Place has been a fundamental topic for geographers (Agnew, 1987). It stands both for a study object and a manner of perceiving the world. This thesis departs from the theoretical debate regarding places and how places are considered as being spatially fixed in the sense that places cannot be reproduced or imitated elsewhere. However, technological innovations have extraordinary significance in all the realms of leisure and lifestyle (Godbey, 1997) whereas, leisure activities increasingly are being simulated and reproduced exemplifying the new postmodern culture and the ‘post-tourist’ (Urry, 1990). Thus, challenges the spatial fix of places (Shaw & Williams, 2004). There has been little empirical research regarding artificial environments and therefore, the research problem contributes to understand how artificial environments are altering habitual travel patterns regarding the ‘genuine’ or as previous authors have stated, regarding the ‘real thing’. The research questions proposed for the study, directed the researcher to a quantitative approach using the questionnaire as a main source of data collection. The simulated environment that was investigated in the study was the indoor ski slope located in Madrid (Spain). The results showed that the simulated environment is enhancing and intervening the ski activity. For most of the skiers the indoor ski slope is complementing their ski activity in front of the outdoor ski resorts. Furthermore, the facility is recruiting every year a great number of new skiers that after skiing indoors desire to experience the ‘real thing’. Due to the proximity of the facility to the major urban areas, the indoor ski slope is acting as an intervening opportunity and boosting the visitors towards outdoor skiing.

Made available in DSpace on 2016-04-26T18:13:28Z (GMT). No. of bitstreams: 1 Cyntia Gomes Calhado.pdf: 942230 bytes, checksum: 4ee1f69e3ea23a676facdbe05033fd86 (MD5) Previous issue date: 2013-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the re-elaboration of the national identity, especially in the form of the dualism city-countryside, performed in the film Central do Brasil (Walter Salles, 1998), from the postmodern theory. Acknowledges the centrality of the concept of national identity and the development of the dualism city-countryside in modern Brazilian culture to the incorporation of the subject at different times of national cinema. The study of the recurrence of this dualism in the texts and films about national identity is realized based on Nísia Lima (1999), Mauricio Gonçalves (2011), Celia Tolentino (2001), Ivana Bentes (2007), Ismail Xavier (2007, 2012) and Lúcia Nagib (2006). To spot the similarities between the film and the postmodern esthetic, reflections of Frederic Jameson (1983, 1996, 1998), David Harvey (2005), Renato Pucci Jr. (2008), Lúcia Santaella (2000, 2003), Robert Stam (2005, 2010) and Ronaldo Brito (2001, 2005) are used. A semiotic analysis of the corpus is based on the definitions of Ismail Xavier (2003), Luiz Zanin Oricchio (2003), Lucia Nagib (2003, 2006) and Ivana Bentes (2007). The following aspects are identified: the postmodern aesthetic procedures that the object articulates, as the profusion of quotes with direction reversal that work as trademarks of distancing anti-illusionist, the overburden resource, metalinguistic aspects, negation of the dichotomy erected by modernism between high culture and mass culture - the Great Divide theorized by Andreas Huyssen (1986) - in addition to its stylistic hybridity, as the film blends social drama, melodrama, documentary aspects and road movie in a plot that follows the codes of a moral parable of biblical inspiration. Among the postmodern thematic aspects of Central do Brasil, this dissertation focuses on the way the film draws the parameters of denial of totalization, the utopias and teleology in script and in character development that occur, for example, in the approach that values the individuality instead of collectivity and not explicitly thematizes the sociopolitical forces that focus on the characters, assuming it only as subtext / Esta dissertação analisa a reelaboração da identidade nacional, especialmente na forma do dualismo cidade e campo, realizada pelo filme Central do Brasil (Walter Salles, 1998), a partir da teoria pós-moderna. Admite-se a centralidade do conceito de identidade nacional e a elaboração do dualismo cidade e campo na cultura moderna brasileira até a incorporação e ressignificação do tema em diversas épocas do cinema nacional. O estudo da recorrência do dualismo cidade e campo nos textos e filmes sobre a identidade nacional é realizado com base em Nísia Lima (1999), Mauricio Gonçalves (2011), Célia Tolentino (2001), Ivana Bentes (2007), Ismail Xavier (2007, 2012) e Lúcia Nagib (2006). Para traçar os pontos de contato entre o filme e a estética pós-moderna são buscadas as reflexões de Frederic Jameson (1983, 1996, 1998), David Harvey (2005), Renato Pucci Jr. (2008), Lúcia Santaella (2000, 2003), Robert Stam (2005, 2010) e Ronaldo Brito (2001, 2005). A análise semiótica do corpus se apoia nas definições de Ismail Xavier (2003), Luiz Zanin Oricchio (2003), Lúcia Nagib (2003, 2006) e Ivana Bentes (2007). São identificados os procedimentos estéticos pós-modernos que o objeto articula, como a profusão de citações com inversão de sentido que funcionam como marcas de distanciamento anti-ilusionistas, o recurso da sobrecarga, os aspectos metalinguísticos, a negação da dicotomia erigida pelo modernismo entre alta cultura e cultura de massa - o Great Divide teorizado por Andreas Huyssen (1986) -, além de seu hibridismo estilístico, já que o filme mescla drama social, melodrama, aspectos documentais, road movie em um enredo que segue os códigos de uma parábola moral de inspiração bíblica. Entre os aspectos temáticos pós-modernos de Central do Brasil, este trabalho detém-se na forma como o longa elabora os parâmetros de negação à totalização, às utopias e à teleologia no roteiro e construção de personagens, que se verificam, por exemplo, na opção por abordagem que valoriza as individualidades em vez da coletividade e não tematiza explicitamente as forças sociopolíticas que incidem sobre os personagens, pressupondo-as apenas como subtexto

Le théâtre verbatim, une pratique scénique dont le texte repose entièrement sur les mots exacts énoncés par des personnes réelles, est au coeur d’une renaissance remarquable et inattendue du genre en Grande-Bretagne depuis le milieu des années quatre-vingt-dix. Au même moment, les metteurs en scène britanniques contemporains ont déclaré avoir trouvé de nouvelles approches pour une pratique du théâtre politique par son entremise. En dépit de la dominante anti-réaliste qui semble encore à l’heure actuelle caractériser la culture postmoderne, on admet le plus souvent que le réalisme documentaire est resté le mode par excellence de représentation des pièces verbatim sur scène. Il va donc de soi que ce théâtre, ainsi défini, ignore du même coup les récents bouleversements survenus sur la scène théâtrale britannique. À travers une étude comparative de sept spectacles que nous considérons comme représentatifs du théâtre verbatim, il est affirmé qu’il y a bien eu, malgré tout, des spectacles verbatim dont la nature discontinue implique l’éloignement du réalisme comme élément fédérateur de la représentation. Ces spectacles, qui font appel à l’expérimentation esthétique sous de multiples formes, approfondissent et transgressent ce que nous pourrions entendre par « théâtre verbatim ». Le but de cette analyse est donc d’étudier le théâtre verbatim à contre-courant de ses propres affirmations d’authenticité et de véracité et de suggérer la nécessité d'un discours qui articule mieux l’interdépendance entre les impératifs esthétiques et les possibilités d’un engagement social. Enfin, cette thèse rend compte de l’existence d’une diversité de variables esthétiques dans le théâtre verbatim d’aujourd'hui qui vise un public habitué aux nouveaux médias. À cet égard, ces variables sont regroupées selon trois positions théoriques, chacune étant analysée et traitée de manière distincte et illustrée par des exemples concrets. Par le biais de cette étude, nous espérons ainsi mettre en lumière les esthétiques mouvantes du théâtre verbatim, afin d’en établir une histoire critique et de contribuer à la formulation de ce champ de recherche si riche, autant d’un point de vue scientifique que du point de vue de la pratique vivante de l’art théâtral. / Beyond Documentary Realism: Aesthetic Transgressions in Contemporary British Verbatim Theatre Verbatim theatre, a type of performance based on actual words spoken by ‘real people’, has been at the heart of a remarkable and unexpected renaissance of the genre in Great Britain since the mid-nineties. Simultaneously, contemporary British theatre-makers claimed to have found a renewed avenue to politics through this particular medium. In spite of recent shifts in the British theatrical landscape as well as the much-vaunted postmodern culture of anti-realism, documentary realism is generally conceded to have remained the normative mode of presentation for verbatim plays on stage. Through a comparative examination of seven representative verbatim productions, this dissertation argues, however, that there has been an equally persistent strand of verbatim works that involves a move away from realism as the key element in performance. These productions make use of a wide variety of aesthetic experiments that broaden and transgress what we might understand as verbatim theatre. The strategy adopted by this study is thus to read verbatim theatre against the grain of its claim to ‘authenticity’ and ‘truthfulness’ and to suggest the need for a discourse which better articulates an interdependence between its aesthetic imperatives and the possibilities of social engagement. Finally, this dissertation accounts for the existence of a range of aesthetic variables in present-day verbatim theatre which is aimed at more media-aware contemporary audiences. These are grouped into three theoretical positions, each of them being analysed and discussed in a separate part and illustrated by case studies. It is hoped that, through this argument, the changing aesthetics of verbatim theatre will be illuminated and that – on however small a scale – this doctoral dissertation will contribute to a critical history and theoretical formulation of the complexity of this rich field as both a scholarly discipline and a lived practice.

The paper aims at giving analytic picture of postmodern culture in its various demonstrations in mass society and in its influence upon man{\crq}s individuality and their lifestyle.The beginning of the paper deals with terminology and with description of the western culture development. The main part of the paper analyses (gradual compilation) main works of important authors with various views and approaches (G. Lipovetsky, M. Maffesoli, Z. Bauman). An interesting contribution to this topic represents futurological vision of A. and H. Tofflers spouses, who describe mankind development and creation of new forms of democracy. The last chapter deals with comparing the similarities and the differences between the works of the above mentioned authors.