Uppsatsen ämnar belysa hur Harry Martinsons Aniara (1956) förebådar postmodernismen trots att verket är rotat i den modernistiska traditionen. Analysen tar upp två aspekter med fokus på innehåll och berättarteknik där verket visar prov på en postmodern idévärld. Först behandlas miman, och resonemang förs kring att hon och hennes produktion bör ses som en masskulturell företeelse snarare än som elitistisk diktkonst. Analysen anknyter till Baudrillards teori om hyperverklighet och simulacrum och visar på hur miman skapar detta med sin kultur­produktion. Här framstår två tolkningsalternativ: ett där miman i egenskap av masskultur upp­värderar synen på masskulturen och pekar framåt mot postmodernismen, och ett andra där hon blir en negativ symbol för masskulturen. Detta eftersom hon döljer verkligheten för befolkningen så pass länge att de slutar försöka lösa sin situation. Den andra aspekten är Aniaras förhållande till metanarrativ, vilket belyses utifrån Lyotards teorier om vad som kännetecknar det postmoderna samhället. Analysen visar hur metanarrativen ses som omöjliga inom fiktionen och istället byts ut mot lokalt meningsskapande. Verket i sin helhet bjuder också på motstånd mot metanarrativ genom att (1) utge sig för att vara en klart av­gränsad händelse, (2) skriva ut ett motstånd mot djuplodande tolkningar och slutligen genom att (3) mimaroben som ska förmedla revyn över människan i tid och rum inte är pålitlig nog att lägga fram en allmän sanning. Sammantaget konstateras att verket är rotat i modernismen men att det samtidigt förebådar postmodernismen i dess syn på masskultur, hyperverklighet och meta­narrativ. / The aim of this essay is to highlight tendencies of postmodernism in Harry Martinson’s Aniara (1956), a work that has traditionally been placed in a modernist context. The analysis centers around two aspects in the text with the aim of finding traces of a postmodern world view. First the “mima”, an enigmatic machine that consoles the passengers in the first six years of the journey, is reasoned to be a mass cultural phenomenon rather than an elitist poetic device, as pre­vious studies have suggested. The cultural production of the machine is then analyzed in the light of the theories of hyper reality and simulacrum, as conceived by Jean Baudrillard. The analysis renders two possible implications, one where the machine can be viewed as a precursor to a post­modern positive attitude of mass culture, and one more modernistic where the machine in its role as mass culture numbs the passengers and prevents them from acting on their situation in time. The second part of the analysis focuses on the view of metanarratives, as expressed within the fiction and in the wok as a whole. Jean-François Lyotard and his explanation of postmodernism’s incredulity towards metanarratives is used as a theoretical standpoint. The analysis shows that metanarratives are considered impossible within the fiction of Aniara as during the course of the journey, they are replaced with more local methods of creating meaning. On the whole, the book could be seen to replace the metanarrative of human progress by one telling of the inadequacy and inert destructibility of humanity. However, the analysis shows that metanarratives are rejected all together. The construction of a new metanarrative is made impossible by (1) the fictitious accounts clearly being a local event, (2) the text openly stating the impossibility of deeper interpretation and finally (3) the work employing a narrator too unreliable to be able to convey the unarguable truths necessary to create a new metanarrative.

In this thesis I aim to apply some late Wittgenstein's thoughts and ideas (mainly those of language-game) to media studies. For argumentation sake, both mediated communication as whole and various parts of mediated communication are perceived as self-aligning language- games. These are forms of communication wielded only by implicit rules which are determinated by usage of relevant signs. The key ideology here is that of pragmatism. Meaning of words and other signs is also determined by their usage in relevant language- game (e. g. article in paper, certain kind of TV show, etc.). This notion of various forms of mediated communication leads to a belief that they posses only a very limited ability to outreach their context (of a genre and to more extent mediated communication as a whole). This theory is compatible with Jean Beaudrillard's concept of simulacra. These are symbols without meaning based in reality. Instead they form a (hyper)reality of their own. What both scholars tech us is that symbols can be properly understood only within their context. Mediated communication according to my application of Wittgenstein has always a single meaning that is determined by "the way the communication go". I also consider few objections to this "totalitarian" conception, most importantly Umberto Eco's...

This study is a practice-led research that visually examines how the sense of self and identity are experienced within the complexity and multiplicity of selves in a technologically saturated culture. This dissertation, “Deconstructing consciousness in contemporary hyperreality: The multiphrenic self and identity”, is the theoretical component of this research which underpins and discusses the visual works that comprise of three multimedia installations that focus on images of the fractured self, the re-imagining of faces behind facial recognition programmes, and the embodiment of space and aesthetic significance within re-appropriation of images within social media platforms. The practical component falls within multi-media art often associated with video art and installation art within contemporary art. By recognising postmodern identity theories, this study investigates the postmodern subject’s concept of self and identity formation within a world that is influenced by the constant glare of technology and viral1 media exposure. How the development and proliferation of technology in the contemporary world, shapes one’s sense of self and identity. The fragmented postmodern subject exists within this context of “viral media” that describes the endless parasitism and dominance of media, where information is perpetuated as part of representation. Due to the perpetual state of virtual re-invention of the “self” within this realm, a digital footprint of identity and traces of personal information are available to others publicly and globally. This context generates a fractured postmodern self that globally exists within a perpetual sense of the present. This research visually and theoretically reflects on the concepts of postmodern schizophrenia and the multiphrenic self, in relation to identity and how participation on social media platforms can enhance a feeling of fragmented self. To address the main argument, it is the contention of the research to deliberate that identity formation is continually and compulsively shaped and reshaped through adapting to specific social environments. The study further argues that the multitude of digital networks (and the everyday practices occurring within and between them) form a different kind of platform and space that affects identity formation. / Art History, Visual Arts and Musicology

O presente trabalho propõe uma pesquisa teórica e poética acerca das imagens digitais interativas, um grupo muito amplo de objetos visuais que se caracterizam primordialmente por sua capacidade de reposta ao espectador que com ela se relaciona. Na relação com estas imagens o sujeito se conecta cognitivamente e emocionalmente a dispositivos digitais e sistemas informáticos, absorvendo e alimentando o fluxo de informações. Esta conexão implica posicionamentos radicais na relação entre corpo e mente, especialmente nos âmbitos da percepção, da cognição e da capacidade de ação. Partindo da contextualização tecnológica e cultural dos processos de digitalização que permeiam a sociedade contemporânea, tomamos as imagens interativas sob o olhar do conceito de simulacro, uma imagem sem original. Ao processo da produção de simulacros chamamos simulação. A este processo se associa uma proposta perceptiva que se direciona a encontrar os objetos de modo imediato, remetendo a ligação do sujeito ao objeto em sua virtualidade. Esta ligação intensa e imediata nos orienta a uma nova abordagem do conceito de imersão, que passamos a compreender como uma relação imediata entre sujeito e imagem digital interativa. Estas problematizações se desdobraram num esforço poético, o não-jogo REM, cujo desenvolvimento foi norteado pelo a-método do design de relações. / The present work proposes a theoretical and poetic research about interactive digital images, a very broad group of visual objects characterized mainly by their power to react to the viewer with whom it relates. The subject connects cognitively and emotionally to digital devices and computer systems, absorbing and feeding the flow of information. This connection implies radical attitudes towards the relationship between body and mind, especially in the realm of perception, cognition, and ability to act. Starting from the technological and cultural contextualization of the processes of digitalization that goes through the contemporary society, we take the interactive images under the look of the concept of simulacrum, an image without original. The process of producing simulacra we call by simulation. This process associates a perceptive proposal that aims to find the objects in an immediate way, referring the connection of the subject to the object in its virtuality. This intense and immediate connection guides us towards a new approach to the concept of immersion, which we now comprehend as an immediate relation between subject and interactive digital image. These problematizations unfolded in a poetic effort, the REM not-game, whose development was guided by the a-method of the relationship design.

Made available in DSpace on 2016-08-10T10:36:46Z (GMT). No. of bitstreams: 1 NAIARA DENICOLO.pdf: 8583581 bytes, checksum: aacb5bc8a7d16ff3a9b1ccedee714f65 (MD5) Previous issue date: 2006-12-20 / This study is aimed at analyzing, in a comparative perspective, the hosting in a tourist city Pirenópolis and in the capital city of Goiás Goiânia, trying to contextualize the authenticity or the simulacrum of these spaces. The methodological procedures employed for such analysis were bibliographical research and field research, with interviews with the owners of different enterprises, which were three inns in Pirenópolis and a hotel in Goiânia. We proceeded to the analysis of the history of Goiás s culture formation, with the evolution of the various types of hotels, and we also attempted to understand the motivational factors, such as leisure or business, that attract tourists to different spaces spaces that are authentic and, therefore, guardians of an identity, or spaces that simulate some sort of cultural rescue. Such spaces represent either cordiality and hospitality or standardized places that follow international laws or suggest a simulacrum. In this last case, the cultural legacy needf reconstruction. We concluded that the tourism in Pirenópolis is representative of a historic and cultural legacy, whereas in Goiânia the metropolis tourism takes place with the same dynamics as the city, in a frantic way, without giving room to contemplations, meeting the needs of another tourist segment. In sum, the present research does not aim at exhausting the subject; on the contrary, we believe that the study of hosting means reflecting on one of the physiological needs that are innate in human beings. / Este estudo tem como objetivo analisar, numa perspectiva comparativa, a hospedagem em uma cidade turística Pirenópolis e na capital do estado de Goiás Goiânia, procurando contextualizar a autenticidade ou o simulacro desses espaços. Os procedimentos metodológicos por nós utilizados foram a pesquisa bibliográfica e a pesquisa de campo, com entrevistas aos proprietários dos diferentes empreendimentos, sendo três pousadas em Pirenópolis e um hotel em Goiânia. Percorremos uma análise histórica sobre a formação da cultura goiana, com a evolução dos diferentes meios de hospedagem, bem como buscamos entender os fatores motivacionais, tais como o lazer ou os negócios, que atraem os turistas aos diferentes espaços locais que são autênticos e, portanto, guardiões de uma identidade, ou que simulam um resgate cultural. Tais espaços representam a cordialidade e a hospitalidade, ou, ainda, espaços padronizados que seguem uma normatização internacional ou que sugerem um simulacro, necessitando, de uma reconstrução. Concluímos que o turismo em Pirenópolis se faz guardião de um legado históricocultural, ao passo que, em Goiânia, a metrópole, o turismo acontece com a mesma dinâmica da cidade, de forma frenética , sem muito tempo para contemplações, atendendo a outro segmento de turista. Em suma, a pretensão deste trabalho não é esgotar o assunto, ao contrário, acreditamos que estudar a hospedagem significa refletir sobre uma das necessidades fisiológicas inerentes ao ser humano.

Made available in DSpace on 2016-08-10T10:44:57Z (GMT). No. of bitstreams: 1 SIMONE MARIA MOURA MESQUITA.pdf: 3998015 bytes, checksum: c39af7540739b042a02937beec1e99d4 (MD5) Previous issue date: 2006-12-20 / Tourism is an important economic activity in many countries, including Brazil, and has many types. The tourism of nature is widely spread in Brazil and is found in the municipality of Pirenópolis, State of Goias, which has a great potential for this kind of tourism. The objectives of this dissertation were to determine the evolution and marketing of the tourism of nature in Pirenopolis from the point of view of the tourists. To carry out this study, data on infrastructure and facilities of the tourism spots, tourist s social profile, degree of tourist s satisfaction with they found in the municipality, and tourism marketing were gathered. The data were collected in hotels, called pousadas , and from interviews with tourists and with guides. The results showed that the tourists are satisfied with the tourism of nature found in Pirenópolis, the infrastructure and facilities in Pirenópolis are enough to support this kind of tourism, and the marketing does not bother the tourists. However, care should be taken to not over cloudy the tourism spots and for not using the tourism marketing excessively in order to preserve the spots from environmental degradation. / O turismo vem se destacando como uma das mais importantes atividades econômicas de vários paises. Dentre as várias tipologias de turismo existentes está o turismo na natureza que pode ser praticado em vários locais do Brasil entre eles encontra-se o município de Pirenópolis, estado de Goiás, que oferece um grande potencial para a prática deste. No presente trabalho analisou-se o desenvolvimento e o marketing do turismo na natureza em Pirenópolis adotando como base a visão do turista. Para tanto, levantou-se informações sobre a infra-estrutura dos atrativos mais procurados do turismo na natureza em Pirenópolis, caracterizou-se o perfil do turista que freqüenta este, averiguou-se o grau de satisfação deste e por fim verificou-se como está sendo realizado o marketing, por meio de levantamento de dados primários nos atrativos mais procurados e pousadas e também entrevistas com os guias e com turistas praticantes do turismo na natureza. Constatou-se que os turistas estão satisfeitos com a forma de desenvolvimento do turismo na natureza, a infra-estrutura não tem sido fator de impedimento de visitas aos atrativos e o marketing não é agressivo. Porém se faz necessário impor capacidade de carga para os atrativos e cuidados devem ser tomados para não realizar divulgação em massa a fim de não causar degradação nas áreas onde o turismo é praticado.

Made available in DSpace on 2016-04-26T18:13:43Z (GMT). No. of bitstreams: 1 Maria Anderlina Antonio.pdf: 3103322 bytes, checksum: 64eedff9f798ac3bd312e90ff302a4bb (MD5) Previous issue date: 2013-12-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to delineate the Brazil simulacruns, regarding its relations with Portuguese-speaking countries - Angola and Mozambique - built in the program Activities of the President , the TVNBR . The research corpus is composed of four audiovisual who cover the visit of the representative of Brazil to Africa in October 2011. From Brazil 's policy in Africa and the investigation of these findings, we sought to understand how the statements in question construct representations of Brazil in the press . Stops were studied : 1 ) the figurativities that configure the simulacrum of Brazil action in these territories ; 2) thematic roles that Brazil takes within these communication vehicles , 3) axiological level and the values in circulation in these discourses ; 4 ) how is sanctioned the making of Brazil by the media texts under review ; 5 ) the way in which jobs are the processes of persuasion that occur between enunciator and enunciatee of these discourses ; 6 ) how these discourses are constructed in order to create the effects of veridiction ; 7 ) the manner in which the projections of these discourses enunciation contribute to the effect of meaning that is present in them . We rely on Pimentel , Saraiva , & Pereira Visentini when they claim that the policy of Brazil in Africa is done under heavy economic interests , being thus a highly controversial political strategy , which clashes with the discourses that often circulate about the relationships permeate the Lusophone, which more clearly indicate approaches and cultural common language. It is thus our research hypothesis that an analysis of the texts that are components of the corpus can bring constructs representations of Brazil allowing legitimize the actions of Brazil in these territories. Theoretical basis of our analysis is semiotic theory built by Algirdas Julien Greimas and Eric Landowski . Still, for being our texts listed syncretic , we will take as a reference for research Jean - Marie Floch and Ana Claudia de Oliveira , among others / Esta pesquisa tem por objetivo delinear os simulacros de Brasil, no que tange suas relações com os países lusófonos Angola e Moçambique edificados no programa Atividades da Presidenta, da TVNBR. O corpus da investigação é composto por quatro audiovisuais que fazem a cobertura da visita da representante do Brasil à África em outubro de 2011. A partir da política do Brasil na África e da investigação desses enunciados, buscou-se compreender como os enunciados em análise constroem as representações de Brasil na imprensa. Para isso foram estudados: 1) as figuratividades que configuram os simulacros de ação do Brasil nesses territórios; 2) os papéis temáticos que o Brasil assume dentro desses veículos de comunicação; 3) os valores em circulação no nível axiológico desses discursos; 4) o modo pelo qual é sancionado o fazer de Brasil nos textos da mídia em análise; 5) o modo pelo qual estão postos os processos de convencimento que se dão entre enunciador e enunciatário desses discursos; 6) como esses discursos são construídos no sentido de criarem os efeitos de veridicção; 7) o modo pelo qual as projeções da enunciação desses discursos contribuem para o efeito de sentido que neles se apresentam. Baseamo-nos em Pimentel, Saraiva, Visentini & Pereira quando afirmam que a política de Brasil em África se faz sob fortes interesses econômicos, mostrando-se, logo, uma estratégia política bastante polêmica, que destoa dos discursos que geralmente circulam sobre as relações que permeiam a lusofonia, os quais mais evidentemente apontam aproximações culturais e língua comum. Faz-se, assim, hipótese de nossa pesquisa que uma análise dos textos que são componentes do corpus possa trazer construções de representações de Brasil que permitam legitimar as atuações de Brasil nesses territórios. Como base teórica de nossa análise temos a teoria semiótica edificada por Algirdas Julien Greimas e Eric Landowski. Ainda, por serem nossos textos enunciados sincréticos, tomaremos como referencial para a investigação Jean Marie-Floch e Ana Claudia de Oliveira, dentre outros

Les œuvres de l'écrivain française Lydie Salvayre et des cinéastes américains Tim Burton et Terry Gilliam présentent une même dénonciation de la société du simulacre à travers une esthétique grotesque. Ils contestent dans leurs œuvres la pratique de la novlangue, celle du politiquement correct et le mélange de la réalité avec la fiction. Le fonctionnement dialectique du grotesque et sa capacité à procurer un vertige étonnant lui permet de rendre visible ces contradictions. La modification de l'imaginaire par la société de consommation et du simulacre les préoccupent particulièrement, car les auteurs observent que la transformation des signes en simples signifiants, dont le postmodernisme illustre le fonctionnement, conduisent l'individu à avoir un rapport déformé à la réalité, à la conscience historique et au symbole. Le grotesque est cette esthétique qui leur permet de former des mélanges dans leurs œuvres en préservant l'identité des signifiés et de restaurer ainsi un rapport à l'Histoire et au symbole. Le grotesque est cette esthétique qui permet le mélange sans équivalence, car elle donne à voir les contraires et leur confère du sens. Les auteurs lient leurs œuvres grotesques au mythe, cette fiction particulière qui permet d'avoir un rapport instinctif à la connaissance par le biais d'images particulièrement fortes. Le grotesque, dans sa dimension anthropologique et ontologique, réhabilite en définitive des fictions qui échappent aux problématiques du simulacre. / The works of Lydie Salvayre, American movie directors Tim Burton and Terry Gilliam present a similar criticism of a society of simulacrum, by their use of the aesthetically grotesque. In their work, they question the use of newspeak, of the politically correct, and the mixing of reality and fiction. The dialectical working of the grotesque and its ability to produce an astonishing sense of vertigo enables it to bring out these contradictions. They are particularly concerned by the extent to which a society of consumption and simulacrum has modified the imaginary. These autors have observed that the transformation of signs into mere signifiers, something the workings of which are demonstrated in postmodernism, leads the individual to have a distorted relationship with reality, historical awareness and the symbol. The grotesque is that aesthetic form which allows them to make mixes in their work whilst preserving the meaning of the signified and which thereby allows them to restore a relationship to history and the symbol. The grotesque is that esthetic form which allows them to make mixes with no equivalent, since it shows opposites whilst conferring sense on them. The autors link their grotesque works to myth, that kind of fiction which enables us to have a instinctive relationship to knowledge by the means of particularly strong images. When all is said and done, the grotesque, in its anthropological and ontological dimension, reinstates a fiction which avoids the problems of simulacrum.

O presente trabalho propõe uma pesquisa teórica e poética acerca das imagens digitais interativas, um grupo muito amplo de objetos visuais que se caracterizam primordialmente por sua capacidade de reposta ao espectador que com ela se relaciona. Na relação com estas imagens o sujeito se conecta cognitivamente e emocionalmente a dispositivos digitais e sistemas informáticos, absorvendo e alimentando o fluxo de informações. Esta conexão implica posicionamentos radicais na relação entre corpo e mente, especialmente nos âmbitos da percepção, da cognição e da capacidade de ação. Partindo da contextualização tecnológica e cultural dos processos de digitalização que permeiam a sociedade contemporânea, tomamos as imagens interativas sob o olhar do conceito de simulacro, uma imagem sem original. Ao processo da produção de simulacros chamamos simulação. A este processo se associa uma proposta perceptiva que se direciona a encontrar os objetos de modo imediato, remetendo a ligação do sujeito ao objeto em sua virtualidade. Esta ligação intensa e imediata nos orienta a uma nova abordagem do conceito de imersão, que passamos a compreender como uma relação imediata entre sujeito e imagem digital interativa. Estas problematizações se desdobraram num esforço poético, o não-jogo REM, cujo desenvolvimento foi norteado pelo a-método do design de relações. / The present work proposes a theoretical and poetic research about interactive digital images, a very broad group of visual objects characterized mainly by their power to react to the viewer with whom it relates. The subject connects cognitively and emotionally to digital devices and computer systems, absorbing and feeding the flow of information. This connection implies radical attitudes towards the relationship between body and mind, especially in the realm of perception, cognition, and ability to act. Starting from the technological and cultural contextualization of the processes of digitalization that goes through the contemporary society, we take the interactive images under the look of the concept of simulacrum, an image without original. The process of producing simulacra we call by simulation. This process associates a perceptive proposal that aims to find the objects in an immediate way, referring the connection of the subject to the object in its virtuality. This intense and immediate connection guides us towards a new approach to the concept of immersion, which we now comprehend as an immediate relation between subject and interactive digital image. These problematizations unfolded in a poetic effort, the REM not-game, whose development was guided by the a-method of the relationship design.

Made available in DSpace on 2016-12-12T20:34:09Z (GMT). No. of bitstreams: 1 Claudia Mary Mayresumo.pdf: 112419 bytes, checksum: bf67fa5c221d1c46b9a1e3dca256db47 (MD5) Previous issue date: 2004-12-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The following work is a conceiting research about bibliography studies of intolerance in education, and it also includes studies about it through out interviews. The main aspects are about the intolerance in education: ways of comprehension and human sensibility. It is a reflection of bad behaviors in education places, where violence, exclusion and disharmony do not accept individual feelings and acts. That s also a broken up of social structures that concern to education. The main idea is to look for solutions of intolerance in education, finding measurement between them. The research intends to contribute for the limits among the tolerance that exist in the relationship of ME and the OTHER , and the idea of exercising tolerance to reach and conquer wisdom in manifestations and behaviors of human relationship / O presente trabalho relata o resultado de uma pesquisa conceitual sobre o fenômeno da intolerância na educação. Meu estudo parte de uma reflexão sobre as práticas sociais e pedagógicas nocivas ao desenvolvimento de ambientes propícios na educação, os quais geram a violência, a exclusão e a discórdia. Dentre as práticas, analisa-se as relações de alteridade e a compreensão da mesma, no que diz respeito à aceitação das diferenças individuais. E conseqüentemente, identifica-se a existência de práticas de simulacros na educação que estariam em conflito com o papel humanizador e crítico das estruturas sociais que a educação teria. O trabalho também faz referência à idéia de mediação como busca de solução para o fenômeno da intolerância na educação. Esta pesquisa pretende contribuir para o esclarecimento dos limites da tolerância existentes nas relações do "Eu" com o "Outro" e na idéia de que a tolerância é um exercício que busca conquistar a sabedoria testada nas práticas e manifestações das relações humanas