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Made available in DSpace on 2016-04-26T18:15:25Z (GMT). No. of bitstreams: 1 Fernanda Araujo Perniciotti.pdf: 1179445 bytes, checksum: 1f9d137c003dd9a59a4d4f22b2e5c886 (MD5) Previous issue date: 2015-12-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In 1986, introduced to a new form of communication in Brazil - the notices - which has become a hegemonic model in proposing public cultural policies. The hypothesis is that it might just be a means of communication between artistic production and its financing became mediation (Martin-Barbero), overflowing its logic to all sectors of culture in the public and private spheres , thus composing over time, which here will be called editalização process. This process flourished along with the cultural journalism crisis, which does not act critically in relation to the tax relief mechanism installed in the country. The research aims to clarify the consequences of the kind of media coverage that cultural journalism practice. The theoretical part of the Martin-Barbero proposal (1987), which alerts us to the transformation of media in mediations. With it, you can find the new media environment in which cultural production has operated since the implementation of the Sarney Law, in a arising legacy of dictatorship-Civil Military in Brazil (RUBIM, 2008), and that has been woven by design policy associated with the market economy (MÉSZÁROS, 2002). The need to clarify the impact of the type of communication that is being built is justified because according to the theory Corpomída, what becomes a habit starts to act as a cognitive operator (Katz and GREINER, 2005) / Em 1986, instaurou-se uma nova forma de comunicação no Brasil - os editais -, que se tornou um modelo hegemônico na proposição de políticas públicas culturais. A hipótese é a de que o que poderia ser apenas um meio de comunicação entre a produção artística e seu financiamento, transformou-se em mediação (MARTIN-BARBERO), transbordando a sua lógica para todos os setores da cultura, nas esferas pública e privada, compondo, assim, ao longo do tempo, o que aqui será chamado processo de editalização. Tal processo floresceu junto com a crise do jornalismo cultural, que não atua criticamente face ao que o mecanismo de renúncia fiscal instalou no país. A pesquisa pretende explicitar as consequências do tipo de midiatização que o jornalismo cultural pratica. A fundamentação teórica parte da proposta de Martin-Barbero (1987), que nos alerta para a transformação de meios em mediações. Com ela, será possível pesquisar o novo ambiente midiático no qual a produção cultural passou a operar desde a implantação da Lei Sarney, em uma herança advinda da Ditadura-Civil Militar no Brasil (RUBIM, 2008), e que vem sendo tecido pela concepção de política associada à economia de mercado (MÉSZÁROS, 2002). A necessidade de esclarecer os impactos do tipo de comunicação que vem sendo construído justifica-se porque de acordo com a Teoria Corpomída, aquilo que se torna um hábito passa a atuar como um operador cognitivo (KATZ e GREINER, 2005)

This thesis applies a sociological framework to the North American celebrity career of Canadian pianist and broadcaster Glenn Gould (1932-1982) to account for Gould's iconic status as an artist in modern musical culture. Despite the persistent cultural fascination with Gould, as evidenced in the seemingly endless supply of biographies, films, novels, and fan texts which narrate and celebrate his life and work, modern Gould scholarship has consistently neglected issues relating to his artistic reception. This thesis proposes that the modern Gould phenomenon is productively analysed in terms of the contexts of its historical production in North America, where it first originated. Focusing on the circumstances of Gould's career during his lifetime, it identifies three areas of overlapping conceptual interest that provide the basis for an explanatory account of his modern mythology: i) Gould's relationship to the culture of his time, particularly in Canada; ii) Gould's relationship to the mass media; iii) Gould's relationship to his own artistic identity. This approach is refined through the application of Stuart Hall's 'Circuit of Culture' model, which yields an understanding of Gould's celebrity in terms of the processes of its representation, production, regulation, and consumption. Against this theoretical backdrop, and consistent with the premise of my thesis, I ask some key questions: what was Gould's relationship to Canadian cultural nationalism and, specifically, a nationalist discourse of public broadcasting? How did media institutions brand his image, and for what commercial purposes? How did Gould mobilise understandings of his genius and Canadian identity through his artistic discourse and experimental media self-representations as a 'Northerner' and a technologist? Based on this analysis, the thesis concludes that Gould continues to fascinate because of the unique ideological work performed by his cultural identities, and because of the highly mediated nature of his celebrity. The ubiquity of his image on video-sharing websites and social media platforms is a vindication of his radical belief in the validity of a musical career pursued primarily through the electronic media.