This study examines changes in culture, economics and politics in Taiwan. Ronald Inglehart suggests that culture, economics and politics are mutually connected and these dynamics shape each other over time. Richard Florida argues that the driving force behind the transformation of a society¡¦s lifestyles, worldview and values is the rise of human creativity. In order to observe the changes over time, Inglehart and his colleagues have been collecting data through questionnaires (World Values Survey) in countries around the world. The purpose of this study is to measure and interpret the recent changes in Taiwan. Data collected from Taiwan is compiled in a unique database for analysis. This paper discusses the findings from this analysis and interprets the direction of change brought by intergenerational change. In addition, a cross-cultural analysis between Sweden and Taiwan is performed using the latest data collected from the two countries. Results suggest that Taiwan¡¦s shift is in the direction of Postmodernity. In addition, younger people are found to be more tolerant against different groups of people compared to the older generation.

The purpose of my Thesis is to further develop an artistic practice that involves a thoughtful, drawn out engagement with culture, utilizing immediacy, temporality and improvisation through the formal manipulation of different mediums. My research focuses on these ideas as a continual thread that runs through my work of the past twenty years and gives conceptual unity to the range of stylistic experiments that have come with my growth as an artist. The end result is collage, painting, video and installation that utilizes both the literal and parabolical tearing, cutting and pasting of elements together as analogies within a defined field. The defined field being both the formal area of the work, as well as the conceptual representation of my individual consciousness as expressed through my process. Moving between abstraction and representation allows me to sample my thoughts and present them through a methodology that is consistent with the cognitive interplay of abstract and representative thought.

This thesis evaluates metafictional self-reflexivity, and presents it within the scope of certain structuralist and post-structuralist approaches especially by referring to William Gass&rsquo / definition of metafiction and Raymond Federman&rsquo / s theories on the devices of metafiction. Then aspects of the works of William Gass&rsquo / Willie Master&rsquo / s Lonesome Wife and Laurence Sterne&rsquo / s The Life and Opinions of Tristram Shandy are discussed within this framework.

The past 20 years have seen a growing interest amongst researchers into indirect forms of aggression and bullying. The evidence suggests that covert forms of aggression are largely used by adolescent girls as a means of inflicting harm on another and that the effects of such interactions can be detrimental to the individual's psychological and emotional well-being. This study aims to explore the social experiences of four adolescent girls, with particular reference to indirect aggression practices that they may have encountered. Data was collected in the form of unstructured interviews, which were conducted with each participant separately. Prominent themes were then identified and explored by the researcher. This was done from a systemic epistemological stance within the post-modern paradigm. A qualitative methodological design was followed allowing for the personal experiences and meaning attributions of each participant to come to the fore. The study's results were presented in the form of descriptive text with particular reference to the systemic processes that came to the fore. Overall, the study explicated the unique experiences of four adolescent girls with indirect aggression and how these experiences are interwoven with systemic processes that take place in social groups. / Psychology / M. A. (Clinical Psychology)

This study proposes a beyond modernist conceptual model for businesses' social engagement to address social development through public relations. This model is based on the premises that social thinking shifted towards beyond modernist thinking, that the same shift is evident in social development and that businesses' social engagement to address social development through public relations should be aligned with this shift in social thinking and in social development. The social shift towards beyond modernist thinking means that it is assumed that people are interdependent on one another for their future survival on earth, and that people and nature are, in the same way, interdependent. Accepting interdependency implies acceptance of 'multiplicity' and 'reciprocity'. This leads society to increasingly expect that businesses should be socially engaged. In developing countries this implies social development. This shift in society towards beyond modernist thinking is echoed in social development discourse: through an an equal-status relationship between benefactor and beneficiary beyond modernist social development enables members of a developing community to develop themselves. These shifts in social thinking and in the field of social development, has not matured to the same extent in the practice and theory of businesses' social engagement to address social development through public relations. The conceptual model proposed in this study addresses this concern. The proposed conceptual model formalises this shift in thinking on a theoretical/conceptual level, which indicates an ecological business-society relationship where the business regards itself as being part of society, where public relations should have a social orientation and where the businesses' social engagement through public relations should be directed towards the improvement of society. Based on this model, guidelines towards the practice of businesses' social engagement to address social development through public relations are deduced / Communication Science / D.Litt. et Phil. (Communication Science)

A partir do estudo de um caso específico – a performance Porquê Choras?, de Rogério Nazari e Telmo Lanes, ocorrida em 14 de agosto de 1985, em Porto Alegre, e que contou com a participação do grupo de rock Defalla – este trabalho busca narrar uma História (Roqueira) da Arte, apontando momentos no século XX em que o campo das artes visuais foi cruzado com o da cultura popular massiva representada pelo rock. Em paralelo, esta pesquisa também propõe reflexões acerca do fazer da própria história da arte e das maneiras de produção da chamada pós-crítica. / From the study of a specific case – the performance Porquê Choras?, by Rogerio Nazari and Telmo Lanes, which occurred on August 14, 1985, in Porto Alegre, and had the participation of the rock group Defalla – this paper seeks to narrate a Rock My Art Story, pointing moments in the twentieth century that the field of visual arts has crossed with pop culture represented by rock’n’roll. In parallel, this research also proposes reflections on the making of the history of art and on the ways of production of the so called post-criticism.

O objeto artístico desta dissertação é o romance A caverna do escritor português José Saramago. Os caminhos teóricos que vão construir um método adequado para uma visão aprofundada desta narrativa são os do estudo das teorias que veem a literatura como uma junção de texto e contexto, que entendem os elementos sócio-históricos em uma relação de interpenetração com o texto literário, de forma que esses elementos externos transmutem-se em elementos internos à obra (ou seja, em elementos estéticos). A construção de um método dialético foca-se principalmente nos textos de teóricos como Theodor Adorno, Raymond Williams e Fredric Jameson. Após o estudo das teorias dialéticas, objetiva-se proceder com a análise do romance de Saramago, sempre relacionando obra e contexto. Considerando que o contexto da obra em questão refere-se – como se defende neste trabalho – a um período pós-moderno de nossa história, a pesquisa, então, concentra-se no estudo do elemento social objetivando um entendimento da sociedade pós-moderna, para, logo após, de forma imanente, fazer uma leitura possível da obra saramaguiana centrada em dois elementos: o do mapeamento do pós-moderno e o da crítica à lógica do capitalismo. As pesquisas sobre o pós-modernismo centram-se essencialmente nas teses de David Harvey e de Fredric Jameson. / The artistic object of this dissertation is the novel “The Cave” by José Saramago. The theoretical roads responsible for building a proper method to reach a deeper view of this narrative are related with theories that see literature in connection with its social context; theories that understand the social historical elements in relation with the literary object in a way in which these outside elements transmute into inner ones in the work (in other words, aesthetic elements). The building of a dialectical method focuses mainly on the works of Theodor Adorno, Raymond Williams and Fredric Jameson. After the study of these theories, this work intends to analyze Saramago’s novel, always looking into the relation between art and society. Taking into account that the novel’s context refers – as I propose in this work – to a post-modernist period of our history, my research, then, focuses on the study of the social element looking for an understanding of post-modern society, focused on two elements: the description of post-modernism and the criticism towards capitalistic logic. The researches about post-modernism are essentially based on the thesis of David Harvey and Fredric Jameson.

Orientador: Célia Aparecida Ferreira Tolentino / Banca: Arlenice almeida da Silva / Banca: Paulo Roberto Arruda de Menezes / Resumo: Investigamos três obras cinematográficas da ficção científica produzidas nos Estados Unidos da América: Homem Bicentenário (EUA, 1999), Inteligência Artificial (EUA, 2001) e Eu, Robô (EUA, 2004), todas obras da indústria cultural cujas narrativas num contexto denominado pós-modernista tematizam a relação entre humano e pós-humano. O cinema é o núcleo central do nosso objeto; observaremos os aspectos ideológicos impressos nas diegeses e nos elementos que as compõem (imagens, planos, seqüências, diálogos, montagem), isto é, a sua construção estética e a moral dela resultante. Também observaremos os usos das novas tecnologias e como seu discurso é trabalhado nestas narrativas, com o intuito de apreender as diferenças entre os discursos científicos e aqueles transmitidos ao público espectador da cultura de massa. Tomamos esses filmes devido a sua notoriedade comercial e apelo popular o que lhes conferem maior amplitude na questão dos mecanismos de manipulação, diversão e degradação, reconhecidamente atuantes na cultura de massa e na mídia. Metodologicamente, discutimos os fundamentos sociais do discurso científico nos filmes, captar suas alegorias, a relação do homem com a tecnologia e as saídas para os conflitos no plano diegético e com isso, apontar o que se apresenta como reificação e utopia nessas obras de cultura. / Abstract: We investigated three cinematograph works of scientific fiction producted in the United States of America: Bicentennial Man (USA,1999), Artificial Intelligence, (USA,2001) and I, Robot (USA, 2004), all the cultural industry works whose narratives that are in a context denominated post- modernist systematize the relationship between human and post-human. The cinema is the central nucleus of our object; we observed the ideological aspects that are present in the fictional universe of the cinema and in the elements that compose this fictional universe. (images, plans, sequences, dialogs, montages), what is its esthetic construction and the moral originated from this construction that is contained in the structure of each movie. We also observed the uses of the new technologies and how the discourse of this technologies is worked out in these narratives, aiming the apprehension of the differences between the scientific discourses and those that are transmitted to the spectator public of the mass culture. We chose these movies on account of its commercial notoriety and the popular appeal that give them more amplitude in the matters of the manipulation mechanisms, entertainment and degradation recognized as actives in the mass culture and in the media. Methodologically, we discussed the socials fundaments of the scientific discourses in the movies and we tried to identify through the cinematographic narrator his allegories, the relation of the man with the technology and the solutions to the conflicts presented in the movies. Therefore, we aimed to contribute to an sociological analyses of the presented works. / Mestre

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-27Bitstream added on 2014-06-13T20:28:48Z : No. of bitstreams: 1 frin_le_me_ia.pdf: 779961 bytes, checksum: 5b5497f4294ff2f318cda517cdf8ebda (MD5) / Universidade Estadual Paulista (UNESP) / O estudo focaliza o Projeto Machadianas, desenvolvido entre junho de 2006 a julho de 2007 no Ágora Teatro na cidade de São Paulo. O projeto pesquisou as possibilidades da utilização da narrativa em cena e teve como base literária a obra de Machado de Assis, mais precisamente os seus contos. Esta dissertação analisa o contexto histórico do surgimento do Ágora Teatro e de outros grupos teatrais paulistanos no fim da década de 1990 e relaciona essa análise com discussão acerca da sociologia da cultura. Também são feitos apontamentos sobre a teoria dos gêneros literários e seus componentes estéticos, históricos e sociais. A partir desses apontamentos, são apresentados elementos que embasam a revalorização da utilização de expedientes épicos em cena a partir do final do século XIX e reflete-se sobre os porquês da escolha desta utilização na contemporaneidade como maneira de restaurar a qualidade da relação entre atores e público. Resulta da abordagem de todos os trabalhos resultantes do Machadianas, uma discussão crítica acerca da inclusão do projeto nas teorias da Pós-modernidade. Por fim, apresenta alguns elementos da obra de Machado de Assis que permitiram que ela sustentasse um projeto que tinha dentre os seus objetivos fomentar a discussão a respeito do homem e da sociedade brasileira no século XXI / The subject of this study is the Machadianas Project, developed between June 2006 and July 2007 at the Ágora Teatro, in São Paulo. The project studied the possibility of the uses of the narrative” on stage and was utterly based on the works of Machado de Assis, mostly on his short stories. This dissertation analyses the historical context in which Ágora Teatro and other theatre groups were established in São Paulo, in the 1990s and also relates to discussions on the nature of a Cultural Sociology. The theory of the literary gender and its historical, social, and aesthetic components are used to present elements and base the upgrading of using epic choices on stage since the late 1800s. These choices, nowadays, help taking back the relation between the theatre and its audience. This dissertation is the result from the study of all activities of the Machadianas Project, as well as a discussion on its inclusion in the postmodern theories. To sum up, it presents some aspects of the works of Machado de Assis that allows us to assure that it has, in its core, elements to help us discuss men and the Brazilian society in the 21st century

Orientador: Alexandre Luiz Mate / Banca: Maria Silvia Betti / Banca: José Manuel Lázaro de Ortecho Ramírez / Resumo: O estudo focaliza o Projeto Machadianas, desenvolvido entre junho de 2006 a julho de 2007 no Ágora Teatro na cidade de São Paulo. O projeto pesquisou as possibilidades da utilização da narrativa em cena e teve como base literária a obra de Machado de Assis, mais precisamente os seus contos. Esta dissertação analisa o contexto histórico do surgimento do Ágora Teatro e de outros grupos teatrais paulistanos no fim da década de 1990 e relaciona essa análise com discussão acerca da sociologia da cultura. Também são feitos apontamentos sobre a teoria dos gêneros literários e seus componentes estéticos, históricos e sociais. A partir desses apontamentos, são apresentados elementos que embasam a revalorização da utilização de expedientes épicos em cena a partir do final do século XIX e reflete-se sobre os porquês da escolha desta utilização na contemporaneidade como maneira de restaurar a qualidade da relação entre atores e público. Resulta da abordagem de todos os trabalhos resultantes do Machadianas, uma discussão crítica acerca da inclusão do projeto nas teorias da Pós-modernidade. Por fim, apresenta alguns elementos da obra de Machado de Assis que permitiram que ela sustentasse um projeto que tinha dentre os seus objetivos fomentar a discussão a respeito do homem e da sociedade brasileira no século XXI / Abstract: The subject of this study is the Machadianas Project, developed between June 2006 and July 2007 at the Ágora Teatro, in São Paulo. The project studied the possibility of the uses of the "narrative" on stage and was utterly based on the works of Machado de Assis, mostly on his short stories. This dissertation analyses the historical context in which Ágora Teatro and other theatre groups were established in São Paulo, in the 1990s and also relates to discussions on the nature of a Cultural Sociology. The theory of the literary gender and its historical, social, and aesthetic components are used to present elements and base the upgrading of using epic choices on stage since the late 1800s. These choices, nowadays, help taking back the relation between the theatre and its audience. This dissertation is the result from the study of all activities of the Machadianas Project, as well as a discussion on its inclusion in the postmodern theories. To sum up, it presents some aspects of the works of Machado de Assis that allows us to assure that it has, in its core, elements to help us discuss men and the Brazilian society in the 21st century / Mestre