / The choice of Mexico as the host city for the Olympic Games in 1968 occurred in a moment in which the world turned to the space race, in which the periphery of the world lived conflict with violence, with the dictatorships and genocide wars, in which arms race products were tested at, including chemical and biological weapons, and guided missiles. For the first time in history, the Olympic Games would be held in a non-industrialized country, in Latin America, which arouse controversy and manifestations related to the chosen host city and aversion to Anglo-Saxons. Athletes tuned with the youth from their time, university goers and those attentive to what was happening in their countries, went to the Games not only to compete. They had ideals, political positioning and made the sport a mean to give visibility to their manifestations. Brazil was under a military dictatorship with civil right restrictions, the closing of the national congress, parliamentary mandates persecuted, the establishment of censorship to the media and secret military inquiries. Intimidations, tortures, kidnappings, disappearances, and death marked the peak of military authoritarianism in Brazil. It is in this context that the Brazilian delegation travels to 1968 Olympic Games of Mexico. The purpose of this thesis is to build a narrative about the Olympic Games of Mexico, through biographical synthesis and narrative chips from 54 of 81 Brazilian athletes that participated in that competition. This construction is based on a discussion about the theoretical-methodological foundations of the research in oral history, biographical narratives, and the history bank, where the concepts of biographical fragment and oral family history

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2014-09-15T14:05:20Z No. of bitstreams: 2 Dissertacao Stefanny Soares de Menezes Dias.pdf: 2240123 bytes, checksum: 816e4a47c4ef004fa3b230924e8cbf60 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-09-15T14:21:43Z (GMT) No. of bitstreams: 2 Dissertacao Stefanny Soares de Menezes Dias.pdf: 2240123 bytes, checksum: 816e4a47c4ef004fa3b230924e8cbf60 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-15T14:21:43Z (GMT). No. of bitstreams: 2 Dissertacao Stefanny Soares de Menezes Dias.pdf: 2240123 bytes, checksum: 816e4a47c4ef004fa3b230924e8cbf60 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-09-27 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The present study aims to conduct a historiographical examination of the book El Perfil del Hombre y la Cultura en México from Samuel Ramos, dated 1934. Accordingly, we seek to amalgamate the importance of intellectual to understand the culture and being mexican, from the reading that another Latin American’s intellectuals have made from this book, looking for similarities and differences in their considerations. Therefore, we performed this exam from themes that Samuel Ramos verticalizes in his book, the main ones being the "feeling of inferiority," the "unthinking imitation" and "creole culture". / O presente estudo tem por objetivo realizar um exame historiográfico da obra El Perfil del Hombre y la Cultura en México de Samuel Ramos, datada de 1934. Nesse sentido, busca-se amalgamar a importância desse intelectual para o entendimento da cultura e do ser mexicano, a partir da leitura que outros intelectuais latino-americanos fizeram dessa obra, procurando afinidades e disparidades em suas considerações. Para tanto, realizamos esse exame a partir dos temas que Samuel Ramos verticaliza em sua obra, sendo os principais o “sentimento de inferioridade”, a “imitação irreflexiva” e a “cultura criolla”.

Orientador: Alberto Ággio / Banca: Cláudia Wassermann / Banca: Fabiana de Souza Fredrigo / Banca: Marcos Sorrilha Pinheiro / Banca: Marcos Alves de Souza / Resumo: Esta tese apresenta os ensaios de caráter sociológico de Alberto Torres e Andrés Molina Enríquez que constituíram, nas duas primeiras décadas do século XX, em uma tentativa de síntese das realidades brasileira e mexicana. Trata-se, portanto, de dois autores que se esforçaram no sentido de um autoconhecimento de suas respectivas sociedades nacionais e, a partir deste, elaborar um projeto de política nacional para a promoção do desenvolvimento e a construção de uma unidade nacional por meio de uma ação efetiva de um governo central forte no sentido de estimular a modernização e despertar na população o ideal de comunidade com a unidade de todos os grupos sociais. Alberto Torres e Andrés Molina Enríquez foram precursores em seus respectivos países da crítica aos Estados brasileiro e mexicano, que seguiam um modelo de dominação política caracterizado pela exclusão de amplos setores da população e ameaça externa por causa de um quadro de dependência. A partir da busca de análises congruentes com as realidades brasileira e mexicana, os dois intelectuais dispuseram os seus conhecimentos a serviço da solução dos problemas nacionais e da elaboração de um projeto de política nacional que contivesse ideias de possíveis ações para resolvê-los. Dessa maneira, sob a influência do pensamento cientificista, principalmente, de cunho spenceriano, os autores acreditavam que se fazia necessário dar ao conhecimento um caráter mais prático e não estritamente teórico. Entretanto, o conhecimento da realidade não faria sentido se não se aplicasse ao estabelecimento de uma organização nacional. Assim, esta tese analisa a existência de uma corrente de pensamento no Brasil e no México de princípios do século XX a partir do entendimento e da reflexão das ideias de Alberto Torres e Andrés Molina Enríquez... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis presents the sociological essays of Alberto Torres and Andrés Molina Enríquez that constituted, in the tow first decades of XX century, an attempt to synthesize Brazilian and Mexican realities. Therefore, this is about two authors that strengthened themselves in order to propose a self-knowledge of their respective national societies. Based on this, they intended to elaborate a political project for the promotion of the development and the construction of a national unity, through an effective action by the strong central power, in order to stimulate the modernization and awake in population the ideal of community with all social groups united. Alberto Torres and Andrés Molina Enríquez were the precursors in the countries of the critic to Brazilian and Mexican States, which followed a model of political domination characterized by the exclusion of wide sectors of population and external threat due to a situation of dependence. From the research of congruous analysis with Brazilian and Mexican realities, both intellectuals put their knowledges at disposal of the national problems' solution and the elaboration of a national politics project that could contain ideas of possible actions to solve them. Thus, under that could contain ideas of possible actions to solve them. Thus, under the influence of a scientificist thought, mainly, on spencerian basis, the authors believed that it was necessary to give to knowledge a more practical approach, and not strictly theoretical. However, the knowledge of the reality wouldn't make sense unless it could be applied to the establishment of a national organization. Consequently, this thesis analyses the existence of a current of thought in Brazil and Mexico since the beginning of XX century, form the understanding and reflexion of Alberto Torres and Andrés Molina Enríquez's ideas... (Complete abstract click electronic access below) / Doutor

My research deals with fantasy and the fantastic as genres, as well as with their subgenres. I propose a new genology for fantasy and fantastic literature and their subgenres in which they are part of a continuum, with fantasy standing on one end and mimetic literature standing on the other, the fantastic being their middle ground. Within this continuum, the subgenres – which I call fantasy marvel-fiction and fantastic marvel-fiction, fantasy science-fiction and fantastic science-fiction, fantasy surrealism and fantastic surrealism – are distinguished among themselves according to two axes, namely: a) the inner coherence or incoherence of the world the text presents – their being subjected or not to the laws of that world –; b) the nature, and the appropriate explanation – marvelous or scientific –, of the phenomenon that breaks the natural laws of the reader’s known real world. This relationship between reality and fantasy has been essential to my investigation. More specifically, what I have named “the scientific urban gaze” of reality has been the touch-stone to establish what is fantasy and what is not and to create the consequent genology. The genology I propose must therefore be pragmatic: the reader’s view of reality must be taken into account in the process of placing a text within this continuum and the proper genre and subgenre. Once the genology is fully explained, I compare it to the work of some of the most prominent critics on the field of fantasy and the fantastic in order to see similitudes and differences between their research and mine. For the validity of my genology to be demonstrated, I apply it in the analysis of some Mexican narrative works and show how the genre and subgenre of a text – in interaction with the text’s archetypes and narrative components – can be an effective means to convey ideology or worldview. The genological approach, therefore, integrated with an archetypal and a narratological one, constitutes an efficient tool for a holistic semiotic analysis. Notwithstanding that in my thesis I apply it to literary works, it can also be applied to cinema and theatre.

My research deals with fantasy and the fantastic as genres, as well as with their subgenres. I propose a new genology for fantasy and fantastic literature and their subgenres in which they are part of a continuum, with fantasy standing on one end and mimetic literature standing on the other, the fantastic being their middle ground. Within this continuum, the subgenres – which I call fantasy marvel-fiction and fantastic marvel-fiction, fantasy science-fiction and fantastic science-fiction, fantasy surrealism and fantastic surrealism – are distinguished among themselves according to two axes, namely: a) the inner coherence or incoherence of the world the text presents – their being subjected or not to the laws of that world –; b) the nature, and the appropriate explanation – marvelous or scientific –, of the phenomenon that breaks the natural laws of the reader’s known real world. This relationship between reality and fantasy has been essential to my investigation. More specifically, what I have named “the scientific urban gaze” of reality has been the touch-stone to establish what is fantasy and what is not and to create the consequent genology. The genology I propose must therefore be pragmatic: the reader’s view of reality must be taken into account in the process of placing a text within this continuum and the proper genre and subgenre. Once the genology is fully explained, I compare it to the work of some of the most prominent critics on the field of fantasy and the fantastic in order to see similitudes and differences between their research and mine. For the validity of my genology to be demonstrated, I apply it in the analysis of some Mexican narrative works and show how the genre and subgenre of a text – in interaction with the text’s archetypes and narrative components – can be an effective means to convey ideology or worldview. The genological approach, therefore, integrated with an archetypal and a narratological one, constitutes an efficient tool for a holistic semiotic analysis. Notwithstanding that in my thesis I apply it to literary works, it can also be applied to cinema and theatre.

My research deals with fantasy and the fantastic as genres, as well as with their subgenres. I propose a new genology for fantasy and fantastic literature and their subgenres in which they are part of a continuum, with fantasy standing on one end and mimetic literature standing on the other, the fantastic being their middle ground. Within this continuum, the subgenres – which I call fantasy marvel-fiction and fantastic marvel-fiction, fantasy science-fiction and fantastic science-fiction, fantasy surrealism and fantastic surrealism – are distinguished among themselves according to two axes, namely: a) the inner coherence or incoherence of the world the text presents – their being subjected or not to the laws of that world –; b) the nature, and the appropriate explanation – marvelous or scientific –, of the phenomenon that breaks the natural laws of the reader’s known real world. This relationship between reality and fantasy has been essential to my investigation. More specifically, what I have named “the scientific urban gaze” of reality has been the touch-stone to establish what is fantasy and what is not and to create the consequent genology. The genology I propose must therefore be pragmatic: the reader’s view of reality must be taken into account in the process of placing a text within this continuum and the proper genre and subgenre. Once the genology is fully explained, I compare it to the work of some of the most prominent critics on the field of fantasy and the fantastic in order to see similitudes and differences between their research and mine. For the validity of my genology to be demonstrated, I apply it in the analysis of some Mexican narrative works and show how the genre and subgenre of a text – in interaction with the text’s archetypes and narrative components – can be an effective means to convey ideology or worldview. The genological approach, therefore, integrated with an archetypal and a narratological one, constitutes an efficient tool for a holistic semiotic analysis. Notwithstanding that in my thesis I apply it to literary works, it can also be applied to cinema and theatre.

My research deals with fantasy and the fantastic as genres, as well as with their subgenres. I propose a new genology for fantasy and fantastic literature and their subgenres in which they are part of a continuum, with fantasy standing on one end and mimetic literature standing on the other, the fantastic being their middle ground. Within this continuum, the subgenres – which I call fantasy marvel-fiction and fantastic marvel-fiction, fantasy science-fiction and fantastic science-fiction, fantasy surrealism and fantastic surrealism – are distinguished among themselves according to two axes, namely: a) the inner coherence or incoherence of the world the text presents – their being subjected or not to the laws of that world –; b) the nature, and the appropriate explanation – marvelous or scientific –, of the phenomenon that breaks the natural laws of the reader’s known real world. This relationship between reality and fantasy has been essential to my investigation. More specifically, what I have named “the scientific urban gaze” of reality has been the touch-stone to establish what is fantasy and what is not and to create the consequent genology. The genology I propose must therefore be pragmatic: the reader’s view of reality must be taken into account in the process of placing a text within this continuum and the proper genre and subgenre. Once the genology is fully explained, I compare it to the work of some of the most prominent critics on the field of fantasy and the fantastic in order to see similitudes and differences between their research and mine. For the validity of my genology to be demonstrated, I apply it in the analysis of some Mexican narrative works and show how the genre and subgenre of a text – in interaction with the text’s archetypes and narrative components – can be an effective means to convey ideology or worldview. The genological approach, therefore, integrated with an archetypal and a narratological one, constitutes an efficient tool for a holistic semiotic analysis. Notwithstanding that in my thesis I apply it to literary works, it can also be applied to cinema and theatre.

La presente tesis doctoral aborda una selección representativa la obra del escritor mexicano Juan Villoro, centrada en la forma en que este concibe culturalmente México en tanto que país integrante de una plataforma trasnacional, que llamamos “Hispanoamérica”, frente a otros rótulos muy difundidos como “América Latina”, que estarían del lado de otro tipo de intereses que el trabajo de este autor critica acusadamente, porque en ellos identifica el origen de una interpretación sumamente inexacta de los conflictos de su país. Para sistematizar lo anterior hemos llevado a cabo una exposición de los diferentes significados que se atribuyen a una palabra actualmente muy en boga, la “identidad”, capaz de recubrir colectivos humanos muy amplios, sobre todo en el caso de las cuestiones que tienen que ver con lo que aquí se llama “problema nacional”, que analizamos en algunas de sus modulaciones más recurrentes. Frente a los estudiosos que quieren ver en la llamada identidad colectiva el sustento psicológico que más tarde habría de dar forma a los cimientos de proyectos de gran calado y trascendencia como la nación política, ofrecemos un acercamiento histórico y filosófico que nos ha permitido llegar a lo que denominamos “alternativa hispanista”, que consideramos más oportuna de acuerdo con la identidad y la unidad de México en tanto que componente de la hispanidad. En semejante contexto, es posible situar la obra de Villoro en un recorrido más amplio que la libra del nacionalismo esencialista aunque sin desposeerla de las características que en determinado momento pueden identificarla con un proyecto de literatura nacional, sin perjuicio de que además hemos establecido influencias que desbordan el ámbito del español como lengua. En México, la identidad colectiva encuentra en Octavio Paz y El laberinto de la soledad su relato más divulgado, alrededor del cual existe un consenso que lo exime de su condición de mito, de ahí que durante décadas haya sido el basamento ideológico de buena parte de las grandes figuras de la ficción literaria que se construye en México, con el caso de Carlos Fuentes como especialmente emblemático. Paz y Fuentes servirán de contraste con generaciones que vendrán después, como la de Medio siglo, que hará las veces de transición entre los escritores posrevolucionarios y aquellos que, como Villoro, responden a otros postulados. Estos últimos encontrarán su visión del mundo en otras obras ensayísticas, como La jaula de la melancolía, de Roger Bartra, quien critica a Paz y propone otra forma de otorgarle sentido a México como referente. Todo ello será aprovechado por Villoro, quien por medio de las formas de lo cómico (desarrolladas por él a partir de la narrativa de Jorge Ibargüengoitia) se distanciará en varios sentidos de antecesores como Ignacio Manuel Altamirano, José Vasconcelos, Alfonso Reyes y el mismo Fuentes, aunque no dejará de alimentar la idea de una literatura que, por medio de la lengua española, le permite establecer un complejo sistema de referencias con todos los países donde también se habla este idioma. Villoro es un escritor crítico del nacionalismo, aunque eso no lo acerca automáticamente con las tendencias de carácter posmoderno que con frecuencia se le atribuyen, porque en su obra los personajes aluden a un conjunto de instituciones que son las que permiten hablar de una alternativa hispanista, ampliamente aprovechada por Villoro, ya sea bajo la forma de un mercado común o bien una tradición cuya relevancia no se agota. / Hispanic American Idea in the work of Juan Villoro This thesis is devoted to analyze the work of the Mexican writer Juan Villoro, whose literature will continue to gain presence in the field of literature written in Spanish. Therefore, this is a systematic study of the way in which the work of Villoro can be placed in the context of twentieth-century Mexican literature, while this is a result of a particularly complex process and here we proceed to unravel. We start from the idea that the so-called collective identity is often associated with psychological peculiarities that would be in the ideological foundation of the political nations. Faced with this idea, which seems insufficient, we recover far-reaching historical processes that will result in a transnational platform as Hispanic, that we will overcome essentialism. In Mexico, the work of Octavio Paz, The Labyrinth of Solitude, will be considered when configuring canonical character of the inhabitants of that country, according to the poet, conditioned for the myth of pre-Columbian roots. Other scholars such as Roger Bartra in The Cage of Melancholy, will criticize that belief to open the way to much more skeptical positions, as take place with Villoro. Juan Villoro will use this crisis to restate Mexican identity through the forms of the comic for his novels and essays, in the line of Jorge Ibargüengoitia and others. This can be seen in a collection of stories, which are proof of that radical break with the obscurantist myth, recognized as a simple anachronism. However, that deconstruction does not lead to a mere postmodernism, as they say about Villoro, who never fails to appeal to the Spanish language, including an extended set of institutions able to unite the Spanish-speaking countries.