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Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-16T11:06:11Z No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-16T18:03:03Z (GMT) No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Made available in DSpace on 2013-05-16T18:03:04Z (GMT). No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) Previous issue date: 2008 / Este estudo examina a tradução de humor nas legendas sob uma perspectiva descritiva. Através da análise das duas traduções brasileiras de 15 episódios do seriado norte americano Sex and the City, a do canal Multishow da TV por assinatura, realizada por Daniela P.B. Dias, e a dos DVDs da série vendidos no Brasil, cujo tradutor permanece desconhecido, procurou-se descrever e comparar as estratégias tradutórias utilizadas para a reconstrução do humor verbal e visual dos episódios em português. No seriado, observamos dois tipos principais de humor: o humor universal, pela temática de relacionamentos, e o humor local, baseado em referências à cultura americana. Os gatilhos de humor mais comumente encontrados nos exemplos selecionados foram jogos de palavras e comentários espirituosos e irônicos, com muitas ocorrências desses referentes culturais como elemento principal para acionar o humor. Considerando as especificidades desse tipo peculiar de tradução audiovisual que é a legendagem e o desafio que a tradução de humor sempre representou, este estudo apresenta reflexões sobre a prática de legendagem associada à tradução de humor na TV e no DVD, uma lacuna nos estudos realizados até o momento no Brasil. A pesquisa demonstrou que há uma maior formalização do estilo nas legendas do DVD, por meio de omissões e minimizações de palavrões e referências sexuais, do uso de pronomes oblíquos e de estruturas sintáticas mais formais, o que até certo ponto compromete a recriação do humor e a representação do coloquialismo dos diálogos de partida. Na TV também há minimizações, mas em menor grau do que no DVD, enquanto que os empréstimos ocorrem em um maior grau. Observamos também a tendência das legendas do DVD serem mais longas do que as da TV, o que deve ser levado em conta na análise comparativa entre as duas versões, já que o número de caracteres pode limitar a possibilidade de recriação do tradutor. De um modo geral, a versão televisiva revela uma maior liberdade do tradutor, com um maior número de adaptações e, por isso, legendas mais criativas em termos de humor. / Salvador

Media is a big part of people’s everyday lives. It influences both how we see ourselves and the world to some extent. There are many different types of media, for example: television shows, movies, the radio, news papers, advertisements which are placed in random places and the internet. In these different forms of media, there are images of men and women, which are represented in different ways and with different characteristics. Research has been made on a lot of movies and television shows and this thesis will be adding to this vast amount of research by analyzing gender representation in the movies Sex and the City 1 and 2. By using discourse analysis, the results show different types of gender representation and whether the characters in Sex and the City challenge the patriarchal privilege. Assuming social constructivism, we believe that these images of gender representation in movies affect our perception of what a man or a woman is. Our results suggest that the characters do still follow the patriarchal privilege but some characters do on occasion challenge them. However the outcome is rarely successful.

Syftet med denna studie är att undersöka hur de kvinnliga huvudkaraktärerna i den amerikanska dramaserien Sex and the City framställs. En analys har gjorts på sex avsnitt av serien. Analysmaterialet studerades utifrån ett feministiskt samt stereotypiskt perspektiv. En av utgångspunkterna har varit antagandet om att karaktärerna är olika. Undersökningen syftar också till att analysera serien och se om den är en traditionell eller en modern såpopera. Studien grundar sig på en innehållsanalys. Resultatet kommer att delvis vara generellt för hela serien, eftersom karaktärerna följer med alla säsonger men utvecklas under seriens gång. Resultatet av undersökningen stärker antagandet av att karaktärerna är olika. Kvinnorna representerar stereotyper av olika slag. Resultatet visar även att kvinnorna också har mycket gemensamt. Serien kan varken placeras i den traditionella såpoperan eller i den postmoderna såpoperan. Sex and the city är en serie som har element från båda subgenrerna.

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Made available in DSpace on 2016-04-26T18:12:53Z (GMT). No. of bitstreams: 1 Camila Fanchini Rossi.pdf: 4012106 bytes, checksum: cc91c9b2a636d4697b02b0f51ecd2c6b (MD5) Previous issue date: 2013-05-07 / The purpose of this research is to study contemporary clothing from the standpoint of its dual role as a social profiler and an instrument of self-affirmation and personal expression based on its representation in the media. A question which has been addressed by fashion scholars, the dispute between classes involving the desire for imitation and distinction has been referred to a key driver of fashion and held accountable for the fast pace of renewal cycles and the search for novelty. From this perspective, we will begin with the optimistic outlook of Gilles Lipovetsky, who points to the democratization of fashion in a supposedly re-enchanted world, and then compare it against the disenchanted critique presented by Walter Benjamin and his commentators, who still see the contemporary man reduced to the cultural industry s mass production, seduced by merchandise and conditioned to consumerism. Methodologically speaking, this is a bibliographic and documentary research and analysis underpinned by Roland Barthes contemporary reflections about the myths behind fashion magazine editorials and Pierre Bourdieu s theory of distinction. The corpus of this paper consists of pieces of the chic wardrobe for American television series Sex and the City (1998-2004) and its cinematic sequels (2008 and 2010), signed by fashionista Patricia Field, given the influence of said series on female audiences and its close ties with fashion. We will see that even though fashion designers claim to be inspired by the streets and vice versa, the breaking of class barriers in this field is but illusory, as distinction, by definition, entails high standing and repeals department stores / A presente pesquisa tem como objetivo estudar o vestuário contemporâneo, do duplo ângulo de suas funções de discriminador social e de instrumento de autoafirmação e expressão pessoal, a partir de sua representação midiática. Questão já abordada por estudiosos da indumentária, a disputa entre classes envolvendo o desejo de imitação e distinção foi apontada como motor fundamental da moda, tendo-lhe sido atribuídos o ritmo acelerado dos ciclos de renovação e a busca por novidades. Dentro destas perspectivas, partiremos da visão otimista de Gilles Lipovetsky, que assinala a democratização da moda num mundo supostamente reencantado, e a confrontaremos com a crítica desencantada de Walter Benjamin e seus comentadores, que ainda veem o homem contemporâneo reduzido à massificação da indústria cultural, seduzido pelas mercadorias e condicionado ao consumo. Metodologicamente, trata-se de uma pesquisa bibliográfica e documental, cuja análise apoia-se nas reflexões contemporâneas de Roland Barthes sobre os mitos dos editoriais de moda e na teoria da distinção de Pierre Bourdieu. O corpus da pesquisa compreende as peças do guarda-roupa chique da série televisiva americana Sex and the City (1998-2004) e de suas sequências cinematográficas (2008 e 2010), assinado pela fashionista Patricia Field, dada a influência da referida série sobre o público feminino e a sua estreita relação com a moda. Verificamos que, embora os designers de moda reivindiquem inspirar-se nas ruas, e vice-versa, o rompimento das barreiras de classe neste campo é ilusório, já que o distinto, por definição, afirma o alto pertencimento e repele as lojas de departamento

Denna narrativa studie har analyserat de fyra kvinnliga huvudkaraktärerna i Sex and the City för att hitta mönster av hur patriarkala, icke feministiska samt feministiska aspekter äger rum i serien för att hitta traditionella och postfeministiska mönster. För att ta reda på detta har scener från sju olika avsnitt valts ut där relevanta samtal och händelser utspelas för att sedan analyseras utifrån metoden narrativ analys och  kvalitativ innehållsanalys. De scener som valdes ut innehåller händelser som speglar kvinnornas syn på dejting, relationer, sex eller kärlek samt scener där kvinnorna vistas tillsammans med män i dejting- eller relationssammanhang. Dessa scener delades in i sex olika tematiseringar för att kunna analysera alla relevanta aspekter för att kunna hitta mönster som ifrågasätter den feministiska stämpeln som serien har haft och fortfarande har än idag, 23 år efter premiäravsnittet. Dessa tematiseringar avhandlar kvinnornas syn på kvinnor  i relation till män, kvinnornas behov av män och deras självständighet och porträtteringen av de kvinnliga huvudkaraktärerna och män. Genom att analysera dessa aspekter besvaras studiens två frågeställningar: Hur porträtteras de fyra kvinnliga huvudkaraktärerna i Sex and the City? och Hur speglas patriarkala strukturer i serien Sex and the City?. Studien har använt Laura Mulveys den manliga blicken- och postfeministisk-teori, samt teorier om könsnormer och könsstereotyper.  Resultatet visar att serien Sex and the City, som har hyllats för att vara feministiskt banbrytande till stor del har feministiska aspekter då serien har fyra starka, kvinnliga huvudkaraktärer där deras liv och tankar skildras. Trots detta genomsyras serien av patriarkala strukturer och icke feministiska aspekter då kvinnornas huvudfokus är män. Större delen av deras samtal handlar om män och hur de ska anpassa sig själva för att vara åtråvärda för män. Osäkerheter som kvinnorna har grundar sig i en oro för att inte vara attraktiva nog för män och den säkerhet de känner kring sina utseende grundar sig till stor del i manlig bekräftelse. Kvinnorna visar tendenser på att trycka ner andra kvinnor på grund av egen osäkerhet när det kommer till män. Män och kvinnors beteenden i relationer porträtteras på ett könsstereotypiskt sätt där kvinnorna övervägande är mer omhändertagande, känslostyrda och anpassningsbara medan männen är mer känslomässigt stängda och mindre anpassningsbara. Serien handlar om kvinnorna, men fokuset hamnar ändå tillslut på män. Med dessa resultat som grund kan seriens traditionella feministiska samt postfeministiska aspekter ifrågasättas. / This narrative study has analysed  the four female main characters from the series Sex and the City, to find patterns of patriarchal, non-feminist and feminist structures that take place in the series, by applying the following theories - the male gaze by Mulvey and postfeminism, as well as theories of gender norms and stereotypes. Different scenes from seven episodes, of relevance to this study, have been chosen to perform a narrative analysis, along with qualitative content analysis. The scenes that have been considered, were chosen for containing events that reflect the main characters´ view of dating, relations, sex, and love, as well as scenes where the women are seen with men. The study has selected different themes to narrow the analysis, which are: women’s view on other women in relation to men, women’s need for men, and their independence, and lastly the portrayal of  the female main characters and men. By analysing the themes above, it makes it possible to answer and discuss the study´s two issues, how are the four female main characters portrayed in Sex and the City?, and how are patriarchal structures reflected in the series Sex and the City?.  The results show that Sex and the City, which has been praised for being feminist pioneering, demonstrates several postfeminist aspects, as the series incorporates four strong-willed women who openly expose their sexuality. Despite this aspect, the series is impregnated by patriarchal discourses and non-feminist views - men are the women´s main focus. Most of their conversations are about men and how they should adapt themselves to be appealing to men. Women's insecurities are based on an unaware concern of not being attractive enough for men, and the confidence they have is built up by mens approval. The main characters show tendencies to judge other women because of their insecurities and desire to be attractive for men. Men and women’s behaviors in relations are portrayed in a gender stereotypical way, where women are  predominantly more caring, emotionally driven, and adaptable while men are more emotionally closed, less adaptable and more dominant. Sex and the City is about women, but in the end, the main core of the series is men. Based on these conclusions, the series' postfeminist and feminist aspects can be questioned.

Thesis advisor: Bonnie S., PhD Jefferson / This paper examines the parallels between the situation comedies, The Golden Girls and Sex and the City. These shows possess striking similarities in their character portrayals and both emphasize the sisterly relationships of their characters. Using representative episodes, this paper illustrates that The Golden Girls and Sex and the City belong to the same unique subgenre of sitcoms that involve the non-traditional family formed by close female friends. In addition to criticism by genre, this paper also analyzes The Golden Girls and Sex and the City for each show’s individual manifestations of and implications for feminism. This study observes that the messages communicated by these shows are significant on their own, but are magnified when conveyed through repetition dictated by membership in a genre. Comparative analysis of The Golden Girls and Sex and the City intersects genre criticism and feminist criticism, creating a situational feminism that transcends entertainment with its social implications. / Thesis (BA) — Boston College, 2010. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication Honors Program. / Discipline: Communication .