Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-05-16T14:07:53Z No. of bitstreams: 1 DissJCPCJ.pdf: 1537965 bytes, checksum: 94c705cfa2293cc8d9bf5a91f9212f80 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-16T14:14:40Z (GMT) No. of bitstreams: 1 DissJCPCJ.pdf: 1537965 bytes, checksum: 94c705cfa2293cc8d9bf5a91f9212f80 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-16T14:14:46Z (GMT) No. of bitstreams: 1 DissJCPCJ.pdf: 1537965 bytes, checksum: 94c705cfa2293cc8d9bf5a91f9212f80 (MD5) / Made available in DSpace on 2017-05-16T14:19:51Z (GMT). No. of bitstreams: 1 DissJCPCJ.pdf: 1537965 bytes, checksum: 94c705cfa2293cc8d9bf5a91f9212f80 (MD5) Previous issue date: 2016-08-26 / Não recebi financiamento / One of the public administration principles is the efficient management of public expenditure. This research points out that for public spending efficiency, an efficient management of public bidding, through which the application of much of public resources occurs, is also necessary. For better understanding of the subject, the study searches in organizational theory, concepts on the issue of efficiency in public and private organizations. Supported on the axes of celerity, economic viability, and objectivity in the object description, the work aims to assess the environment of public bidding to verify in its normative framework, elements that account for more efficient results. It is a bibliographical and documentary research analyzed by a variety of combined methods and procedures, (Prodanov and Freitas, 2013), according to the comparative method. This way, we attempt to provide clarity on the issue and assist in the formulation of proposals with the help of the inductive method. The research is of basic nature, although it can be applied, as it seeks to offer the public administrative manager, solutions to the bidding process. / Um dos princípios da administração pública é a gestão eficiente dos gastos públicos. O trabalho entende que para a eficiência dos gastos públicos é necessário também a gestão eficiente das licitações públicas, por meio das quais ocorre a aplicação de grande parte dos recursos públicos. Para melhor entendimento sobre o tema, o trabalho busca na teoria organizacional conceitos acerca da questão da eficiência nas organizações públicas e privadas. Neste sentido, apoiado nos eixos da celeridade, economicidade e objetividade na descrição do objeto, o trabalho visa a avaliar o ambiente das licitações públicas com o fim de verificar no seu arcabouço normativo elementos que respondam por resultados mais eficientes. A pesquisa desenvolve-se a partir de fontes bibliográfica e documental, analisadas por uma diversidade de métodos e procedimentos combinados, forma admitida por Prodanov e Freitas (2013), metodologia na qual prevalece o método comparativo. Desta forma, procura-se proporcionar clareza quanto ao problema levantado e auxiliar na formulação das proposições ao tema por meio da abordagem e raciocínio pelo método indutivo. A pesquisa possui natureza predominantemente básica, mas também aplicada, pois procura oferecer ao gestor público soluções administrativas para o processo licitatório.

This paper discusses difficulties and Failures with being a Neutral and objective scientist when writing about a subject which he or she is dedicated too.The purpose with this paper is to study the knowledge process, in other words, is some knowledge harder to see due to the scientist dedication to the subject or is some knowledge constructed due to the scientist dedication to the subject studied, and the process of intermediating, in other words, how to validate the results. Subject which is discussions are scientist objectivity, sociologist dilemmas, and different roles of scientists. The paper also deals with the importance of different perspectives and how ours choice of perspective influences ours research. Ethical state of conditions in interview situations and how we can reflect and criticise our own part and attitudes as an interviewer are also discussed in this paper.

This dissertation discusses the representation of investigative journalism in two Hollywood films produced between 2009 and 2015. The films in question are Spotlight (2015) and State of Play (2009). Investigative reporting and its practices are being discussed by using academic literature and previous research as the foundation of the study, followed by a discussion about the chosen research method: textual analysis. The textual analysis is conducted by concentrating specifically on three core journalistic practices of objectivity, use of sources and news values, and how these practices are represented in the films. The three core practices are teased out by using specific sequences from the movies in a form of images. The results of the analysis are then contrasted towards the existing literature discussed in the literature review. By using the means of textual analysis, the study found that both films are relying on stereotypes about journalism yet certain ‘reality’ about journalism can be found in these films. The journalists are in many cases shown as outcasts yet heroic figures who conduct thorough investigation and inform the public. In both films, the profession of investigative journalism is legitimized, and the journalists are depicted as the watchdogs of the society. Both movies lay much importance on the individual reporters and the investigation processes: processes that are rare in real newsrooms. This further enhances the mythic and overly positive, romanticized representation on journalism in films. As the study was based on textual analysis only, its nature was qualitative and interpretative. Future studies could include, yet not be limited to, adding another method and through this, to further deepen the research about journalism in films. Areas of research could include films produced in the 21st century and more specifically, films about journalism in the digital era.

Ce mémoire aborde la question du point de vue dans la philosophie du cinéma de Gilles Deleuze. Dans Cinéma 1 : L’image-mouvement, en reprenant les définitions de l’objectivité et de la subjectivité de Bergson, Deleuze effectue comme une espèce de « renversement » de ce qu’on entend communément au cinéma en ces termes. Cette étude vise à comprendre ce renversement. Nous voyons d’abord que Deleuze rejette les conceptions narratives du point de vue puisqu’elles ne donnent pas à l’image la primauté ontologique. Nous exposons de quelle façon Deleuze retourne Bergson contre lui-même en accordant à la perception cinématographique un degré d’objectivité supérieur à la perception naturelle, et nous demandons ensuite comment Deleuze pourrait concevoir l’expérience du spectateur. En adressant les notions d’objectivité et de subjectivité du 5e chapitre de L’image-mouvement, nous décrivons le processus à travers lequel Deleuze en arrive à reprendre les définitions de Bergson, puis de quelle façon se produit le renversement explicite. Nous découvrons à ce stade que, suivant l’influence de Vertov, c’est par un « œil non-humain » que s’effectue le renversement. Cela nous mène au passage entre l’image-mouvement et l’image-temps, où nous trouvons que la notion de point de vue a subi une sorte de « réflexion ». Dans un engrenage composite avec les mouvements aberrants, le point de vue se révèle être un élément important de la transition entre les deux régimes d’images. Nous rejoignons ensuite l’absolu de Bergson, la « durée » de l’image-temps, qui vient à signifier le dépassement même de la notion de point de vue. Nous remarquons plus généralement que nos conclusions ont en commun une entreprise sous-jacente de désubjectivation, qui traverse une grande partie de la philosophie deleuzienne. Nous en venons enfin au constat selon lequel le point de vue chez Deleuze est un élément crucial de son propre dépassement. / This thesis addresses the question of the point of view in the philosophy of the cinema of Gilles Deleuze. In Cinema 1: The Movement-Image, taking Bergson’s definitions of objectivity and subjectivity, Deleuze performs a kind of “reversal” of what is commonly understood in cinema in these terms. This study aims to understand this reversal. We first see that Deleuze rejects the narrative conceptions of the point of view since they do not give the image ontological primacy. We show how Deleuze turns Bergson against himself by attributing cinematographic perception a degree of objectivity superior to natural perception, and then see how Deleuze could conceive the spectator’s experience. In discussing the notions of objectivity and subjectivity of the 5th chapter of The Movement-Image, we describe the process through which Deleuze arrives at Bergson’s definitions, and then how the explicit reversal takes place. We discover at this stage that, following the influence of Vertov, it is through a “non-human eye” that the reversal occurs. This leads us to the transition from the movement-image to the time-image, where we find that the notion of point of view has undergone a kind of “reflection”. In a composite assembly with aberrant movements, the point of view proves to be an important element of the transition between the two regimes of images. We then reach the absolute of Bergson, the “durée” of the time-image, which comes to signify the very surpassing of the notion of point of view. We observe more generally that our conclusions share an underlying process of desubjectivization, which appears across much of the Deleuzian philosophy. Finally, we come to the conclusion that, for Deleuze, the point of view is a crucial element of its own overcoming.

Le corpus de la présente thèse contient essentiellement trois oeuvres de Julien Gracq : Au château d’Argol, Un balcon en forêt, En lisant en écrivant. On profite entre autres, de ses autres oeuvres ainsi que tous ses entretiens qui apportent un éclaircissement dans notre étude. La présente thèse s’est constituée de deux chapitres; le premier : « Axe thématique et spéculaire « et le deuxième : « Axe esthétique et spéculaire « . Il s’agit de mettre en évidence, en profitant des éléments antinomiques dans les oeuvres, la tension entre le naturel et le surnaturel, entre le régime narratif et le régime poétique et entre la lecture et l’écriture. On a essayé, dans la mesure du possible, de rester sous la vision de J. Gracq lui-même qui s’est exprimé dans son oeuvre autocritique En lisant en écrivant. J. Gracq vit les événements de ses oeuvres dans une indétermination et une indécidabilité quasi totale de l’entre-deux; le point de croisement de la rêverie humaine et le centre d’éveil de toute réflexion, sur le devenir du moi intime tout particulièrement, c’est-à-dire le vrai lieu de l’aventure humaine et d’après lui c’est la seule chose qui vailled’être recherchée. Deux angles de visions, que ce soit dans l’axe thématique, esthétique et spéculaire, tanguent entre elles dans un mouvement du glissement perpétuel et s’étreignent par la suit. On baigne dans l’objectivité et la subjectivité à la fois et la séparation de l’entre deux ne s’est jamais parfaitement accomplie et le clivage reste incertain. La frontière entre les deux s’est parfois tellement embrouilléequ’on est égaré, et c’est là tout l’art de J. Gracq. Il crée à son propre gré un espace où sa créativité imaginaire et poétique est à son comble. « La force du texte est l’expression de l’homme en face du monde et de la marche de l’histoire « . Le monde tout entier reste pour l’homme un entre-deux indéchiffrable. Peut-être, pour lui, le sens est-t-il bien dans cette indécidabilité. Il propose ainsi une aventure de plénitude, un mode de vie et une manière d’être au monde. / This thesis contains essentialy three works of Julien Gracq Au château d’Argol, Un balcon en forêt, En lisant en écrivant. We will use apart from his others works, his exclusives interviews that offre more clarification in our study. This thesis consistes of two axis: The first: « Thematic and specular axis » and the second: « Esthetic and specular axis ». The aim of this thesis is to highlight, by the antinomics elements, the tension of the « In-between » between natural and supernatural, between narrative regime and poetic regime and between reading and writing. We will try to remain in esprit of J. Gracq who explains himself in the self-critical work En lisant en écrivant. J. Gracq considers the events of his works in an indeterminate and undecidable situation of « in-between ». This is a crossing point between daydream and the centre of awakening and thought, the real place of human adventure and according to J. Gracq the only thing that is worth to be sought and to be given full attention to. Two points of view embrace each other in a perpetual swinging movement. We are permanently between objectivity and subjectivity, known and unknown, inside and outside and visible and invisible. And the separation between the two was never completely fulfilled and the cleavage remains unclear. In this sense the « in-between »denotes being at once within oneself and being in the world without, as if the poetartist himself wanders between two extremes, between two opposite poles of thought and knowledge. J. Gracq creates a space in which his creativity is at the summit. Theentire world stays for him an in-between indecipherable. The real sense for him is perhaps in this indeterminate situation. Thus, He suggests in this way an adventure of fulfillment, a way of life and a manner of being.

Cette thèse expose les résultats d’une recherche praticienne inédite menée pendant plusieurs décennies auprès de psychologues du travail exerçant une fonction de sélection-orientation, dans un organisme public, auprès d’une population d’adultes dans des conditions professionnelles et techniques strictement identiques. Toute évaluation d’un potentiel intellectuel réalisée selon la méthode des tests psychométriques n’est pas réductible aux résultats obtenus. Ceux-ci doivent nécessairement être interprétés par le psychologue pratiquant l’examen. C’est une exigence méthodologique inhérente à la pratique des tests. Dans cette phase d’interprétation se trouve à l’œuvre un processus décisionnel que l’on peut supposer d’autant plus opaque qu’il est sous l’emprise d’un pouvoir discrétionnaire : celui du praticien en charge de l’évaluation. Cette nécessité du processus d’interprétation d’une performance obtenue à un test pourrait être de nature à contrarier, voire contredire, les règles de rigueur et de stricte objectivité de la méthode expérimentale à laquelle se référent les tests psychométriques. Il est donc légitime d’avancer l’hypothèse que la conclusion émise par l’évaluateur ne peut échapper pour une part à sa subjectivité. Ne résulte-t-il pas alors un hiatus induisant une rupture épistémologique ? L’ampleur des données recueillies à partir de près de 40.000 dossiers psychotechniques permet une étude différentielle de la « production » de ces psychologues du travail. Par une approche statistique, nous avons analysé la variabilité des interprétations et des décisions associées au sein de l’échantillon des évaluateurs. Il ressort des analyses des données qu’est confirmée l’hypothèse initiale d’un défaut, intrinsèquement lié à leurs mise en pratique, des techniques de tests psychométriques pour parvenir à un niveau d’objectivité satisfaisant permettant d’appuyer l’orientation des sujets candidats. Ces travaux de recherche qui réunissent en définitive les caractéristiques et les conditions d’une approche docimologique apportent une preuve supplémentaire que ces techniques d’évaluation ne sauraient prétendre au niveau d’objectivité scientifique dont elles se réclament. Ils mettent en évidence l’empreinte subjective liée à toute évaluation à base de tests psychométriques conduisant à s’interroger sur la pertinence des discours habituellement tenus sur l’utilité sociale de celle-ci. / This thesis presents the results of unprecedented practitioner research conducted for several decades with work psychologists holding a position of selection and work orientation, in a public organization, in a population of adults in strictly identical professional and technical conditions.Any assessment of intellectual potential realized according to psychometric testing method is not reducible to the results obtained. These must necessarily be interpreted by the psychologist doing examination. This is an inherent methodological requirement to conducting tests. In this phase of interpretation there is a decision-making process that we can assume even more opaque for it is under the influence of discretion: that of a practitioner in charge of the evaluation.This necessity of the interpretation process of a test performance might be likely to impede or even contradict the rules of rigor and of strict objectivity of the experimental method to which the psychometric tests refer. It is therefore legitimate to advance the hypothesis that the conclusion issued by the evaluator can not avoid in part his subjectivity. Does not it follow then a hiatus inducing an epistemological break?The extent of data collected from nearly 40,000 psychotechnical records allows a different study of the "production" of these work psychologists. With a statistical approach, we have analyzed the variability of interpretations and associated decisions within the sample of evaluators. It appears from the data analysis that was confirmed the initial assumption of a flaw, intrinsically bound to their implementation, psychometric testing techniques to achieve a satisfactory level of objectivity that will support the orientation of candidates.This research project that ultimately brings together the characteristics and conditions of a docimological approach provides an additional evidence that these assessment techniques can not assert the level of scientific objectivity which they claim. They highlight the subjective mark of any assessment based on psychometric tests leading to wonder about a relevance of position usually held on the social utility of assessment.

The project New Faces is a series of portraits dealing with the theme of identity and its loss, human individuality and the phenomenon of ideal of beauty. Each of paintings depict different views on the same face, base on personal confessions of portrayed and his friends. Thus we can observe confrontation of the "subjective" and the "objective", where this supposed "objectivity" acquire the relative value in the context of other pictures. The project points to the problem of self-perception and it explores how human perception distorts the reality, especially if more factors (than just a visual image of reality) affects the person.

Diploma thesis deals with the manipulation of the photography, especially journalism. To bring the reader into context work starts with the first creation and the history of photography, early examples of manipulation of analog photography and its techniques. The main part focuses on the specifics and characteristics of the digital era in relation to the photographs, handling technology in digital photography and the possibilities of detection. Thesis reflects manipulation of photographs on social networks and the prestigious photographic competitions and the question of objectivity. Considering how it is in the background handling adjustments with confidence in the photo and that picture can be adjusted to detect and effectively to defend against them. Due to the nature of the digital society and a number of factors that the creation and publishing of photographs accompanying the photo we have to think critically and understand its truth value as intersubjective.

This thesis deals with the manipulation of a photograph. The first part is the theoretical framework, which is used in subsequent chapters by analyzing selected examples primarily reflecting concepts such as authenticity, objectivity, truth value or manipulation. Outside the theoretical framework is mentioned in the introductory parts of the historical evolution of analogue photography which flows into the history of digital photography. In the analytical part of the study we work with selected manipulative techniques (arrangements, retouching, photomontage, digital cloning, exchange heads, manipulation accompanying text or photos without referents) which are applied to individual examples using the theoretical framework from the first part. The study answers to our research questions, namely is it still possible to understand photography as an objective and trustworthy visual medium and is it possible to defend against the visual manipulation? The analysis shows that in the context of industrial practices in the photo and their availability has truth value of photographs as its objective quality not by its nature possible, while research and methods in detecting manipulation are crucial, but the amount of video material is still essential defense against manipulation of critical thinking. Key...

The present study aims to reconcile conflicting evidence from previous research on the role of objectivity in journalists’ and citizens’ information behaviors. Drawing on news quality frameworks and confirmation bias research, the article proposes a model of “biased objectivity” that was tested by a quasi-experiment with 430 journalists and 432 citizens in Germany. Results show that both perceived objectivity value (news quality perspective) and attitude consistency of a message (confirmation bias perspective) enhanced the informational value of a message, with objectivity value mediating the effect of attitude consistency on informational value perceptions (“biased objectivity” perspective). Journalistic professionalism did not moderate this relationship.