Orientador: Eduardo Roberto Junqueira Guimarães / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T22:38:13Z (GMT). No. of bitstreams: 1 Ocariz_IzabellaCampos_M.pdf: 1590123 bytes, checksum: ac43c7087da00fa28c86157f024c19a5 (MD5) Previous issue date: 2013 / Resumo: O texto mostra a análise das cartas dos leitores publicadas nas revistas jornalísticas de divulgação científica Minas Faz Ciência e Pesquisa FAPESP no período de quinze meses a contar de dezembro de 2010. O objetivo é analisar qual a relação das publicações com o leitor. A pesquisa justifica-se porque levantará a discussão em torno da função do espaço Carta do Leitor e seu potencial em um veículo de comunicação. A metodologia de pesquisa abarca a teoria da argumentação, análise de discurso e recursos numéricos que envolvem tabelas e gráficos. Há uma grande diferença entre o público que escreve para as duas revistas, principalmente no que diz respeito à postura diante do espaço concedido a ele / Abstract: The text shows the readers' letters analysis published in the scientific journalism magazines Minas Faz Ciência and Pesquisa FAPESP in a fifteen months period from December 2010. The objective is to analyze which is the relationship of the publications with the reader. The research is justified because it will raise the discussion about the function of the letters from readers and their potential in a vehicle of communication. The research methodology includes theories of argumentation, speech analysis and resources that involve numerical tables and graphics. It was noticed much difference between the public who writes for both magazines and their attitude to the space provided to them / Mestrado / Divulgação Científica e Cultural / Mestra em Divulgação Científica e Cultural

Encore peu étudiée, l’histoire des revues cinématographique françaises pendant la période de la Libération et de l’après-guerre (1945-1952) voit se dessiner une ligne de partage entre les revues spécialisées et les grandes revues populaires comme Cinémonde, Ciné-Miroir ou Mon Film qui reprennent des rubriques anciennes comme celle du « film raconté ». L’Ecran Français, en intégrant des éléments propres aux revues populaires (Courrier des lecteurs, publicité et fascination pour la star) et aux revues spécialisées (positionnement politique et discours averti sur le cinéma), propose un temps la synthèse inédite de ces deux courants. C’est autour de la visée didactique et morale que s’établit apparemment la distinction qui deviendra de plus en plus nette au fil des années. La volonté commune des revues spécialisées est en effet de faire partager un enseignement du cinéma en s’inscrivant dans la continuité des mouvements d’éducation populaire. Certaines revues sont issues de ciné-clubs laïcs (Ciné-Club et Informations-Ufocel) ou catholiques (Télé-Ciné). D’autres, telle la prestigieuse Revue du cinéma fondée par Jean George Auriol, et La Gazette du cinéma dirigée par Maurice Schérer, défendent avec force le cinéma américain : elles ont ainsi constitué un « terrain expérimental » pour les tout nouveaux Cahiers du cinéma. Proche dans l’esprit de la revue Raccords, Positif semble recueillir et transmettre l’héritage de deux revues assez confidentielles : Saint Cinéma des Prés, qui défendait autant le cinéma expérimental que le cinéma américain classique, et L’Age du cinéma, qui revendiquait une approche surréaliste tout en refusant les films relevant d’un avant-gardisme trop signifié. La grande cinéphilie des années cinquante et soixante s’avère indissociable de la cinéphilie méconnue de l’immédiat après-guerre. / Rarely touched as subject, the history of French cinematographic journals during the aftermath of the Second World War (1945-1952) was divided into two streams: those of specialized journals and those of generalized ones such as Cinémonde, Ciné-Miroir ou Mon Film. They transformed the columns of ancient journals into “film-telling”[Film raconté]. L’Ecran Français, however, was the only journal able to synthesize elements both from generalizing journals (i.e. readers’ letter, advertisement, and cult for stars) and from specializing journals (i.e. political position and comments regarding the cinema). Since then, the two streams of journals were more and more distinguished by their didactic and moral differences. The common point for specialized journals was their expectation for promoting cinematographic education alongside the popular educating movement. Some journals were issued from secular cine-clubs (Ciné-Club and Informations-Ufocel) while others were from catholic ones (Télé-Ciné). There were otherwise journals, which were meant to actively defend American cinema, such as the reputed Revue du cinéma founded by Jean George Auriol, as well as La Gazette du cinéma by Maurice Schérer. These journals also contributed to “experimental aspects” for the newly-born journal Cahiers du cinéma. Positif was a journal similar to that of Raccords in terms of spirit; it seemed to unite and transmit the legacy of two confidential journals: Saint Cinéma des Prés, which defended as well experimental cinema as American cinema, and L’Age du cinéma, which claimed a surrealist approach while denying those films that over-emphasized avant-gardism. In the long run, the great Cinephilia in the fifties and sixties were proved to be closely connected to the unfamiliar Cinephilia right after the Second World War.