No Japão, o fenômeno otaku se popularizou no final dos anos 1980 por causa do assassino em série Tsutomu Miyazaki. A mídia japonesa rapidamente o identificou como um otaku, uma pessoa obcecada pela indústria do entretenimento, e nos anos 1990 o indivíduo otaku ficou conhecido como um grande problema social. Contudo, nos anos 2000, o governo japonês colocou em prática seu plano político Cool Japan, que promovia a divulgação da cultura pop japonesa ao mundo. O indivíduo otaku, sendo um grande consumidor de cultura pop japonesa, deixou de ser considerado um problema para se tornar parte de uma solução política. O fenômeno otaku foi pesquisado com o objetivo de descobrir como essa transformação ocorreu. Para isso, foi necessário pesquisar: a origem do indivíduo otaku; sua relação com sociedade; e a teoria filosófica de Hiroki Azuma sobre a relação entre os consumidores japoneses e a cultura pop japonesa. Foi possível afirmar que a imagem do indivíduo otaku melhorou porque a sociedade japonesa mudou sua relação de consumo com os produtos culturais. Assim como os indivíduos otaku, a sociedade japonesa passou a consumir não pelo produto em si, mas pelas configurações que possui em suas imagens japonesas. Não houve evidências o suficiente para afirmar, mas no final houve a suposição de que talvez a imagem do indivíduo otaku tenha melhorado porque a sociedade japonesa esteja se tornando otaku. / In Japan, the otaku phenomenon became popular in the late 1980s because of the serial killer Tsutomu Miyazaki. Japanese media identified him quickly as an otaku, a person obsessed with the entertainment industry, and in the 1990s the otaku became known as a major social problem. However, in 2004, the Japanese government started its political plan named Cool Japan, which promoted the dissemination of Japanese pop culture to the world. Being a major consumer of Japanese pop culture, the otaku was no longer considered a problem, but became part of a political solution. The otaku phenomenon has been investigated in order to find out how this transformation occurred. Thereunto, it has been researched: the otakus origin; his relationship with society; and the philosophical theory of Hiroki Azuma on the relationship between Japanese consumers and the Japanese pop culture. It was possible to state that the otakus image improved because Japanese society changed its consumer relationship with cultural products. As well as those considered otaku, Japanese society began to consume not because of the product itself, but because of its settings in Japanese images. There was not enough evidence to affirm, but in the end there was the assumption that perhaps the otakus image has improved because Japanese society itself is becoming otaku.

The thesis addresses a mode of visual art criticism that it characterizes as “antipodal”. Antipodality is a false image of the world, a phantasm. An antipodal simulacrum could be described by what Jurgis Baltrusaitus has called a “depraved perspective”, which is a procedure of investigation dominated by the passion to objectify the empirical sign in a conceit of perverse logic. A perspective rendering taken to literalist excess (comparable to the literalising of figurative language) causes anomalies in and corruptions of what is depicted. The invention of the antipodes by cartographers of early modern Europe—a “logical” necessity of mapping that then required discovery of the antipodal land as a lost object—might be such an instance of a depraved perspective. In Baltrusaitus’s terms, we could say such depravity produces an “aberration” in the manner of the optical phenomenon in which a celestial body is apparently displaced and viewed as if it were elsewhere. Such an aberration forms the thematic content of this thesis; content which is the proposition of an aberrant critical conceit of “antipodality” as a simulacrum. This was a formative concept for my own activity of art criticism, in that it allowed a defining moment for an Australian postmodernism (notably in the 1980s) as an evacuated sign-system of art, a styling of art as pseudo-art. But it has acquired a trajectory for art criticism beyond the definition of Australian postmodern style. An antipodal art criticism is likewise a pseudo-criticism, that’s to say, it is a performative enunciation of falseness: it addresses a pseudo-object. Like the antipodes, art is a necessary fiction for criticism, a lost object that needs to be discovered. The most potent pseudo-art for Australian postmodernism was kitsch, and its style was camp. For contemporary art criticism, however, in a digital era, the most potent pseudo-art is pornography, notably digital pornography. Kitsch is the simulacrum of aesthetic form. Pornography is the simulacrum of eroticism. The thesis develops a critical discussion of works of art through the perverse logic of pornography as a depraved perspective. In this respect, “antipodality” provides the conceptual structure of this thesis, which polemically reflects on art criticism and the simulacrum through the media of visual art, film and literature. In a specific Australian context, the thesis discusses the work of Imants Tillers and Lindy Lee as oeuvres that have dealt with the false identity of the artist as originator of their performative but empty signature styles. The pornographic impulse of antipodality is dealt with through other modes of self-portraiture and performativity, notably in three generations of photographic technique and genre: Diane Arbus, Merry Alpern and Natacha Merritt. The performative nature of a pseudo-art is correlative to the performativity of pornography as pseudo-eroticism: both render dubious any authenticity of the desire motivating the performances. The thesis examines in detail three instances of falsely performative identities in film: the alluring and haunted figure of Madeleine in Alfred Hitchcock’s Vertigo; the ingenue, picaresque protagonist of Roger Vadim’s sci-fi fantasy Barbarella; and Gough Lewis’s humanistic documentary on a porn star whose notoriety derived from subjecting herself to “the world’s largest gang bang”, Sex: The Annabel Chong Story. Each of these cinematic portraits operates, with varying degrees and moments of artifice, a metafictional transgression of figural borders. This strategy as a type of erotic theatricality is considered in detail with, among other passing examples, two celebrated short works of libertine literature (by Vivant Denon and Jean-François de Bastide); two paintings—one by nineteenth-century French academic artist Jules-Joseph Lefebvre, the other by the quite un-academic painter Pierre Bonnard; and with an erotic, theatrical innovation called the “Attitude”, introduced by Emma Hamilton as an amateur drawing room entertainment in the late eighteenth century. Hamilton’s captivating tableaux are discussed in terms of the phantasm, and the thesis is inspired by two literary exemplars of phantasmic portraiture: Edgar Allan Poe’s figure of “the man of the crowd” and Guy de Maupassant’s “Horla”. The latter, in particular, is presented as an analogy for the performative effect of antipodal simulacrum of art criticism.

No Japão, o fenômeno otaku se popularizou no final dos anos 1980 por causa do assassino em série Tsutomu Miyazaki. A mídia japonesa rapidamente o identificou como um otaku, uma pessoa obcecada pela indústria do entretenimento, e nos anos 1990 o indivíduo otaku ficou conhecido como um grande problema social. Contudo, nos anos 2000, o governo japonês colocou em prática seu plano político Cool Japan, que promovia a divulgação da cultura pop japonesa ao mundo. O indivíduo otaku, sendo um grande consumidor de cultura pop japonesa, deixou de ser considerado um problema para se tornar parte de uma solução política. O fenômeno otaku foi pesquisado com o objetivo de descobrir como essa transformação ocorreu. Para isso, foi necessário pesquisar: a origem do indivíduo otaku; sua relação com sociedade; e a teoria filosófica de Hiroki Azuma sobre a relação entre os consumidores japoneses e a cultura pop japonesa. Foi possível afirmar que a imagem do indivíduo otaku melhorou porque a sociedade japonesa mudou sua relação de consumo com os produtos culturais. Assim como os indivíduos otaku, a sociedade japonesa passou a consumir não pelo produto em si, mas pelas configurações que possui em suas imagens japonesas. Não houve evidências o suficiente para afirmar, mas no final houve a suposição de que talvez a imagem do indivíduo otaku tenha melhorado porque a sociedade japonesa esteja se tornando otaku. / In Japan, the otaku phenomenon became popular in the late 1980s because of the serial killer Tsutomu Miyazaki. Japanese media identified him quickly as an otaku, a person obsessed with the entertainment industry, and in the 1990s the otaku became known as a major social problem. However, in 2004, the Japanese government started its political plan named Cool Japan, which promoted the dissemination of Japanese pop culture to the world. Being a major consumer of Japanese pop culture, the otaku was no longer considered a problem, but became part of a political solution. The otaku phenomenon has been investigated in order to find out how this transformation occurred. Thereunto, it has been researched: the otakus origin; his relationship with society; and the philosophical theory of Hiroki Azuma on the relationship between Japanese consumers and the Japanese pop culture. It was possible to state that the otakus image improved because Japanese society changed its consumer relationship with cultural products. As well as those considered otaku, Japanese society began to consume not because of the product itself, but because of its settings in Japanese images. There was not enough evidence to affirm, but in the end there was the assumption that perhaps the otakus image has improved because Japanese society itself is becoming otaku.

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This thesis is designed as a comprehensive analysis of the advertising discourse within some pre-set constrains. Specifically, the main area of interest is the realm of American print advertising after 1945. Within these limits, advertising is understood as a mode of language, the chief semantic unit of which is a form of Barthesian myth, a superstructure divorced from reality that supersedes de Saussure's semiotics of the sign. The bulk of this thesis is then a diachronic analysis of the development of these myths and their role as both mirrors and catalysts of a whole range of stereotypes, value hierarchies or fixed ideas firmly embedded within American collective consciousness. The primary materials for this analysis are then various specimen of the advertisements themselves, carefully selected because of their representativeness, influence or significance within the advertising realm. The main theoretical framework rests on Marx's understanding of the commodity as a certain type of fetish, Barthes's description of the structure and social function of the myth, Baudrillard's and Debord's theories on such notions as the society of spectacle, the reign of simulacra and hyperreality, Benjamin's understanding of the uniqueness of representation and its aura and finally McLuhan's detailed accounts of...

[pt] O foco que norteia esta dissertação de mestrado está direcionado à análise das representações do que pode ser considerado design vernacular ou design institucionalizado. Em seguida a pesquisa tem por principal objetivo a investigação sobre os valores simbólicos inseridos nos espaços aqui considerados como vernaculares. Neste contexto, o espaço contemplado é o botequim. Para melhor entendimento dos conceitos que cercam esse espaço foram também investigadas as ideias de simulacro e simulação, a partir da apropriação desses espaços vernaculares e sua representatividade nos diversos contextos sociais contemporâneos. Um dos pontos abordados diz respeito à tradição do carioca de frequentar botequins e como ocorreu o processo de construção desse espaço, bem como suas características de sustentação social, que conferem a seus frequentadores um sentimento de comunidade. A pesquisa sobre os artefatos que compõem os botequins e seus significados simbólicos, que caracterizam o estilo de vida carioca, tem por ponto principal verificar como estão sendo feitas as apropriações do design vernacular pelo design culto. A análise decorrente desta investigação permite visualizar a forma pela qual os agentes sociais se relacionam com esses diferentes espaços no cenário contemporâneo, pois entende-se ser de extrema relevância para o campo do design identificar esse modo projetual realizado através de apropriações de diferentes representações sociais, como também evidenciar sua efetiva participação no cenário contemporâneo. / [en] The focus that guides this dissertation is targeted on the analysis of the representations of what can be considered vernacular and institutionalized design. Then the research has, as the main objective, the investigation of the symbolic values that are inserted into spaces that are considered in this work as vernacular. It is in this context, that the botequim (tavern, bar) space is contemplated. For a better understanding of the concepts surrounding this space, it was investigated the ideas of simulacrum and simulation, from the vernacular appropriation of these spaces and their representation in various contemporary social contexts. One of the points raised is related to the tradition of frequenting taverns in Rio and how was the process of building this space and the characteristics that it has as social support and which makes their attendees to have a sense of community. The research on the artifacts that composes the botequins and it’s symbolic meanings that characterize the lifestyle in Rio, has as the main point, the verification of how the appropriation of the vernacular design is being made by the erudite design. The analysis result of the research described above allows to visualize how social actors relates to these different spaces in the contemporary scenery, therefore, it is understood to be extremely relevant for the field of the design to identify this projectual mode conducted through appropriations of different social representations, as also to demonstrate their effective participation in the contemporary scenery.

Made available in DSpace on 2016-04-25T19:20:14Z (GMT). No. of bitstreams: 1 Leandro Gaffo.pdf: 1758570 bytes, checksum: 82198b538b10c1e7e9c601525ba80d83 (MD5) Previous issue date: 2011-05-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / From a comparative analysis between fiction characteres Odisseos, from Homer and Victor Frankenstein from Mary Shelley seeks to stablish relations around the human racionality and its respective interdition and rampant. Thus to reach the concepts as perfectibility, simulation, simulacrum, science, idolatry, reason, myth, astuteness and belief, from na instrumental getted from the philosophy of science, literary critic, psychoanalysis , mitology, hermeneuthic myths and religion theory. We also use contemporary examples that we can notice repercussions of relations as the science fiction and the ecological discurse / A partir de uma análise comparativa entre os personagens ficcionais Odisseu de Homero e Victor Frankenstein de Mary Shelley, busca-se estabelecer relações acerca da racionalidade humana e sua respectiva interdição e desmedida. Para isto aproxima-se de conceitos como perfectibilidade, simulação, simulacro, ciência, idolatria, mito, razão, astucia e crença, a partir de um instrumental fornecido pela filosofia da ciência, crítica literária, psicanálise, mitologia, mitohermenêutica e teoria da religião. Vale-se ainda de exemplos contemporâneos onde se podem notar repercussões dessas relações como a ficção científica e o discurso ecológico

Made available in DSpace on 2016-04-26T18:12:17Z (GMT). No. of bitstreams: 1 Marcelo Suarez de Sousa.pdf: 24538704 bytes, checksum: 19a29ecc7a401022db0eb2f4b7e37503 (MD5) Previous issue date: 2012-10-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper analyzes the communication strategies adopted by women s brands from the beauty and cosmetics segment. It aims to show how, apparently contesting the prevailing standards of beauty, their advertisements build, instead of narratives about the perfect body, a simulacrum of the imperfect woman. The central hypothesis is that, in an attempt to build their possible worlds, such brands have as objective create identification with the female audience, presenting a new simulacrum of consumer through the sharing and brokering of social values mediated by consumption. The corpus of the study involves the brands named Natura Chronos and Dove, and their advertising campaigns produced and ran on free-to-air TV, cable TV and magazines, respectively from 1995 and 2004 to 2012, period that includes the launch and maintenance of the campaigns analyzed. The main theoretical references mobilized for the discourse analysis are those brought by Andrea Semprini, Jean Marie Floch and Eric Landowsky. Zygmunt Bauman and Gilles Lipovetsky, on the other hand, are the basis for a reflection on the changes in feminine beauty and the role of brands as cultural operators in contemporary societies. The methodology used to analyze the advertising copy is discourse analysis of Greimas Square / Esta pesquisa examina as estratégias de comunicação adotadas pelas marcas femininas do segmento de beleza e cosmética. Busca-se mostrar como, aparentando contestar os padrões dominantes de beleza, suas publicidades constroem, no lugar das narrativas em torno do corpo perfeito, um simulacro de mulher imperfeita. A hipótese central é a de que, na tentativa de construção de seus mundos possíveis, tais marcas têm como objetivo gerar identificação com o público feminino, apresentando um novo simulacro de consumidor através do compartilhamento e agenciamento de valores sociais mediados pelo consumo. O corpus da pesquisa envolve as marcas Natura Chronos e Dove, em suas campanhas publicitárias produzidas e veiculadas em TV aberta, TV a cabo e revistas, respectivamente nos períodos de 1995 e 2004 até 2012, momento que compreende o lançamento e sustentação das campanhas analisadas. Os principais referenciais teóricos mobilizados para o trabalho de análise do discurso são aqueles trazidos por Andrea Semprini, Jean Marie Floch e Eric Landowsky. Já Zygmunt Bauman e Gilles Lipovetsky são bases para uma reflexão sobre as mudanças na beleza feminina e o papel das marcas como operadores culturais nas sociedades contemporâneas. A metodologia de análise dos textos publicitários é a análise discursiva de matriz greimasiana

Em relação ao vestuário utilizável pelo público vegano (indivíduos que se abstêm, por motivos éticos e/ou ideológicos, na medida do possível, do consumo de produtos e serviços provenientes do reino animal), há diversas alternativas sintéticas aos materiais de origem animal que os substituem em suas funções práticas, estéticas e/ou simbólicas. De arremedos burlescos a imitações fidedignas da realidade, simulacros de peles, penas, pelos, ossos e secreções de animais, à primeira vista, de perto, de longe e/ou aos olhos de leigos, em diferentes graus de realismo, figuram aspectos estéticos e sensoriais que os tornam difíceis de serem distinguidos de genuínos materiais de origem animal. Neste contexto, o presente estudo concerne uma investigação qualitativa exploratória de caráter sobretudo fenomenológico, acerca da reflexão sobre a problemática de possíveis implicações conceituais e práticas mais notáveis, sob o enfoque ético, estético, sociológico, semiótico e prático, da ideia de simulacro, emulação e cópia de materiais de origem animal e/ou que façam referência, alusão ou evoquem aspectos exteriores de corpos de animais em vestuário de veganos. Para tanto, a partir de levantamentos de comentários de usuários veganos em redes sociais da internet, aplicação de questionários e entrevistas em profundidade com usuários, ativistas do movimento vegano e especialistas teóricos, espera-se, com esta contribuição, iluminar os campos do design de moda, do veganismo e, consequentemente, dos direitos dos animais. Alguns dos resultados desta investigação sugerem, por exemplo, que, enquanto, para alguns usuários, o recurso a alternativas consideradas como veganas seria aceitável pelo fato de substituírem atributos funcionais, estéticos e até afetivos de roupas e acessórios diretamente associados, por eles, a sofrimento, para outros usuários, seria objeto de reprovação. Segundo parte dos respondentes, devido ao razoável grau de fidedignidade de vários destes simulacros, o mero uso deste tipo de material artificial resultaria pouco aceitável por ser insuficientemente discernível de materiais derivados de corpos de animais. Nestes casos, esta verossimilhança poderia, segundo eles, indiretamente promover a ideia de que o uso de materiais de origem animal seria admissível, contribuindo, assim, para estimular o consumo de vestuário não condizente com a ideologia que adotam / In the cathegory of clothing which can be worn by the vegan public that is, by those who abstain as much as possible from consuming products and services of animal origin for ethical and ideological reasons there are various synthetic alternatives to materials of animal origin which fulfill the practical, aesthetic and/or symbolic functions. From burlesque copies to reliable imitations, like those of leather, feathers, fur, bones and animal secretionswith different degrees of realism, they haveat first, up close, or from a distance and/or to the eyes of laypeople, aesthetic and sensorial aspects that make it difficult to distinguish from genuine materials of animal origin. This study is a qualitative, exploratory, phenomenological investigation about the problematic of some of the most notable possible conceptual and practical implications, from the practical, aesthetic, philosophical, sociological and ethical viewpoints, of the idea of imitation, emulation and copying of materials of animal origin or materials which make a reference or allusion to, or which evoke exterior aspects of, animals bodies in vegans\' clothing.To this end, based on searches for vegan users comments in online social media, questionnaires and in-depth interviews with users, vegan movement activists and theoretical specialists (like ethics philosophers and designers specializing in ethical fashion), the aim of this study, based on conclusions obtained through analysis of these different points of view, is to illuminate the fields of fashion design, veganism and consequently, animal rights. Results of this investigation suggest, for instance, that for some users, making use of alternatives considered vegan would be an acceptable practice because they would replace functional, aesthetic and even affective attributes of clothing and accessories that such users otherwise associate with pain, while for other users this option would be objectionable. According to some respondents, due to the reasonably high level of visual similarity of various types of such simulacra, merely employing these animal byproducts would be considered less acceptable, given their insufficiently discernible distinction from animal-body materials. In such instances, they felt this verisimilitude could indirectly foster the idea that the use of such animal-origin material would be acceptable, therefore contributing to promoting the consumption of clothing of a type which is against the principles they adopt

Alienation is a one of the central concepts in Marx&rsquo / s philosophy. It has positive and negative implications regarding man&rsquo / s self realization in nature. It is also about discussion on ontology of work. Moreover, it has led Marx to design new society models for human beings. Alienation in Marx is analyzed together with political economy and its concepts. Baudrilliard&rsquo / s alienation discourses in contemporary age include arguments in terms of consumerism and technology in today&rsquo / s developed world. While Marx&rsquo / s theory of alienation considers the relation of subject and object in political economic conditions, Baudrilliard&rsquo / s discourses discuss it in social and cultural bases. Baudrilliard rather argues that reality and meaning in contemporary world is lost, we live in a &ldquo / hyperreal&rdquo / and &ldquo / simulacrum&rdquo / world.