Sur la base d’une étude des équipes de football universitaire, le présent mémoire de maîtrise cherche à mettre en évidence les éléments de l’« esprit de corps » — c’est-à-dire l’adhésion pas forcément consciente « des individus aux valeurs et à la valeur d’un groupe qui, en tant que corps intégré, dispose des espèces d’échanges propres à renforcer l’intégration et la solidarité entre ses membres » (Bourdieu, 1989, p. 258) — qui peuvent être applicables à ce groupe donné tout en analysant de quelle façon cette notion vient influencer les performances des équipes. En s’appuyant sur des notes de terrain recueillies lors d’une observation exploratoire et sur des entretiens semi-dirigés réalisés auprès de joueurs de football qui jouent ou qui ont joué au niveau universitaire, ce mémoire a pour objectif de mieux saisir en quoi un esprit de corps présent à l’intérieur d’une équipe de football vient influencer les performances de celle-ci. Sur la base des données recueillies, une équipe présentant un fort esprit de corps en ses rangs voit ses performances la mener au succès. Lorsque les composantes de l’esprit de corps sont présentes, partagées par tous les joueurs et suivies à la lettre, les équipes sont appelées à mieux performer dans la ligue de football universitaire, contrairement à d’autres formations où certains éléments caractérisant l’esprit de corps ont une importance moindre. / On the basis of a study of college football teams, the current Master’s thesis seeks to highlight the elements of “esprit de corps” present within the teams and how they can affect the teams’ performances. In other words, this thesis investigates the accession, consciously or not, of people to a group’s values who, as an integrated corps, possess common features that reinforce the integration and the solidarity between its members, as applied to college football teams. Combining field notes from exploratory observations as well as semi-directed interviews done with college football players or formers college football players, this thesis aims to lead to a better understanding of how “esprit de corps” amongst a team can have an influence on its performances. On the basis of the collected data, it appears that football teams that present a strong “esprit de corps” tend to perform better. When the “esprit de corps” components are fulfilled, shared and followed by all the players, football teams offer great performances compared to other teams where these components are considered less important. Key

I have studied the Swedish artist formation ”1947 års män” with a sociological perspective based on the ideas of Pierre Bourdieu. I initially made a study of the group as a whole, and after that I chose to focus on the sculptors Liss Eriksson, Arne Jones and Knut-Erik Lindberg. I have examined why some of the artists in the formation became more successful than others. My results show that the ones who were versed in culture or came from an economically or intellectually stronger background also were considered to be the most pioneering artists. These artists also were the ones who became noticed by the art critics at their break-through exhibition in Stockholm in 1947. The art critics’ reviews likely had an impact on the future careers of the artists, as well as on the extent of which they came to be reminded today. / Jag har studerat konstnärsgruppen ”1947 års män” utifrån ett kultursociologiskt perspektiv. Jag gjorde först en studie av hela gruppen, för att sedan fokusera på gruppens skulptörer Liss Eriksson, Arne Jones och Knut-Erik Lindberg. Jag ville undersöka varför vissa av medlemmarna i gruppen blev framgångsrika konstnärer som än idag är ihågkomna, och varför andra inte blev det. Jag kom fram till att det var de konstnärer som hade goda sociala kontakter, var kulturellt och intellektuellt bevandrade eller kom från ekonomiskt starka hem som gjorde det som uppfattades som den mest banbrytande konsten och kom att av konstkritikerna tillskrivas som mest intressanta vid tiden för deras genombrottsutställning 1947. Denna reception lär sedan också ha påverkat även konstnärernas fortsatta karriärer i form av uppdrag, utställningar och inköp till viktiga konstsamlingar och kan även ha påverkat dagens beskrivning av vissa av konstnärerna i gruppen som mer framstående än andra.

[pt] Na virada do século XXI a arquitetura do sistema internacional passou por importantes mudanças em diversas arenas. Na cooperação internacional para o desenvolvimento foi principalmente a partir dos anos 2000 que novas modalida-des, novos atores e novas dinâmicas de relacionamento entre eles levaram a recen-tes mudanças no quadro normativo e na definição das práticas legítimas desse sistema. A cooperação Sul-Sul se consolidou como prática alternativa, abrangen-do um fluxo distinto daquele compreendido pela Ajuda Oficial ao Desenvolvi-mento. A partir dessas transformações, novos arranjos que pautam as relações entre os atores foram se consolidando no campo da cooperação internacional para o desenvolvimento. Inspirada pelo aparato teórico-metodológico do sociólogo Pierre Bourdieu e fundamentando a análise na tríade doxa, capitais e prática, essa tese defende que atores do Sul global se articularam para a maximização de seus capitais no campo, esgarçando as fronteiras e tensionando a doxa desse campo. À luz da análise da trajetória brasileira no campo e da cooperação trilateral como um dos novos arranjos que pautam as relações entre os agentes, a pesquisa busca compreender de que maneira a rearticulação de capitais trazida pela cooperação Sul-Sul impacta na governança da cooperação internacional para o desenvolvimento. / [en] At the turn of the 21st century, the architecture of the international system has undergone important changes in different areas. In international development cooperation arena new modalities, new actors and new relationship dynamics among them have changed the framework and definition of legitimate practices of this system. South-South cooperation consolidated itself as an alternative practice, encompassing a distinct flow than that of comprehended by Official Development Assistance. These changes consolidated new institutional arrangements guiding agents relations in the field of international development cooperation. Inspired by Pierre Bourdieu s theoretical-methodological framework and based on the analysis of the triad doxa, capitals and practices, this thesis argues that global South agents articulated themselves to maximize their capitals in the field, fraying the edges and tensioning the field s doxa. In light of the Brazilian historical trajectory in the field and of the trilateral cooperation as one of the new arrangements guiding relations among agents, this research aims to understand in which way this mobilization of capital advanced by South-South cooperation impacts in the international cooperation for development governance.

Utilizando como referencial teórico as teorias de Capital, Habitus, Campo e Campo Esportivo, desenvolvidas pelo sociólogo francês Pierre Bourdieu, efetuou-se nessa Dissertação de Mestrado um estudo de caráter descritivo-analítico, com um enfoque histórico-social. A análise empreendida neste instrumento de pesquisa compreende um caso concreto que ocorreu no cenário esportivo nacional, que foi a construção do Estádio Cícero Pompeu de Toledo. A partir da teoria de Campo e Campo Esportivo, foi definido o futebol brasileiro como um espaço social de prática esportiva, demarcando o São Paulo Futebol Clube como um agente esportivo deste campo. A edificação desta obra erigida por esse personagem do cenário futebolístico do Brasil foi interpretada através das teorias de Capital e Habitus, o que nos permite apreender o Estádio do Morumbi como um elemento que possibilitou ao São Paulo Futebol Clube se diferenciar dentro do campo esportivo, além de entender as práxis que os dirigentes são-paulinos realizaram para poder erigir o seu estádio. Ao realizar esta análise, registrar-se um período (1970 1992) que se inicia após a construção do Morumbi, e vai até a conquista do primeiro título mundial do São Paulo Futebol Clube. Durante essa fase é reconhecido que a agremiação conquistou inúmeros êxitos esportivos, além de aumentar sua torcida por todo país, elucidando que o Estádio Cícero Pompeu de Toledo foi um dos possíveis fatores que proporcionaram a aquisição destes triunfos / Using as theoretical reference the theories of Capital, Habitus, Field and Sports Field, developed by the French sociologist Pierre Bourdieu, a Master\'s Dissertation was carried out in a descriptive-analytical study with a historical-social approach. The analysis undertaken in this research instrument case study that occurred in the national sports scene, which was the construction of the Stadium Cicero Pompeu de Toledo. From the theory of Field and Sports Field, Brazilian football was defined as a social space of sports practice, showing São Paulo Football Club as a sports agent in this field. The built of this work erected by this personage of the soccer scene in Brazil was interpreted through the theories of Capital and Habitus, which allows us to apprehend Morumbi Stadium as an element that allowed São Paulo Football Club to differentiate itself within the sports field, besides to understand the praxis that Sao Paulos leaders have carried out in order to erect their stadium. In this analysis, a period (1970 - 1992) is recorded, starting after the construction of Morumbi, and going on until the conquest of the first world title of São Paulo Football Club. During this phase, it is recognized that the club won numerous sports successes, in addition to increasing its fans throughout the country, elucidating that Cícero Pompeu de Toledo Stadium was one of the possible factors that provided the acquisition of these triumphs

Uppsatsen utgår från Signerad textil, en kollektion tryckta tyger för offent­lig miljö, som tillkom 1954 i regi av NK:s Textilkammare. Tolv konstnärliga utövare, varav tio manliga, inbjöds att medverka. För nutida betrakt­are är den stora majoriteten män uppseende­väckande, då det textila området länge hade kodats som kvinnligt – och gör så än. Det leder till mina frågeställningar: Hur gick urvalet av inbjudna konstnärer till? Hur kom det sig att endast två av dem var kvinnor?  Hade en annan sammansättning av gruppen inbjudna konstnärer, bestående av fler eller enbart kvinnor, varit möjlig och hur hade den i så fall kunnat se ut?  Materialet utgörs av Astrid Sampes arkiv på Konstbiblioteket, Nationalmuseum, samt referenslitteratur inom konst och design. De teoretiska ramarna utgörs av genusteori, med stöd av Pierre Bourdieus teorier om fält, kapital och aktörer. Metod är arkiv- och text­analys. Uppsatsen består av inledning, ett analyskapitel, ett diskussionskapitel samt epilog. I analyskapitlet skrivs dels det textila områd­et fram som kvinnligt kodat, dels presenteras bakgrunden till Signerad textil. Parall­ellt vävs detta sam­man med ett försök att tolka det textila fältet och kollek­tionens kontext med hjälp av Bourdieus teorier. I det avslutande kapitlet diskuteras om och hur frågeställningarna kan besvaras samt möjliga orsaker till att de manliga konstnärerna var i stor majoritet. Epilogen handlar om hur kollek­tionen har presenterats efter 1954 samt att det textila fältet ännu är kvinnligt kodat.

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I den här undersökningen studeras hur visuella linjer används i den sydkoreanska filmen Parasite (2019) och hur dessa tillsammans med filmens mise-en-scène och bildkomposition bidrar till att förstärka de sociala teman som finns. Detta görs genom en semiotisk- och formanalys med hjälp av filmvetenskapliga begrepp. Teorier som används är främst Pierre Bourdieus kapitalteori men också filmvetenskapliga begrepp som mise-en-scène och dess underkategorier så som; setting, kostym och smink samt ljus. Dessutom ligger kameraarbetet och bildkomposition i fokus. Fyra olika scener där visuella linjer är närvarande valdes ut och analyserades, och samtliga semiotiska tecken i scenerna tolkades på en denotativ och konnotativ nivå. Genom att de kopplas till Pierre Bourdieus kapitalteorier om kulturellt, socialt och ekonomiskt kapital samt habitus och fält visar resultatet av undersökningen att de visuella linjerna, tillsammans med scenernas mise-en-scène och bildkomposition bidrar till att förstärka de sociala och ekonomiska skillnaderna. / This study examines the use of visual lines in the South Korean film Parasite (2019) and how they, together with the film’s mise-en-scène and composition, contribute to reinforce its social themes. A semiotic and form analasys is used, utilizing film theoretical concepts. The primary theory used is Pierre Bourdeu’s capital theory, as well as film studies concepts such as mise-en-scène and its subcategories, including setting, costume and makeup and lighting. Additionally, camera work and composition are emphasized. Four scenes featuring visual lines were selected and analyzed and semiotics signs in the scenes were interpreted both denotatively and connotatively. By connecting them to Pierre Bourdieu’s theories of cultural, social, and economic capital as well as habitus and fields, the results of the study demonstrate that the visual lines, along with the mise-en-scène and the visual composition of the scenes, contributes to reinforce social and economic divisions.

The representation of Chancery court in Charles Dickens’ Bleak House (1852-3) emphasises the inaccessibility of this institution to members of the laity. Dickens’ critique of Chancery chimes with Pierre Bourdieu’s sociological description of law as a formalistic social field defined by practices of exclusion. Dickens’ Chancery is however further inaccessible since it departs from Dickens’ laypeople’s horizons of expectation as a bureaucratic organisation characterised by its structural dispersion and the generation of great quantities of writing. This thesis therefore scrutinises Dickens’ treatment of Chancery in light of media-theoretical and geocritical, as well as sociological, frameworks and perspectives. This essay demonstrates that Dickens’ account of the institution of Chancery as conceptually inaccessible amounts to what I term a non-world heuristic. I contend that Dickens’ take on law anticipates what Fredric Jameson famously theorises as the dizzying “global world system” of late capitalism; the non-world heuristic of Bleak House—which combats disorientation in the social domain of law—may thus be understood as an early example of what Jameson terms an “aesthetic of cognitive mapping.” The non-world heuristic, this thesis proposes, likely has a role to play also in fictional attempts to cognitively map the global world system. I theorise the non-world heuristic in light of the discourse on accessibility in possible-worlds theory and the Kantian sublime, finding that the sublime non-world of Chancery is made accessible as inaccessible and that this dynamic is integral to Dickens’ aesthetic both as a maker of cognitive maps and as a realist novelist.

This thesis deals with so called normalization of Czech literature which took place after the Prague Spring of 1968 in the perspective of literary field theory formulated by Pierre Bourdieu. Based on various textual data it reconstructs the literary field refraction focusing on the relationship between literary field and the field of power, position which newly appeared and habitus formulated. It offers few findings which might be subject to further verification in more detailed analysis.

Submitted by CARLA MARIA GOULART DE MORAES (carlagm) on 2015-04-01T17:11:11Z No. of bitstreams: 1 FelipeJoseKayserFurlan.pdf: 879829 bytes, checksum: a7117453ce051b49b84b892ddc2aa822 (MD5) / Made available in DSpace on 2015-04-01T17:11:11Z (GMT). No. of bitstreams: 1 FelipeJoseKayserFurlan.pdf: 879829 bytes, checksum: a7117453ce051b49b84b892ddc2aa822 (MD5) Previous issue date: 2011-05-03 / Nenhuma / A presente pesquisa consiste em um estudo da atuação da mídia nas políticas públicas de segurança desenvolvidas no Estado do Rio Grande do Sul durante o Governo de 1999 a 2003. O objetivo é oferecer uma abordagem sociológica do Direito a partir da matriz teórica de Pierre Bourdieu em um esforço para compreender a extensão do papel que a mídia e seus agentes estão conduzindo nas esferas jurídicas e políticas. Ao desenvolver os estudos sociológicos, principalmente os referentes à Pierre Bourdieu, o trabalho pretende esclarecer a dominação que os agentes midiáticos são capazes de obter uma vez que os meios de comunicação de massa atingem as suas finalidades. Não somente a autonomia dos membros da sociedade é colocada em risco, mas também o papel que cumpre o Estado é igualmente diminuído por tal conduta. O primeiro capítulo desenvolve as lições de Bourdieu estabelecendo a influência da mídia na opinião pública e como a rotina dos agentes midiáticos sustenta a exploração da mesma. O segundo capítulo pretende examinar a abordagem que os agentes da mídia assumem para se inserir nas ações próprias do Governo. No terceiro capítulo, a pesquisa segue abordando a aproximação que a mídia introduz e reforça a respeito das instituições públicas tais como o judiciário e as representações políticas de Estado. / This research is formed by a study about de manifestation of the media actions around the public security policies developed in the state of Rio Grande do Sul during the government of the period from 1999 to 2003. The main goal is to provide a sociological view towards Law from Pierre Bourdieus theory in a struggle to comprehend the extention of the role that media agents have been conducting in the political and judicial areas. By developing the sociological studies mainly from Pierre Bourdieu, the research attempts to clarify the domination that media agents are capable of achieving once the mass media reaches its goal. Not only the autonomy of society members are put at risk but the role that the state develop is also diminished by doing so. The first chapter focus on Bourdieus findings from establishing the media influence on public opinion and how media agents routines sustain the exploration of it. The second chapter attempts to examines the approach that media agents take to get into the conduction of government actions itself. And in the third chapter, theres a research about the approximation that media introduce and reinforce towards public institutions such as the judiciary and the political representations of the state.