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.

La discipline géographique a toujours comporté une fonction d'information, souvent au détriment de celle de l'analyse. Cette fonction ambivalente lui est de plus en plus soutirée par les mass media. Un bon exemple est le National Géographie Magazine qui circule mondialement depuis près d'un siècle. Non seulement ce périodique mensuel à grand tirage est identifié au spectaculaire, â l'exotique, mais, plus encore, il a avant tout une fonction idéologique. En effet, l'hypothèse, dont la vérification est faite ici au sujet de l'Asie du Sud-Est, est que ce périodique vise la sublimation du genre de vie américain et la légitimation de l'impérialisme des Etats-Unis par la manipulation de l'ethnocentrisme traditionnel des peuples issus de l'Europe.

Orientador: Fátima A. Cabral / Banca: Isabel F. R. Loureiro / Banca: Wilson da Costa Bueno / Resumo: 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. / Abstract: 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. / Mestre

Throughout the United States occupation of Haiti from 1915 to 1934, the U.S. government and its supporters were forced to defend the legitimacy of American action. In order to justify it to the American public, officials and journalists created a dichotomy of capacity between an inferior Haiti and a superior U.S., and they presented the occupation as a charitable civilizing mission. This vision of Haiti and Haitians was elaborated in a racialized discourse wherein Haitians were assigned various negative traits that rendered them incapable of self-government. In examining how the New York Times, the National Geographic Magazine, and the Crisis represented Haiti, I demonstrate how race was the primary signifier, and how these representations were used to either perpetuate or challenge the American racial social hierarchy.

This thesis aims to map the life and artistic directions of Ludek Pesek, one of the founders of Space art (Cosmic realism). For us, Pesek is an unknown artist, because he lived and worked in Switzerland for over thirty years. Ludek Pesek (*1919, Czechoslovakia, 1999, Switzerland) was a significant painter, illustrator, writer and photographer. He graduated the Academy of Fine Arts in Prague and he was a member of the Association of Czech artists, from where he was expelled in 1971 along with other artists who after the Soviet intervention in 1968 remained outside the territory of Czechoslovakia. Firstly I am going to analyze paintings from the collections of South Bohemian Gallery and also from other galleries in the Czech Republic mainly Triptycha, Mars and others. Pesek's surreal compositions will then going to follow. In conclusion Im going to create the overall stylistic characterization of Pesek art, using the analysis of Czech art and his creations in exile. At the same time I will laid down the basis that will lead to the creation of a complete biography in the future, that which will cover all stages of Pesek's career.