Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Cette thèse explore la vision du reste du monde que le National Geographic Magazine transmet aux Américains depuis 125 ans. Après avoir abordé les origines et l’évolution du magazine, la recherche se concentre sur le traitement par le magazine de certains sujets emblématiques de la manière dont le magazine rend compte des cultures étrangères, la culture des Indiens des États-Unis, celle des quasi-colonies américaines (Cuba et les Philippines), et les mondes exotiques que sont l’Afrique et l’Orient. Si le magazine montre une grande adaptabilité et épouse les changements de paradigmes culturels, une étude attentive de tous les articles consacrés à ces sujets montre deux invariants : la politique officielle des États-Unis n’est jamais critiquée (quand le magazine n’est pas d’accord, il se tait), et, s’ils sont périodiquement recyclés, les stéréotypes utilisés pour rendre compte des cultures étrangères restent fondés sur une vision ethnocentrique reposant sur l’attrait de l’exotisme, le puritanisme, et l’attachement à l’American Way of Life comme incarnation du rêve américain. / The dissertation explores the vision of the rest of the world that Americans have been exposed to for 125 years by the National Geographic Magazine. After discussing the origins and development of the magazine, the research focuses on the treatment of specific subjects that are illustrative of the magazine’s approach of US domestic cultures (Native Americans), America’s quasi-colonies (Cuba and the Philippines), and the exotic worlds of Africa and the Orient. While the magazines shows a great adaptability and espouses the changes of cultural paradigms, a close study of all the articles on these topics across the period shows two invariants: the official US policy is never questioned (when the magazine disagrees, it remains silent), and, while periodically recycled, the stereotypes developed to give an account of foreign cultures remain based on three aspects of an ethnocentric vision based on the allurements of exoticism, Puritanism, and devotion to the American Way of Life as the embodiment of the American Dream.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 117-122). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 117-122). Also available on the Internet.

This study examines representations of Inuit people in the photographic images of the National Geographic with the aim of analyzing how they are portrayed in the photographs in which they appear. The theoretical framework consists of theories on representation with a focus on postcolonial theory, otherness and Eskimo Orientalism. The underlying methodological framework is constructivism while the method of semiotic approach as defined by Ronald Barthes is used to analyze the data. The researcher coded photographs of Inuit and examined how meanings are created through ‘the signs’ present in the images, before identifying the denotative and connotative meanings attached to the images. The main coding factors were look, appearance, activities, surroundings and use of technology. Conclusion is that portrayals of Inuit in the National Geographic from 1990 to 2010 have strong presence of stereotypes as well as myth but after that period the presence of stereotypes diminishes.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-10-04T16:43:22Z No. of bitstreams: 1 Marcelo Salcedo Gomes_.pdf: 22044309 bytes, checksum: a400db222c1e8a60595c5013cebae77e (MD5) / Made available in DSpace on 2017-10-04T16:43:22Z (GMT). No. of bitstreams: 1 Marcelo Salcedo Gomes_.pdf: 22044309 bytes, checksum: a400db222c1e8a60595c5013cebae77e (MD5) Previous issue date: 2017-06-12 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese versa sobre a natureza do devir-rosto nos processos midiáticos e suas reverberações na tecnocultura sob o prisma das audiovisualidades. A partir da discussão de uma qualidade comunicacional virtual que se atualiza em imagens de rostos - ou algo que se põe no lugar do rosto -, que dura no tempo e conserva na memória toda potencialidade daquilo que se reconhece como singular, busca-se construir a ideia de rosticidade. A proposta foi fundamentada nas bases epistemológicas e nos princípios teórico-metodológicos encontrados no pensamento de Bergson, especialmente nos conceitos de duração, memória, percepção, consciência e imagem. Fundamentais também foram as expropriações dos conceitos de Benjamin, Deleuze, Canevacci, Balázs e Benso, que se dedicaram ao rosto enquanto imagem especial que norteia experiências sensoriais e memoriais. A produção do corpus seguiu dois procedimentos metodológicos que se sucederam: 1) constituição do universo da pesquisa na observação de marcas da rosticidade manifestadas em uma pluralidade de tecnoimagens que circulam pelas mídias, além de objetos não reconhecidamente midiáticos; 2) um recorte progressivo da galáxia da pesquisa formada por meio da cartografia das fisionômicas da National Geographic (enquanto dispositivo midiático), com especial atenção às imagens-rosto da National Geographic Magazine e, mais especificamente, às transformações do rosto da revista através dos movimentos do design das capas. Questiona-se: como e o que a rosticidade da National Geographic comunica sobre a rosticidade da tecnocultura? Ou ainda, mais especificamente: O que e como a capa da National Geographic, tomada como rosto, comunica sobre a revista, sobre o dispositivo midiático e sobre a rosticidade enquanto qualidade da tecnocultura? Para oferecer soluções, desenvolve-se um método que vai se estabelecendo no próprio andamento de investigação. Parte-se da invenção [sic] do problema através da intuição bergsoniana, para posteriormente produzir os empíricos através de múltiplas cartografias. Constitui-se assim mapas dinâmicos ao formar constelações de fragmentos aparentemente desconexos. Faz-se apontamentos sobre ethicidades com base em cartografias de molduras e moldurações de elementos que, de outra maneira, permaneceriam discretos no fluxo comunicacional e compõe-se relações, antes não percebidas, a partir daquilo que parece estranho ou estrangeiro ao pesquisador. Ao final, propõe-se que as fisionômicas da National Geographic se transformam com o tempo, mas seu rosto continua expressando uma rosticidade singular. Suas atualizações em forma de imagens-rosto são as marcas visíveis desta rosticidade atualizada. A rosticidade em si não se deixa apreender, apenas deixa seus rastros. O rosto é uma imagem de síntese e a rosticidade é o conjunto destas sínteses que duram no tempo e se engendram na memória. / This thesis deals with the nature of the becoming-face in the mediatic processes and their reverberations in technoculture under the prism of the audiovisualities. From the discussion of a virtual communicational quality that is updated in face images - or something that stands in the place of the face - that lasts in time and keeps in memory all the potentiality of what is recognized as singular, I have tried to construct the concept of Rosticity. The proposal was based on the epistemological bases and the theoretical-methodological principles found in Bergson's thought, especially in the concepts of duration, memory, perception, consciousness and image. Also fundamental were the expropriations of the concepts of Benjamin, Deleuze, Canevacci, Balázs and Benso, who dedicated themselves to the face as a special image that guides sensory and memory experiences. The production of the corpus followed two methodological procedures that succeeded: 1) constitution of the universe of research in the observation of the marks of rosticity expressed in a plurality of technoimages that circulate through the media, in addition to objects not recognized as media; 2) a progressive trimming of the research galaxy formed by the cartography of National Geographic physiognomies (as a media device), with special attention to National Geographic Magazine face images and, more specifically, to the transformations of the magazine's face through movements in the cover’s design. It is questioned: how and what does the National Geographic's rosticity communicate about the rosticity of technoculture? Or more specifically: What and how does the National Geographic cover, taken as a face, communicate about the magazine, the media device and the rosticity as a quality of technoculture? In order to offer solutions, a method was developed in the research progress itself. It starts from the invention of the problem through the Bergsonian intuition, to later produce the empirical objects through multiple cartographies. Dynamic maps are thus composed by forming constellations of seemingly disconnected fragments. Ethicities are made on the basis of mapping frames and frames of elements that would otherwise remain discrete in the communicational flow and make up relations, previously unperceived, from what seems strange or foreign to the researcher. In the end, it is proposed that the physiognomics of National Geographic transform over time, but its face continues to express its singular rosticity. It updates in the form of face images are the visible marks of this updated rosticity. Rosticity itself does not allow to be grasped, it only leaves its traces. The face is an image of synthesis and the rosticity is the set of these syntheses that last in time and are engendered in the memory.

Made available in DSpace on 2014-06-11T19:30:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-09-19Bitstream added on 2014-06-13T19:39:49Z : No. of bitstreams: 1 moraes_vrf_me_mar.pdf: 445578 bytes, checksum: 7b1333cef26491fb5dae0c98e7cd6add (MD5) / Debatemos a idéia de que existiu, no período estudado, uma fetichização da divulgação científica nas revistas Superinteressante, suas edições especiais publicadas em 2005 e na National Geographic Magazine, editada nos Estados Unidos e traduzida no Brasil. Nosso objetivo é investigar o que acontece com a ciência quando é transformada em mercadoria e submetida na mídia aos padrões do jornalismo que aparecem em algumas revistas: sensação, sucesso e relaxamento. A hipótese é que, quando a reportagem sobre ciência assume essa forma, ela fetichiza a divulgação científica, transformando-a em mero entretenimento. Note-se, portanto, que nossa meta não é fazer a crítica da ciência divulgada, analisando se a informação jornalística é fiel ou não ao ramo científico abordado, e sim observar como a ciência perde o potencial de crítica ao se submeter ao padrão fetichizado. Estamos interessados em demonstrar, assim, como a divulgação fetichizada falha ao não fazer da ciência uma ferramenta para entender a sociedade. / We discuss the idea that there is a fetishism of scientific journalism on Superinteressante Magazine, its special editions and on National Geographic Magazine, published in United States and translated to be published in Brazil. Our goal is to investigate what happens with science when it becomes a product, made specifically to sell magazines, and when it's subdued by magazine style's patterns: sensation, success and relaxing. The hypothesis is when science stories take this form, they become fetishism because it's transformed in simple entertainment. Observe, however, that our purpose is not to criticize the science on media analyzing if the texts are coherents to researches but point out how science looses the critic potential in this fetishism. Our interest is demonstrate how scientific journalism fails using science as an arm to understand society.

National Geographic is a magazine that inspires people to care about the planet through its articles of exploration, education, and conservation. Magazines are a significant source of knowledge and compete with a variety of other media, constantly rethinking where they can improve in comparison to other media. Research in this dissertation shows that some magazines offer high quality imagery for artwork, photos and advertisements, which remains critical for industries and readers. They often offer greater depth than radio, TV, or even newspapers, so that people interested in an analysis of news and events still depend on magazines for informative and general news. People often turn to media—such as television, newspapers, magazines, radio, and Internet—to help them make sense of the many complexities relating to environmental science and governance that (un)consciously shape our lives. Global warming, as a subject, demands both political and personal responses in all parts of the world, and effective decision making at both scales depends on timely, accurate information, according to Shanahan (2009:145). The quality and quantity of journalism about climate change will therefore be key in the coming years. National Geographic comprises a variety of themes, such as environment, science, wildlife, travel and photography. This study is an analysis of the writing and photography related to one theme - global warming. It provides a critical analysis of the coverage of the global warming discourse in one magazine, examined over an eleven-year period from 2000 to 2010. This theme is powerful in that it represents ethical responsibility and concern for nature and our world and the analysis attempts to define the objects of discourse within the coverage, thus, evaluating if the format of the coverage informs and educates the audience about global warming.

The objective of the Master's Thesis Global problems of the current world according to National Geographic magazine is an analysis of the National Geographic magazine approach to informing about contemporary environmental problems. Using a qualitative content analysis the author aims to find out whether there are some specific routines or phenomenons appearing in the articles when covering the environmental topics in media. The theoretical part focuses on general description of the environmental problems media coverage, on explanation of the term globalisation and on contemporary global problems definitions. It also summarizes the 125-year history and the most important milestones of the National Geographic magazine. The practical part consists of research on media reflection of global environmental problems in reportages and their thematic anchoring. It is based both on local and international studies on similar topic. The summary presents and interprets the results of the analysis.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-05T12:48:54Z No. of bitstreams: 1 Marcelo Salcedo Gomes_.pdf: 3615557 bytes, checksum: 5ee65dc87198c8ebcb8be5a8052204f5 (MD5) / Made available in DSpace on 2016-04-05T12:48:54Z (GMT). No. of bitstreams: 1 Marcelo Salcedo Gomes_.pdf: 3615557 bytes, checksum: 5ee65dc87198c8ebcb8be5a8052204f5 (MD5) Previous issue date: 2013-03-13 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Neste trabalho, investigamos as características que certos retratos da National Geographic possuem de nos atrair para um Contato de natureza comunicacional que se realiza pela expressão do afeto no rosto e no olhar. Para responder nossa questão de pesquisa, traçamos um panorama histórico da publicação desde seu surgimento até os dias atuais. Examinamos o processo de midiatização no qual o dispositivo está inserido, discutimos as críticas a respeito do discurso da instituição, a iconização das imagens, a produção técnica do signo fotográfico e o fotodocumentarismo que lhe garante autenticidade imagética. Os fundamentos teóricos deste estudo giram em torno da base semiótica de Charles Sanders Peirce, da fenomenologia de Roland Barthes, do conceito de imagemafecção de Gilles Deleuze, dos conceitos de midiatização de Jairo Ferreira, Antonio Fausto Neto, José Luiz Braga e Pedro Gilberto Gomes e da antropologia visual de Catherine A. Lutz & Jane L. Collins e Stephanie L. Hawkins. Através de uma estratégia de análise que conjuga o método fenomenológico com o método iconográfico chegamos a um instrumento próprio que nos permitiu analisar as capas de todas edições a procura do Contato. Encontramos nove retratos que sintetizam nossos achados. O Contato, em nossas elaborações, é uma qualidade especificamente comunicacional que certos tipos de retratos têm de despertar a nossa percepção do “outro”, mobilizada através da expressão do afeto no rosto e no olhar. Uma sensação pré-cognitiva de atração e proximidade com o rosto retratado que produz um nível de intimidade como se pudéssemos “ver suas almas”. É a midiatização de um olhar presente em determinados tipos de imagens em primeiro plano, viabilizada por processos de produção técnica, que tem como sua principal característica nos levar à alteridade que, de outra maneira, apenas se realizaria presencialmente. / In this paper, we investigate the characteristics that certain portraits of National Geographic have to draw us to a Contact of communicational nature, which is held by the expression of affect on the face and the eyes. To answer to our research question, we have drawn a historical overview of the publication since its inception to the present day. We have examined the process of mediatization in which the device is inserted, and discussed the critical discourse about the institution, the iconization of images, the technical production of the photographic sign and the photodocumentarism, which guarantees image authenticity. The theoretical research revolve around the basic semiotics of Charles Sanders Peirce, Roland Barthes's phenomenology, the concept of image-affection of Gilles Deleuze, the concepts of media coverage of Jairo Ferreira, Antonio Fausto Neto, José Luiz Braga and Pedro Gilberto Gomes and visual anthropology by Catherine A. Lutz & Jane L. Collins and Stephanie L. Hawkins. Through an analysis strategy that combines the phenomenological method with the iconographic method we have come to own an instrument that allowed us to analyze the covers of all editions in the search for the Contact. We have found nine pictures that summarize our findings. The Contact in our elaborations is a specific communicational quality that certain types of portraits have of awakening our perception of the "other", mobilized through the expression of affect in the face and the eyes. A pre-cognitive feeling of attraction and proximity to the face depicted that produces a level of intimacy as if we could "see their souls." It is the mediatization of a look at certain types of images in the foreground, made possible by technical production processes, which has as its main feature leading us to an otherness that would otherwise only be held in face to face situations.