[pt] Em fins de 2016 o conceituado Dicionário Oxford elegeu e divulgou que pós-verdade seria sua palavra do ano. A escolha teria se baseado no singular aumento de uso da palavra e seria relativa ao agitado panorama macropolítico que havia dominado a discussão pública, nos contextos aos quais se refere o dicionário, naquele ano. Sua definição remeteria a uma perspectiva na qual a emoção seria mais importante ao apelo público que referências aos fatos, tal como uma crescente desvalorização da verdade. A palavra, então, passou a ser bastante tematizada e discutida publicamente nesta chave. Partindo deste contexto, o presente trabalho chega à seguinte pergunta: por que se preteriria e defenderia, axiologicamente falando, uma afirmação enquanto verdadeira mesmo que epistemologicamente tais afirmações procedam ou não? A partir do debate acerca desta questão, o trabalho desloca seu olhar de uma vontade de verdade para uma vontade de identidade, pensando os processos pelos quais indivíduos ou grupos criam identificações acerca de certas verdades, em seu sentido axiológico. Assim, passa a indagar os mecanismos da identidade e consolidação de tais verdades; para isto, recorre aos postulados filosóficos de Friedrich Nietzsche e Jacques Derrida e estabelece uma narrativa, a partir da pergunta sobre a noção de pós verdade e seus limites, que se segue da vontade de verdade de acordo com o postulado por Nietzsche para as discussões acerca de identidades e identificações nos postulados de Derrida. Pergunta-se então, se em sentido axiológico se poderia falar de uma hipertrofia da verdade. / [en] At the end of 2016 the prestigious Oxford Dictionary has elected and announced that post-thuth was his word of the year. The choice was based on the significantly increase of the use of the word and it would be related to the main politics landscape that had been on the spots of the public discussion that year, about the contexts referred by the dictionary. His definition (of post-truth) would refer to a perspective where emotion was more important to the public appeal than references to facts, just as a growing devaluation of truth too. The word, then, got more themed and publicly discussed in this key. From this context, this text comes to the following question: why it would be preferred, pointed and defended, axiologically speaking, a statement as true even if epistemologically these statements proceed or not? From this debate, this text turns his view from a will to truth to a will to identity, thinking the processes in witch individuals or groups creates identifications about certain truths in their axiological sense. Thus, it begins to inquire the mechanisms of identity and the consolidation of those truths; in this purpose it resorts to the philosophical postulates of Friedrich Nietzsche and Jacques Derrida and establishes a narrative starting from the question about the notion of post-truth, its limits, which follows from the will to truth according to postulates of Nietzsche to the discussions about identities and identifications on Derrida s postulates. So, it s possible to outline the possibilities, in an axiological sense, of a discuss about a hypertrophy of truth.

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This essay examines tweets published during a measles outbreak in January 2018 with the purpose of highlighting the division among tweets positive and negative toward vaccine, the use of sources and arguments as well as what risks are expressed and how the tweets relate to research and media. The study conducted is based on a combination of a quantitative content analysis followed by a qualitative content analysis. In total 260 Swedish tweets are being analyzed during the study, 18 of them make up the material for the qualitative study, all published 2-5 January 2018. Theories about media and health, post-truth, risk and participation make up the theoretical framework for the conducted study. The results from the study are analyzed through these theories. Results from the quantitative content analysis show that more than half of the tweets mentioning vaccine are positive toward vaccine. Tweets arguing in favor of vaccine use more sentiment in their arguments and those opposing vaccine more often use rational arguments. The quantitative analysis also show that half of the tweets used a source and primarily with the purpose of spreading information. Additionally a majority of those tweets using a source support the source mentioned, sources mostly used are media or authorities/institutions. Almost two-thirds of all tweets express some kind of risk. The risks most frequently expressed are risk of disease, lack of people vaccinated and immigration. Four themes emerge from the qualitative content analysis, two themes among tweets negative toward vaccine and two themes from tweets positive toward vaccine. The negative tweets speak of measles as a harmless disease and the danger of taking vaccine. On the contrary, the positive tweets speak of the dangers of measles and of the lack of people vaccinated as dangerous. / I denna studie undersöks twitterinlägg som publicerats under utbrott av mässling i januari 2018 för att belysa fördelningen mellan inlägg för och mot vaccin, användning av källor och argument samt hur inläggen ger uttryck för risk och även deras förhållande till forskning och media. Studien bygger på en kombinerad metod med en kvantitativ innehållsanalys följt av en kvalitativ innehållsanalys. Totalt har 260 svenska twitterinlägg ingått i studiens empiriska material, varav 18 ingått i den kvalitativa delen av studien, och samtliga är hämtade 2-5 januari 2018. Teorier om hälsa och medier, post-truth, risk samt deltagande utgör den genomförda studiens teoretiska ramverk. Dessa teorier används för att analysera studiens resultat. Resultatet av den kvantitativa analysen visade att mer än hälften av de inlägg som berörde vaccin var positiva till vaccin. I sin argumentation användes främst emotionella argument hos inlägg positiva till vaccin och logiska argument hos inlägg negativa till vaccin. Den kvantitativa studien visade även att hälften av alla inlägg använt sig av en källa och då främst i syfte att informera, dessutom ställde majoriteten av twitterinläggen sig positiva till den källa de hänvisat till vilket oftast var media eller myndigheter/institutioner. Nästan två tredjedelar av inläggen gav uttryck för risk och då var sjukdom, brist på vaccinerade och invandring de risker som lyftes fram mest. I den kvalitativa delen av studien framkom fyra teman, två för inlägg negativa till vaccin och två för inlägg positiva till vaccin. Inlägg negativa till vaccin talade om hur mässling inte var farligt och att vaccin var farligt. I motsats till detta talade inlägg positiva till vaccin om att mässling var farligt och att brist på vaccinerade var farligt.

Compulsory vaccination is one of the fundamental pillars of public health protection that has helped eradicate many previously lethal and widespread diseases from our geographical area. Although the vaccination rates remain high in the Czech Republic, the number of parents who refuse to vaccinate their children is growing. Reasons for this restraint are various. This thesis looks at the issue from the perspective of social constructivism. By implementing in-depth interviews, it tries to contribute to understanding how parents perceive the influence of the media on their decisions on the issue of compulsory vaccination. Other theoretical starting points are the media construction of reality, the theory of representation or biopower, and biopolitics in Michel Foucault's conception. A significant part of the theory also describes the current period, which is characterized by terms such as post-truth or post-factual era, and addresses which role plays new media such as social networks and the internet in the growing mistrust in expert knowledge and institutions. The analytical part is devoted to the analysis of collected data in the grounded theory approach. The identified categories then describe how parents evaluate the role of the media in the debate on compulsory vaccination, how they evaluate...

Este estudo tem por objeto o documentário de Thomas Harlan, Torre Bela (1978), filmado durante o processo revolucionário português (1974-1975). A película insere-se na raiz cinematográfica do cinema-verdade, destacando-se do debate em torno deste conceito desenvolvido por Jean Rouch e Edgar Morin no decênio de 1960, na medida em que propõe antes, uma abordagem materialista aos processos sociais, retomando a perspectiva desenvolvida por Dziga Vertov (1896-1954), cineasta russo autor do filme Kinoglaz (1924), que Thomas Harlan cita em diferentes cenas de Torre Bela. Harlan constrói de forma crítica e reflexiva uma síntese da atualidade, proveniente do recorte histórico, resultante da combinação sistematizada entre o fragmento do filme e a visão histórica sobre o processo revolucionário que o cineasta insere na montagem do filme. Ao concretizá-la, Harlan acaba por colocar luz nas contradições do processo português, alumiando, por exemplo, como o acordo militar para uma \"nova política social\", que defendia os direitos da classe trabalhadora como anunciado no Programa do Movimento das Forças Armadas, consolida-se apenas em direitos para a classe dominante, os proprietários dos meios de produção, excluindo-se o trabalhador do modelo de sociedade democrática. O filme é emblemático também, para compreender a forma como o trabalhador se torna sujeito político da Revolução, histórico, por isso, objetivando as suas utopias através da película, até o momento da intervenção da força militar contrarrevolucionária como mostra o final do filme. Em tese, o trabalho investiga como a reintrodução da perspectiva histórica sobre a forma como uma dada sociedade se organiza, bem como o ponto de vista do cineasta sobre o fenômeno social abordado torna-se, no caso da película Torre Bela, uma forma de resistência e de oposição ao movimento de desmanche e declínio das grandes utopias que marcou a segunda metade do século XX, e que na atualidade se reinventa no fenômeno da pós-verdade. / The subject of this study is the Thomas Harlan documentary Torre Bela (1978), filmed during the Portuguese Revolution of 1974 - 1975. The movie is implanted in the cinematographic roots of the truthful-cinema (cinéma vérité), outdistancing from the 1960´s debate surrounding Jean Rouch and Edgar Morin´s concept since it proposes instead, a materialistic view of the social processes, recollecting the same perspective developed by Dziga Vertov (1896-1954), Russian filmmaker creator of Kinoglaz movie (1924), and in which Thomas Harlan references it in several scenes of Torre Bela. Based on a historical approach, Harlan elaborates a critically reflexive summary of the actuality, resultant from the systematic combination between frames and the historical perception of the revolutionary process and in which the creator inserts in the film. Whilst producing it, Harlan focus on the contradictory facts in the Portuguese process highlighting for example, how the military agreement for the new social politic, which defended the workers\' rights, as announced by the Military Forces Program, primarily focuses on the dominant classes (owners) excluding the workers from the social-democratic model. The movie is emblematic and historical leading you to understand how the worker became a politic individual of the revolution, presenting its utopias trough the movie up until the contra revolutionary intervention by the military force as exposed in the end of the movie. In theses, the study investigates how a reintroduction of the historical perspective of a society organization as well as the filmmaker´s understanding and approach of the social singularity becomes, in Torre Bela, a way of resistance and opposition to the destruction and decline of the utopias which characterized the second half of the 20th century and in present time reinventing itself within the post-truth concept.

In 2016, “post-truth” was chosen as the word of the year by the Oxford Dictionaries. This is a concept that has come to be associated with a type of political discourse in which objective facts are less important than factual inaccuracies which appeal to emotion to influence people’s attitudes. Due to this recent increase in post-truth politics, critical thinking becomes an important skill to master. Yet, studies have suggested that students often lack the necessary skills for critical thinking. One way of approaching this problem is through the reading of literature. This essay specifically argues that George Orwell’s 1984 provides teachers with an excellent opportunity to develop critical thinking skills among upper secondary English as a foreign language (EFL) students, with the novel as an excellent platform to also promote student reflection on current post-truth politics. In order to work with 1984 to foster critical thinking, this essay utilizes a literature-based, pedagogical model developed by Bobkina and Stefanova that draws inspiration from elements of reader-response theory and critical literacy pedagogy (CLP). To show how 1984 can be used to discuss current post-truth politics, a thematic analysis was performed where central themes and concepts from the novel, such as doublethink, Newspeak and telescreens, were compared to current trends in post-truth politics. The analysis itself was structured around the following themes: the distortion of truth for political gains, the use of language as an instrument of political power and the use of technology to spread misinformation. Following the analysis, a lesson project based on Bobkina and Stefanova’s four-stage model was constructed, focusing on different pre-, while- and post-reading activities aimed at making the students develop their critical thinking skills as well as their awareness of the three themes mentioned above. While this approach is deemed suitable for working with 1984 to discuss post-truth politics, a suggestion for further research would be to use Bobkina and Stefanova’s model together with more contemporary dystopian novels in order to discuss other topics that are more relatable to young adults, e.g. identity issues and social stratification.

Este estudo tem por objeto o documentário de Thomas Harlan, Torre Bela (1978), filmado durante o processo revolucionário português (1974-1975). A película insere-se na raiz cinematográfica do cinema-verdade, destacando-se do debate em torno deste conceito desenvolvido por Jean Rouch e Edgar Morin no decênio de 1960, na medida em que propõe antes, uma abordagem materialista aos processos sociais, retomando a perspectiva desenvolvida por Dziga Vertov (1896-1954), cineasta russo autor do filme Kinoglaz (1924), que Thomas Harlan cita em diferentes cenas de Torre Bela. Harlan constrói de forma crítica e reflexiva uma síntese da atualidade, proveniente do recorte histórico, resultante da combinação sistematizada entre o fragmento do filme e a visão histórica sobre o processo revolucionário que o cineasta insere na montagem do filme. Ao concretizá-la, Harlan acaba por colocar luz nas contradições do processo português, alumiando, por exemplo, como o acordo militar para uma \"nova política social\", que defendia os direitos da classe trabalhadora como anunciado no Programa do Movimento das Forças Armadas, consolida-se apenas em direitos para a classe dominante, os proprietários dos meios de produção, excluindo-se o trabalhador do modelo de sociedade democrática. O filme é emblemático também, para compreender a forma como o trabalhador se torna sujeito político da Revolução, histórico, por isso, objetivando as suas utopias através da película, até o momento da intervenção da força militar contrarrevolucionária como mostra o final do filme. Em tese, o trabalho investiga como a reintrodução da perspectiva histórica sobre a forma como uma dada sociedade se organiza, bem como o ponto de vista do cineasta sobre o fenômeno social abordado torna-se, no caso da película Torre Bela, uma forma de resistência e de oposição ao movimento de desmanche e declínio das grandes utopias que marcou a segunda metade do século XX, e que na atualidade se reinventa no fenômeno da pós-verdade. / The subject of this study is the Thomas Harlan documentary Torre Bela (1978), filmed during the Portuguese Revolution of 1974 - 1975. The movie is implanted in the cinematographic roots of the truthful-cinema (cinéma vérité), outdistancing from the 1960´s debate surrounding Jean Rouch and Edgar Morin´s concept since it proposes instead, a materialistic view of the social processes, recollecting the same perspective developed by Dziga Vertov (1896-1954), Russian filmmaker creator of Kinoglaz movie (1924), and in which Thomas Harlan references it in several scenes of Torre Bela. Based on a historical approach, Harlan elaborates a critically reflexive summary of the actuality, resultant from the systematic combination between frames and the historical perception of the revolutionary process and in which the creator inserts in the film. Whilst producing it, Harlan focus on the contradictory facts in the Portuguese process highlighting for example, how the military agreement for the new social politic, which defended the workers\' rights, as announced by the Military Forces Program, primarily focuses on the dominant classes (owners) excluding the workers from the social-democratic model. The movie is emblematic and historical leading you to understand how the worker became a politic individual of the revolution, presenting its utopias trough the movie up until the contra revolutionary intervention by the military force as exposed in the end of the movie. In theses, the study investigates how a reintroduction of the historical perspective of a society organization as well as the filmmaker´s understanding and approach of the social singularity becomes, in Torre Bela, a way of resistance and opposition to the destruction and decline of the utopias which characterized the second half of the 20th century and in present time reinventing itself within the post-truth concept.

Thesis exhamines the role and purpose of lie in post-truth age in the life of individual person as well as in the life of sociaty. The action oscillates between performance and happening, through these media author and in the same time tour-guide presents his own and his family and friends lifes.

Aging represents the most significant prerequisite to be influenced by disinformation or fraudulent media messages on the internet. The elderly are a group that consumes these messages and also spreads them most often. With the gradual aging of the population and enlargement of the elderly group, the society-wide problem further escalates. The topic of the diploma thesis is focused on the issues of fake news and the spread of disinformation online within the elderly group aged 65 and more years. The thesis aims to describe in detail the aspects on which the elderly evaluate the credibility of news and which signs of fake news they are able to identify. The theoretical section defines the fundamental terms relevant to fake news and describes the state of media literacy of the Czech elderly in the context of current research. In the practical section, a qualitative study is conducted in the form of semi structured interviews with the elderly to answer the research questions.

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