[pt] Esta pesquisa concentra-se no jingle, contextualizado no universo musical como prática publicitária no Brasil, trazendo suas origens históricas, sua presença no rádio e na televisão, descrevendo as transformações vividas pelos meios que impactaram a sua recepção. Tem como objetivo geral refletir sobre a utilização do jingle, como prática publicitária, ainda nos dias de hoje, mesmo com o surgimento de novos formatos e mudanças de hábitos de consumo de mídias, destacando as digitais. Como objetivos secundários, intenciona constatar a utilização simbólica dos jingles como memorabilia – ou seja, um artefato digno de ser lembrado ou que já está guardado na memória pela sua relevância na vida de quem o registra – e referenciar o YouTube como um espaço difusor e articulador de memória afetiva do jingle, demonstrando a integração da memória com a música. Como objeto da cultura material, o jingle é abordado com o apoio de Igor Kopytoff e, na perspectiva da memória, são trazidos os teóricos Joël Candau, Maurice Halbwachs, Michael Pollak, Pierre Nora e Aleida Assmann. Por meio dos depoimentos dos informantes, conecta o jingle como trilha sonora de experiências de memória afetiva das gerações dos anos 1950 a 2000, propondo uma arquitetura da experiência de memória. A pesquisa de campo se desenrola em três momentos, realizando primeiramente uma análise interpretativa dos comentários de canais selecionados no YouTube que trazem vídeos sobre jingles antigos e memoráveis, de forma a consolidar esta mídia social como espaço de mediação da memória afetiva da publicidade. Em um segundo momento, faz um levantamento quantitativo exploratório, amostragem por conveniência, para verificar se a memória afetiva evocada pelos jingles é geracional ou um fenômeno que transcende as relações simbólicas entre os grupos. Por fim, no terceiro momento, traz as entrevistas em profundidade realizadas com publicitários e produtores musicais, que comprovam ainda a presença do jingle como prática publicitária. Os resultados do campo consideram que a recepção do jingle sofreu mudanças com o advento das novas mídias, porém este ainda possui a sua força, sendo o YouTube o espaço articulador dessas memórias. Revelam ainda que os acessos digitais dos mais diversos públicos evocam lembranças de experiências afetivas, comprovando a força de memorabilidade do artefato jingle. / [en] This research focuses on the jingle, contextualized in the musical universe as an advertising practice in Brazil, bringing its historical origins, its presence on radio and television, describing the t ransformations experienced by the media that impacted its reception. The main purpose of it is to reflect on the use of the jingle, as an advertising practice, even today, even with the emergence of new formats and changes in media consumption habits, highlighting the digital ones. As secondary objectives, it intends to verify the symbolic use o f jingles as memorabilia that is, an artifact worth remembering or that is already kept in memory for its relevance in the lives of those who record it and to reference YouTube as a diffuser and articulating space affective memory of the jingle, demons trating the integration of memory with music. As an object of material culture, the jingle is approached with the support of Igor Kopytoff and, from the perspective of memory, theorists Jo e l Candau, Maurice Halbwachs, Michael Pollak, Pierre Nora and Aleida Assmann are brought. Through the informants testimonies, it connects the jingle as a soundtrack of affective memory experiences of generations from the 1950s to 2000, proposing an architecture of the memory experience. The field research takes place in t hree stages, firstly performing an interpretive analysis of the comments of selected YouTube channels that bring videos about old and memorable jingles, in order to consolidate this social media as a mediator of the affective memory of advertising. In a se cond moment, it makes an exploratory quantitative survey, sampling for convenience, to verify if the affective memory evoked by jingles is generational or a phenomenon that transcends the symbolic relationships between groups. Finally, in the third moment, it brings the in depth interviews carried out with advertisers and music producers, which also prove the presence of the jingle as an advertising practice. The results of the field consider that the reception of the jingle has undergone changes with the a dvent of new media, but it still has its strength, with YouTube being the articulating space for these memories. They also reveal that digital access from the most diverse audiences evoke memories of affective experiences, proving the strength of the jing le artifact s memorability.

This thesis analyzes Books III and IV of Xenophon’s Memorabilia. The Memorabilia is Xenophon’s defense of Socrates or the philosophic life against Athens or the political community as such. In Book III, Xenophon presents six portraits of ambitious young men. These portraits, read closely, unveil the psychological nature of ambition and convey important lessons about the Socratic understanding of healthy politics, as a realm that is necessarily pious. Book IV’s four Socratic conversations with a dim-witted youth named Euthydemus both underscore the lessons of Book III and explore piety itself, as a phenomenon that is necessarily political. These sections of the Memorabilia may be read as an argument for the necessity of a fissure between healthy politics and philosophy – and as a bridge from the one to the other. / text

Cette étude a pour but d’analyser l’attitude de Xénophon vis-à-vis d’Athènes et de la démocratie. En retraçant les événements de l’histoire athénienne comme ils sont relatés dans les Helléniques et comme l’auteur les a vécus, le travail vise à démontrer : - que Xénophon ne condamne pas la démocratie comme une forme politique injuste, bien qu’il n’approuve pas ses choix politiques au cours du Ve siècle ; - que, grâce à la leçon tirée de l’expérience de l’échec subi au Ve siècle, Athènes est la seule cité capable, aux yeux de l’auteur, de résoudre le conflit entre Grecs et d’apporter la paix en Grèce au IVe siècle ; - que Xénophon essaie d’améliorer la démocratie sans apporter de réformes structurelles, mais à travers une réforme des mentalités politiques selon le modèle socratique. / The following study aims to analyse Xenophon’s attitude to Athens and democracy. By recounting the events of Athenian history as they are related in Hellenica and as the author experienced them, the work aims to demonstrate: - that Xenophon does not condemn democracy as an unfair form of politics, even though he does not agree with the political decisions made by Athens during the 5th century B.C. - that, due to the lessons it learnt from its defeat in the 5th century B.C., Athens is the only city capable, in the eyes of the author, of resolving the conflict between Greeks and bringing peace to Greece in the 4th century B.C. - that Xenophon would like to improve democracy, not through structural reforms but through a reform of political thinking based on the Socratic model.

This study aims to analyse the interconnection between human memory and digital media technology, and its relation to forgetting and deletion. The main focus area is related to short messages (SMS) as a form of digital memory and mobile application Delete by Haiku that assists the user in creating poetry out of stored messages. The reception analysis approach was chosen and individual in-depth interview method was combined with focus group interview. The collected data regarding human memory and media indicates similarities between theoretical claims and respondents’ views; memory could be perceived as a narrative, storytelling, fading away. Informants’ relation to memorabilia and their deleting practices are very dependent on the personal and professional characteristics. Besides, deleting practices could be related to organization of a physical space. Delete by Haiku app could be seen as an invitation to engage into playful process of creation through deletion, however mostly for the people attached to memorabilia.

Les Facta et dicta memorabilia de Januarius Nepotianus sont une œuvre qui, jusqu'ici, a toujours été étudiée en tant qu'abrégé des Factorum dictorumque libri de Valère-Maxime et qui, bien qu'éditée à plusieurs reprises, n'a jamais été traduite en français. Notre étude consiste à réhabiliter à la fois l'auteur et l'œuvre, grâce à une traduction accompagnée de notes historiques, et grâce ensuite, après une remise en contexte de la tradition de l'epitome, à une réflexion sur les objectifs de Nepotianus : il est abréviateur de Valère-Maxime certes, mais avant tout professeur et auteur, garant de la morale antique et de la grandeur de l'Empire romain.

This thesis is a report of the practical aspects and the problems of classification and documentation of a collection of memorabilias from the Crown Princess Couple's Wedding in Stockholm 2010. The collection contains 38 objects collected by Nordiska museet [The Nordic Museum], Sweden's largest museum of cultural history. Nordiska museet has a total collection of over 1,5 million items collected since 1873. My ambition in this thesis has been to describe my work with the classification and documentation of these new objects and their context. One of the main problems was how to combine the modern objects with the old existing collection within the two classification systems used at the museum. Four case studies were made toillustratethe different types ofproblems that occurred and the solutions found.I have also highlightedthe importance of being coherent when working with documentation and some of the consequences of classification.

No description available.

Cette étude propose un commentaire thématique des Mémorables de Xénophon prenant comme fil conducteur la conciliation ergon-logos. En relevant les manifestations nombreuses et variées de ce thème, en les regroupant thématiquement et en les analysant, on peut apprécier dans quelle mesure la conciliation ergon-logos est centrale dans la philosophie socratique de Xénophon. Le premier chapitre considère la place de la conciliation ergon-logos dans l’intention globale des Mémorables – qui est fixée sur le motif apologétique de l’utilité de Socrate –, tout en soulevant un enjeu philosophique de taille concernant les limites du logos, enjeu qui permet de renforcer d’autant plus l’intérêt et l’importance philosophique de la conciliation ergon-logos. Le second chapitre examine à quel point la conciliation ergon-logos est impliquée dans la morale socratique de Xénophon, non seulement parce que Socrate lui-même incarne de façon exemplaire les principales vertus en acte et en parole, mais aussi parce que la conception morale de Xénophon est à la fois intellectualiste et ascétique, impliquant, d’un côté, l’apprentissage et la connaissance, et de l’autre, la maîtrise de soi, l’exercice, la fréquentation d’un maître et la vertu de l’exemple. Le troisième chapitre explore le rôle de la conciliation ergon-logos à titre de condition de l’amitié, d’une part en tant qu’exigence éthique, d’autre part en tant que moyen pour se faire des amis. Enfin, le dernier chapitre montre au moyen de la notion d’imposture que les principes de la morale socratique de Xénophon s’étendent aussi au domaine technique. / This thesis offers a thematic commentary of Xenophon’s Memorabilia following the ergon-logos conciliation. Surveying, regrouping and analyzing the many and varied occurrences of this theme reveals the extent to which it is deeply rooted in Xenophon’s Socratic philosophy. The first chapter considers the role Xenophon ascribes to this theme in the general intention that governs the Memorabilia – which focuses on Socrates’ usefulness as an apologetic device –, and reveals a greater philosophical question about the limits of logos, which in reality reinforces the philosophical interest and importance of the ergon-logos conciliation. The second chapter examines just how significant the ergon-logos conciliation is in Xenophon’s Socratic morality, not only because Socrates himself is, in word and deed, the ideal incarnation of virtue, but also because Xenophon’s moral conception is both intellectualistic and ascetic, which advocates learning and knowledge, as well as self-control, exercise, mentorship, and the virtue of example. The third chapter investigates the role the ergon-logos conciliation plays as a condition to friendship, in turn as its ethical foundation and as a means to acquire friends. Finally, the fourth and last chapter uses the notion of imposture to illustrate that Xenophon’s Socratic morality also stretches to the technical field.

Jeanne d’Arc devient l’un des personnages clés de la fin du XIXème siècle. Façonnée et tiraillée, construite comme un symbole, elle est au cœur des enjeux politiques. C’est dans ce contexte que Camille Vallery-Radot réunit sa collection. Née en 1880 et contemporaine de cette période, elle s’est prise de passion pour Jeanne d’Arc et collectionne dès son enfance et jusqu’à sa mort en 1927 tout ce qui a trait à son héroïne, soit 10 000 documents. Sa collection s’apparente à un regard contemporain, et qui se veut en même temps exhaustif, de la période qui, progressivement, fait de la Pucelle un symbole fort de la Patrie. Elle témoigne de cette construction d’un mythe et d’un véritable culte lorsque Jeanne d’Arc devient le symbole de tout un peuple jusqu’à devenir ensuite un produit moteur pour le tourisme naissant. Le personnage de Jeanne d’Arc prend une place centrale dans les politiques culturelles qui commencent à se structurer à cette même période. A Rouen, la préservation et la valorisation du patrimoine lié à l’héroïne est au coeur de la démarche. Au-delà de sa fonction commémorative, l’enjeu de ce patrimoine devient aussi celui de l’attractivité d’un territoire. / By the end of the 19th century, Joan of Arc became one of the key character, shaped and raised as a symbol, she is at the core of political stakes. The Camille Vallery Radot's collection fits this context. She was born in 1880 and was contemporary of that period. She became passionate about Joan of Arc at the early age to her death in 1927. She collected everything she can find about her heroin, in total around 10 000 documents. This collection is a certain contemporary viewpoint, even exhaustive, of the period which will gradually built the Pucelle d’Orléans to a strong mother country symbol. Her collection witnesses the creation of myth and cult of Joan of Arc for the entire French population to become a product to rising tourism. Joan of Arc becomes the mainspring of cultural politics which arise at that time. In Rouen, preservation and development of patrimony linked to the heroin is deep in the heart of the procedures that leads not only to a commemoration, but also to a challenge of attractiveness issue.

With the rise of Hallyu, or the global export of Korean culture also commonly known as ‘The Korean Wave’, South Korea has become a big trendsetter in recent years: whether it be within fashion and K-Beauty skincare or Korean movies and drama series, to Korean popular music, also known under the umbrella term K-pop. What these categories have in common are their strong ties to visual aesthetics and K-pop is known for its very colourful and maximalist design, which is also a key characteristic to why K-pop as a phenomenon has been particularly attractive and has managed to captivate fans all over the world. In the marvelling K-pop universe, the goal is to engage all the senses for a complete and interactive sensory experience, making the visual just as important as the auditory, and this can also be applied to the physical album design. Physical K-pop albums sell better than ever despite the digital streaming services dominating our digital age. A visual analysis was conducted on selected contemporary K-pop albums together with a survey on Swedish K-pop fans, in order to discuss how packaging design of K-pop albums can influence consumer behavior. The study showed that interactive packaging design and extra album inclusions like photocards, photo books, postcards etc. makes the fans more likely to want to collect albums and merchandise, which on its own can be viewed as a collectible item. The packaging design both facilitates and encourages fans to interact with the design not only visually, but also in a tactile way, by engaging in participatory behavior such as filming unboxing videos and posting them on social media, and it can also be associated with identity making, i.e. how they identify themselves as fans in relation to their favorite artists or towards other fans. Lastly, it is interesting to discuss how K-pop design can be heavily influenced by American and Western concepts despite being marketed as a Korean phenomena and innovation; from the visual analysis it could also be concluded that contemporary design trends draw inspiration from Western concepts such as the y2k millennium bug, retro and technology.