The aim of the study is to broaden the existing research that touches how power expresses itself and distributes in childrens relationship building. The purpose is to study childrens relationship building and how power and gender affects one another. The reason is to locate possible patterns that excel during an ongoing construction and development of a relationship. To understand what has been observed a sociological perspective has been used. The chosen method is a qualitative study. Observations of groups of children at two different preschools have been done. Semi-structured interviews with educators from the different preschools have also been conducted. The result of the study is that children constantly are trying to get control over their surroundings. In this process when children try to regain control, power may become a big part. Further results of the study is that the preschool and everyone who operates within it holds a major role when it comes to guiding the children and showing appropriate actions individually as well as together with other social human beings. Next the results of the study will be connected to previous research, the preschool’s curriculum and the Convention on the Rights of the Child will be presented. Lastly the conclusions of the study are put in relation to the professional role as a preschool-teacher which will be embraced in a few months.

A pesquisa tem por objetivo investigar o processo de construção de personagens na produção documentária brasileira contemporânea a partir da noção de autorrepresentação do sujeito filmado, tendo como hipótese inicial a ideia de que o estatuto da personagem no filme se define a partir da tensão entre a performance da pessoa real, seu projeto de atuação e as estratégias enunciativas do autor. Partindo da apresentação de uma proposta de definição da autorrepresentação - que rejeita a premissa de que a encenação deva ser analisada dentro do binômio de verdade e falsificação - a pesquisa se desenvolve tendo como recurso fundamental a análise fílmica imanente. Foram selecionados quatro filmes brasileiros contemporâneos como corpus central de análise: Entreatos (João Moreira Salles, 2004), Juízo (Maria Augusta Ramos, 2007), Serras da Desordem (Andréa Tonacci, 2008) e Jogo de Cena (Eduardo Coutinho, 2007). As análises fílmicas se organizam a partir dos diferentes níveis de consciência dos sujeitos filmados em relação à própria performance e buscam investigar até que ponto essa consciência implica num maior ou menor nível de autenticidade. Conectando os dois eixos centrais de reflexão - do desempenho e das estratégias enunciativas que o transcendem - se coloca a questão que sintetiza o desafio maior da pesquisa: como avaliar o quão bem representada é uma pessoa? / The present study aims at investigating the character construction process in contemporary Brazilian documentary film production from the notion of self-representation of the filmed subject, sustaining as initial hypothesis the idea that the status of the character in the film is defined by the tension between the performance of the real person, his acting project and the enunciative strategies of the author. Starting with the presentation of a proposed definition of selfrepresentation - which rejects the assumption that acting should be analyzed within the binomial real or fake -, the research develops, relying on immanent film analysis as fundamental resource. We have selected four contemporary Brazilian films as the central analysis corpus: Entreatos (João Moreira Salles, 2004), Juízo (Maria Augusta Ramos, 2007), Serras da Desordem (Andrea Tonacci, 2008) and Jogo de Cena (Eduardo Coutinho, 2007). Filmic analysis is organized by the different levels of consciousness of the filmed subjects in relationship to their own performance and seeks to investigate to what extent this awareness implies a higher or lower level of authenticity. By connecting the two central axes of reflection - performance and the enunciative strategies that transcend it -, the question that synthesizes the major challenge of the research arises: how to evaluate how well a person is represented?

Submitted by Cristiane de Melo Shirayama (cristiane.shirayama@unifesp.br) on 2018-04-10T18:54:47Z No. of bitstreams: 1 Rubia de Araujo Ramos.pdf: 838525 bytes, checksum: eacc735736cc43d276b4b49d7c372706 (MD5) / Approved for entry into archive by Diogo Misoguti (diogo.misoguti@gmail.com) on 2018-04-11T18:48:19Z (GMT) No. of bitstreams: 1 Rubia de Araujo Ramos.pdf: 838525 bytes, checksum: eacc735736cc43d276b4b49d7c372706 (MD5) / Made available in DSpace on 2018-04-11T18:48:19Z (GMT). No. of bitstreams: 1 Rubia de Araujo Ramos.pdf: 838525 bytes, checksum: eacc735736cc43d276b4b49d7c372706 (MD5) Previous issue date: 2013-02-28 / A necessidade de reflexão sobre as condições da vida social contemporânea é a razão que anima esta pesquisa. Trata-se de um estudo sobre o pensamento sociológico e político de Alain Touraine, que em sua fase mais recente busca compreender a vida social entre os limites da racionalização e da subjetivação. Para realizá-la, construo uma análise da concepção do autor sobre modernidade e “sociedade pós-industrial”, de modo a obter uma exposição das origens e ascendências do conceito de sujeito. A seleção de alguns conceitos do repertório touraineano, tais como dissociação e desmodernização, serve de base teórica para descrever as disposições do meio social que, segundo essa perspectiva, corroboram a construção de um novo paradigma, onde emerge o sujeito. Três períodos distintos da modernidade são descritos para compor o conjunto formador da reflexão acerca dos contrassensos e das mudanças significativas da história ocidental moderna, assim como, da necessidade de questões culturais protagonizarem os conflitos no âmbito da vida social, conforme Touraine defende. As condições democráticas na sociedade pós-industrial, discutidas pelo autor, registram os desdobramentos do fenômeno da dissociação, revelando a democracia como porta de entrada para o retorno do ator, apresentado na figura do sujeito, e a conquista da unidade dos Estados modernos. Em linhas gerais, a Sociologia de Touraine mostra as nuances entre a noção de sujeito e de cultura democrática, sendo que o primeiro se destaca pela ação que lhe é intrínseca, a capacidade de transformação e reconstrução da modernidade. / The need to reflect about the social life condition at contemporary times is the main reason that inspires this research. It refers to a study regard to the sociological and political Alain Touraine’s thoughts. His most recent work try to understand the limit of rationalization and the subjective perception of social life. In this manner, I am putting together an analysis about author point of view regarding the modernity and ‘postindustrial society’, with purpose to obtain a clear exposition about the origin and ancestry of subject concept. The selection of some Touraine’s repertory concepts, like dissociation and anti-modernization, provides a theoretical basis to describe the arrangements of social milieu which according to this perspective, imposes the construction of a new archetype, where the subject arises. Three distinct modern periods are described as a builder of the reflection group around nonsenses and meaningful changes of occidental modern history, in the same way that the necessity of cultural questions, perform conflicts in the social life environment, just like Touraine supports. According to author’s discussions, the democratic conditions at postindustrial society, lead to an outcome of the dissociation phenomenon, emphasizing the democracy, first, as an entrance gate to the main player return, represented in this case, by the subject figure and second, as the main pillar of the modern unified State. In general words, the regulated content of Touraine’s Sociology, just reveals the slight border between subject sense and the democratic culture, where the first one is distinguished by his particular role in society, or in another way, the capacity to transform and rebuild the modernity.

A pesquisa tem por objetivo investigar o processo de construção de personagens na produção documentária brasileira contemporânea a partir da noção de autorrepresentação do sujeito filmado, tendo como hipótese inicial a ideia de que o estatuto da personagem no filme se define a partir da tensão entre a performance da pessoa real, seu projeto de atuação e as estratégias enunciativas do autor. Partindo da apresentação de uma proposta de definição da autorrepresentação - que rejeita a premissa de que a encenação deva ser analisada dentro do binômio de verdade e falsificação - a pesquisa se desenvolve tendo como recurso fundamental a análise fílmica imanente. Foram selecionados quatro filmes brasileiros contemporâneos como corpus central de análise: Entreatos (João Moreira Salles, 2004), Juízo (Maria Augusta Ramos, 2007), Serras da Desordem (Andréa Tonacci, 2008) e Jogo de Cena (Eduardo Coutinho, 2007). As análises fílmicas se organizam a partir dos diferentes níveis de consciência dos sujeitos filmados em relação à própria performance e buscam investigar até que ponto essa consciência implica num maior ou menor nível de autenticidade. Conectando os dois eixos centrais de reflexão - do desempenho e das estratégias enunciativas que o transcendem - se coloca a questão que sintetiza o desafio maior da pesquisa: como avaliar o quão bem representada é uma pessoa? / The present study aims at investigating the character construction process in contemporary Brazilian documentary film production from the notion of self-representation of the filmed subject, sustaining as initial hypothesis the idea that the status of the character in the film is defined by the tension between the performance of the real person, his acting project and the enunciative strategies of the author. Starting with the presentation of a proposed definition of selfrepresentation - which rejects the assumption that acting should be analyzed within the binomial real or fake -, the research develops, relying on immanent film analysis as fundamental resource. We have selected four contemporary Brazilian films as the central analysis corpus: Entreatos (João Moreira Salles, 2004), Juízo (Maria Augusta Ramos, 2007), Serras da Desordem (Andrea Tonacci, 2008) and Jogo de Cena (Eduardo Coutinho, 2007). Filmic analysis is organized by the different levels of consciousness of the filmed subjects in relationship to their own performance and seeks to investigate to what extent this awareness implies a higher or lower level of authenticity. By connecting the two central axes of reflection - performance and the enunciative strategies that transcend it -, the question that synthesizes the major challenge of the research arises: how to evaluate how well a person is represented?

Le jeu du clown dans la Colombie contemporaine est en voie de développement. Bien que la figure du clown n’ait jamais cessé d’exister dans la société, quelles que fussent ses formes à travers l’histoire, on assiste à la renaissance de l’art du clown dans notre pays depuis ces dix dernières années. L’art du clown devient une possibilité de revalorisation du langage comique et poétique de l’artiste dans la société colombienne actuelle, conférant à l’acteur clown un rôle social et politique et permettant au spectateur de vivre une forme de résistance et de libération de sa réalité quotidienne violente.La mise en perspective historique du cirque comme langage artistique moderne permet de comprendre comment le clown va se constituer et se développer tout au long des XIXe et XXe siècles jusqu’à devenir un art autonome avec son incursion dans le théâtre et les écoles de formation théâtrale. Cette démarche vise à donner les fondements théoriques de la naissance et de l’évolution du cirque et du clown dans le cirque depuis l’époque de l’Amérique préhispanique jusqu’à la Colombie contemporaine. La perspective historique remarque que, bien avant l’arrivée des clowns dans les cirques modernes après le XVIIIe siècle, on peut constater l’existence de personnages comiques et clownesques dans la culture précolombienne et pendant la période de la colonisation. L’histoire des fêtes populaires de l’Amérique latine, les personnages itinérants et comiques vont se développer parallèlement aux formes spectaculaires religieuses de l’idéologie espagnole. Les cirques européens et américains arriveront dans une atmosphère de résistance et, plus tard, d’indépendance et commencera à s’écrire l’histoire du cirque en Amérique latine.Le modèle économique latino-américain, la récente industrie culturelle et le manque d’écoles de formation du cirque marqueront l’évolution du cirque comme institution sociale, cherchant à travers la discipline et ses techniques à former des jeunes et enfants en situation de violence. D’autre part, le théâtre subira des divisions entre la tradition et l’apparition d’idéologies modernes sur la formation de l’acteur jusqu’à la consolidation de la méthode artistique de création collective. Le clown du cirque traditionnel deviendra une sorte de stéréotype avec les duos clownesques à la télévision, les clowns dans la rue, les restaurants, et les mendiants habillés en clowns. Cette étude aborde les éléments sémiotiques de la figure des nouveaux clowns en tant qu’art autonome impulsé par la pédagogie du français Jacques Lecoq diffusée dans le monde entier, avec une incidence importante en Amérique latine, où elle rencontre la création collective basée sur l’improvisation. Cette pédagogie arrive à travers les festivals internationaux du théâtre où artistes et public accèdent au panorama de l’art du clown dans le monde, au travers de stages et de spectacles. Rénovant ainsi le phénomène de marginalisation du clown par un changement de statut artistique et social. La pratique enracinée de la création collective, letravail du collectif et l’implication du théâtre dans les transformations sociales et politiques du pays, rencontre le langage des nouveaux clowns, pour donner forme à des créations clownesques collectives tout à fait solides et originales. Nous nous concentrons sur la fonction qu’exercent les clowns contemporains au présent de la société colombienne résultant d’une vaste période de crises marquée par des affrontements et des vagues successives de violence. L’humour comme trait particulier de la culture devenant une forme incontestable d’affronter une réalité douloureuse rencontre le clown que par le rire permettra de récupérer la valeur sacrée du chaman, bobo, bouffons et fous de l’histoire. Ainsi nous reconnaissons l’incursion du langage du clown sur plusieurs terrains (l’hôpital, l’humanitaire et le social) pour admettre que le spectateur vive une forme de libération par la communication établie avec le clown dans le rire. / Clown acting in contemporary Colombia is developing. Even though the figure of clowns has always being present in society, regardless of its forms through history, we are now witnessing the rebirth of the art of clowning in Colombia in the last decade. The art of clowning becomes an enhancement possibility of comic and poetic language of the artist in the current Colombian society, conferring the clown actor a social and political role, and allowing the spectator to live a form of resistance and freedom from their daily violent reality.The historical perspective of the circus as modern artistic language allows understanding how the clown is built up and developed through the XIX and XX centuries until the point of becoming an independent art with its foray into theater and theater schools. This perspective aims to provide the theoretical foundations of the birth and evolution of the circus and the clown in the circus since the time of pre-Hispanic America until contemporary Colombia. The historical perspective points out that the existence of comic and clownesque characters in the Pre-Columbian culture and during the colonization era can be recorded even before the clowns’ arrival to the modern circus after the XVIII century. The history of Latin America popular celebrations and the itinerant and comic characters are developed at the same time as the spectacular religious forms of the Spanish ideology. The European and American circuses arrived amid an atmosphere of resistance and, later, of independence. The history of the circus in Latin America begins to be written.The Latin American economic model, the recent cultural industry and the lack of schools for circus training mark the circus evolution as a social institution which, through its discipline and techniques, looks to form young people and children that are in violence situations. On the other hand, the theater is subjected to divisions between tradition and the emergence of modern ideologies on actor’s training until the consolidation of the artistic method of collective creation. The traditional circus clown becomes a kind of stereotype with the clownesque duos on T.V., the clowns in the streets and restaurants, and the beggars dressed up as clowns.This study approaches the semiotic elements of the new clowns’ figure as an independent art encouraged by French Jacques Lecoq’s pedagogy, spread all around the world with an important impact in Latin America, where this pedagogy meets the collective creation based on improvisation. It arrives through international theater festivals, where artists and spectators have access to the panorama of the clown art around the world, by means of courses and shows renewing the clown’s marginalization phenomenon through an artistic and social status change. The established practice of collective creation, the collective work and the involvement of theater in social and political transformation of the country, meet the language of the new clowns to give shape to absolutely strong and original collective clownesque creations.We will focus on the function performed by the contemporary clowns in the current Colombian society resulting from a large period of crisis marked by confrontations and successive waves of violence. Humor, as a particular feature of the culture and becoming an unquestionable way of facing a painful reality, meets the clown, who makes possible to recover the sacred value of the shaman, bobo, buffoons and mad characters of history. Thus, recognizing the foray of clown language into different fields (the hospital, the humanitarian and the social ones) in Colombia, it is possible to accept that the spectator lives a form of freedom through the communication established with the clown in the laughing.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-04T17:29:38Z No. of bitstreams: 1 Jefferson Garrido Araújo Neto_.pdf: 3273546 bytes, checksum: 30de8ac0a3d53f203740dfb9fc70412d (MD5) / Made available in DSpace on 2016-04-04T17:29:38Z (GMT). No. of bitstreams: 1 Jefferson Garrido Araújo Neto_.pdf: 3273546 bytes, checksum: 30de8ac0a3d53f203740dfb9fc70412d (MD5) Previous issue date: 2013-04-04 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A partir de um estudo de caso examinam-se as estratégias de midiatização da inovação científica desenvolvidas pelo Instituto Internacional de Neurociências de Natal/RN Edmond e Lily Safra – tendo como seu protagonista o cientista Miguel Nicolelis – que se caracterizam pela circulação de ações que se fazem no campo da ciência e da comunicação. A pesquisa nasce a partir da pergunta ‘Como o empreendedor-cientista realiza um trabalho de natureza comunicacional, desenvolvendo movimentos em múltiplas direções de um lugar de fala típico de um cientista, para outros lugares de fala – se não totalmente de um comunicador – mas que estaria hibridizado por operações e lógicas de comunicação midiatizada?’, enquanto problema. Estuda-se, particularmente, a postura comunicacional do Cientista Ator no uso de mídias tradicionais, virtuais e em outras ações específicas, segundo a análise das suas estratégias comunicacionais e discursivas. A partir de um diálogo com o marco teórico sobre midiatização das práticas científicas, se tem como foco a promessa da invenção, cuja materialização se constitui por fluxos enunciativos que culminarão com a sua materialização no contesto de um acontecimento esportivo, a solenidade de abertura da Copa do mundo em 2014, onde será anunciada a referida experiência. O estudo permitiu identificar um conjunto de estratégias adotadas pelo cientista que se constitui através de discursos que midiatizam uma inovação que ainda está por vir, enquanto movimenta-se estabelecendo interações protocoladas por ele. Os principais achados mostram que o Ator opera uma complexa engenharia de mídia por operações discursivas que o estabelecem como a principal referência do que pesquisa em laboratório e em função dos diversos personagens que constituem sua performance midiática. / From a case study examining the strategies of mediatization of scientific innovation developed by the International Institute of Neuroscience of Natal/RN Edmond and Lily Safra - having as its protagonist the scientist Miguel Nicolelis – characterized by outstanding shares in the field of science and communication. The research arises from the question 'How does an entrepreneur-scientist provides a work of communicational nature, developing movements in multiple directions from one place of a typical scientist communication, speaking to other places - if not totally a communicator - but was hybridized by operations and logics of mediated communication? while problem. Is studied, particularly, the communication posture of a Scientist Actor in using traditional medias, virtual and other specific actions, according to the analysis of their communications strategies and discursive. From a dialogue with the theoretical framework on media coverage of scientific practices, has focused on the promise of invention, which embodiment is constituted by flows of announcements culminating with their materialization in the contest of a sporting event, the World Cup opening ceremony in 2014, which this experience will be announced. The study identified a set of strategies adopted by the scientist who is through discourses that mediatize an innovation that is yet to come, while jogging establishing interactions filed by him. The findings showed that the Actor operates complex media engineering for discursive operations that sets him as the main reference to laboratory research and according to the different characters that make up its media performance.

Esta dissertação propõe uma reflexão sobre a comunicação para a inovação no âmbito dos projetos de pesquisa e desenvolvimento da Empresa Brasileira de Pesquisa Agropecuária (Embrapa), a partir do estudo de caso do projeto Sustentare, desenvolvido em Sobral, Ceará. O objetivo central do trabalho foi compreender as práticas de comunicação propostas pelo referido projeto, com base na perspectiva dos atores sociais envolvidos. Especificamente a pesquisa buscou: (1) reconstituir a trajetória do projeto Sustentare a partir da perspectiva dos atores sociais envolvidos; (2) identificar possíveis transformações nas localidades de Sítio Areias, Pé de Serra Cedro e São Francisco, refletindo sobre mudanças no cotidiano das comunidades; (3) compreender a proposta de comunicação implementada pelo projeto, apontando limitantes e potenciais. O estudo de caso fez uso de entrevistas semiestruturadas, análise documental e a observação participante. A chave analítica desenvolvida entrelaça elementos de um construcionismo social proposto pela Perspectiva Orientada aos Atores, e fundamentos teóricos para uma abordagem da comunicação como um processo complexo e interacional, no qual a participação se torna um elemento fundamental. Ao longo da pesquisa, aferiu-se a existência de uma grande desconfiança inicial por parte dos agricultores em relação ao projeto e aos pesquisadores, em virtude de experiências anteriores com outras instituições e, até mesmo, com a própria Embrapa. No entanto, a análise das práticas de comunicação e das transformações socioprodutivas percebidas pelos atores demonstra que a implementação do projeto resultou em relações mais horizontalizadas entre pesquisadores e agricultores, possibilitando o processo de construção de conhecimentos localmente situados. / This dissertation proposes a reflection on the communication for innovation in research and development projects of the Brazilian Agricultural Research Corporation (Embrapa), based on the case study of the Sustentare project, developed in Sobral, Ceará (Northeast Region, Brazil). The main objective of this study was to analyze the communication practices proposed by the project, based on an involved social actors’ perspective. Specifically, the research sought: (1) reconstitute the Sustentare project trajectory from the involved social actors’ perspective; (2) identify possible transformations in the localities of Sítio Areias, Pé de Serra Cedro and São Francisco, reflecting on changes in the communities' daily lives; (3) establish a reflection on the communication proposal implemented by the project, pointing out limitations and potentials. For the case study semi-structured interviews, documentary analysis and participant observation were used. The developed analytical key interweaves elements of a social constructivism proposed by the Actor-Oriented Perspective, and theoretical foundations for a communication approach as a complex and interactional process in which participation becomes a fundamental element. Throughout the research, it was verified the existence of a great initial mistrust on the part of the farmers in relation to the project and to the researchers, due to previous experiences with other institutions and, even, with Embrapa itself. However, the analysis of communication practices and socio-productive transformations perceived by the actors shows that the implementation of the project resulted in more horizontal relations between researchers and farmers, making possible the construction of locally based knowledge.

Esta dissertação propõe uma reflexão sobre a comunicação para a inovação no âmbito dos projetos de pesquisa e desenvolvimento da Empresa Brasileira de Pesquisa Agropecuária (Embrapa), a partir do estudo de caso do projeto Sustentare, desenvolvido em Sobral, Ceará. O objetivo central do trabalho foi compreender as práticas de comunicação propostas pelo referido projeto, com base na perspectiva dos atores sociais envolvidos. Especificamente a pesquisa buscou: (1) reconstituir a trajetória do projeto Sustentare a partir da perspectiva dos atores sociais envolvidos; (2) identificar possíveis transformações nas localidades de Sítio Areias, Pé de Serra Cedro e São Francisco, refletindo sobre mudanças no cotidiano das comunidades; (3) compreender a proposta de comunicação implementada pelo projeto, apontando limitantes e potenciais. O estudo de caso fez uso de entrevistas semiestruturadas, análise documental e a observação participante. A chave analítica desenvolvida entrelaça elementos de um construcionismo social proposto pela Perspectiva Orientada aos Atores, e fundamentos teóricos para uma abordagem da comunicação como um processo complexo e interacional, no qual a participação se torna um elemento fundamental. Ao longo da pesquisa, aferiu-se a existência de uma grande desconfiança inicial por parte dos agricultores em relação ao projeto e aos pesquisadores, em virtude de experiências anteriores com outras instituições e, até mesmo, com a própria Embrapa. No entanto, a análise das práticas de comunicação e das transformações socioprodutivas percebidas pelos atores demonstra que a implementação do projeto resultou em relações mais horizontalizadas entre pesquisadores e agricultores, possibilitando o processo de construção de conhecimentos localmente situados. / This dissertation proposes a reflection on the communication for innovation in research and development projects of the Brazilian Agricultural Research Corporation (Embrapa), based on the case study of the Sustentare project, developed in Sobral, Ceará (Northeast Region, Brazil). The main objective of this study was to analyze the communication practices proposed by the project, based on an involved social actors’ perspective. Specifically, the research sought: (1) reconstitute the Sustentare project trajectory from the involved social actors’ perspective; (2) identify possible transformations in the localities of Sítio Areias, Pé de Serra Cedro and São Francisco, reflecting on changes in the communities' daily lives; (3) establish a reflection on the communication proposal implemented by the project, pointing out limitations and potentials. For the case study semi-structured interviews, documentary analysis and participant observation were used. The developed analytical key interweaves elements of a social constructivism proposed by the Actor-Oriented Perspective, and theoretical foundations for a communication approach as a complex and interactional process in which participation becomes a fundamental element. Throughout the research, it was verified the existence of a great initial mistrust on the part of the farmers in relation to the project and to the researchers, due to previous experiences with other institutions and, even, with Embrapa itself. However, the analysis of communication practices and socio-productive transformations perceived by the actors shows that the implementation of the project resulted in more horizontal relations between researchers and farmers, making possible the construction of locally based knowledge.

Esta dissertação propõe uma reflexão sobre a comunicação para a inovação no âmbito dos projetos de pesquisa e desenvolvimento da Empresa Brasileira de Pesquisa Agropecuária (Embrapa), a partir do estudo de caso do projeto Sustentare, desenvolvido em Sobral, Ceará. O objetivo central do trabalho foi compreender as práticas de comunicação propostas pelo referido projeto, com base na perspectiva dos atores sociais envolvidos. Especificamente a pesquisa buscou: (1) reconstituir a trajetória do projeto Sustentare a partir da perspectiva dos atores sociais envolvidos; (2) identificar possíveis transformações nas localidades de Sítio Areias, Pé de Serra Cedro e São Francisco, refletindo sobre mudanças no cotidiano das comunidades; (3) compreender a proposta de comunicação implementada pelo projeto, apontando limitantes e potenciais. O estudo de caso fez uso de entrevistas semiestruturadas, análise documental e a observação participante. A chave analítica desenvolvida entrelaça elementos de um construcionismo social proposto pela Perspectiva Orientada aos Atores, e fundamentos teóricos para uma abordagem da comunicação como um processo complexo e interacional, no qual a participação se torna um elemento fundamental. Ao longo da pesquisa, aferiu-se a existência de uma grande desconfiança inicial por parte dos agricultores em relação ao projeto e aos pesquisadores, em virtude de experiências anteriores com outras instituições e, até mesmo, com a própria Embrapa. No entanto, a análise das práticas de comunicação e das transformações socioprodutivas percebidas pelos atores demonstra que a implementação do projeto resultou em relações mais horizontalizadas entre pesquisadores e agricultores, possibilitando o processo de construção de conhecimentos localmente situados. / This dissertation proposes a reflection on the communication for innovation in research and development projects of the Brazilian Agricultural Research Corporation (Embrapa), based on the case study of the Sustentare project, developed in Sobral, Ceará (Northeast Region, Brazil). The main objective of this study was to analyze the communication practices proposed by the project, based on an involved social actors’ perspective. Specifically, the research sought: (1) reconstitute the Sustentare project trajectory from the involved social actors’ perspective; (2) identify possible transformations in the localities of Sítio Areias, Pé de Serra Cedro and São Francisco, reflecting on changes in the communities' daily lives; (3) establish a reflection on the communication proposal implemented by the project, pointing out limitations and potentials. For the case study semi-structured interviews, documentary analysis and participant observation were used. The developed analytical key interweaves elements of a social constructivism proposed by the Actor-Oriented Perspective, and theoretical foundations for a communication approach as a complex and interactional process in which participation becomes a fundamental element. Throughout the research, it was verified the existence of a great initial mistrust on the part of the farmers in relation to the project and to the researchers, due to previous experiences with other institutions and, even, with Embrapa itself. However, the analysis of communication practices and socio-productive transformations perceived by the actors shows that the implementation of the project resulted in more horizontal relations between researchers and farmers, making possible the construction of locally based knowledge.

By linguistically examining 162 articles published during the summer of 2015 in two UK broadsheets: The Guardian (TG) and The Daily Telegraph (TDT), this essay aims to analyse the discursive representation of the ‘migrant crisis’. To do so, the representation of the social actors migrating (SAM) during the ‘crisis’ was focused on. A combined Corpus Linguistic (CL) and Critical Discourse Analysis (CDA) approach was implemented to investigate the most frequently used terms to refer to the SAM. Once the terms were found, their usage across the corpora was examined by looking at frequency distributions. Next, collocates of the terms referring to SAM were analysed by way of Van Leeuwen’s (2008) Social Actor Network. Collocate and concordance analyses helped to show how the SAM were represented in the articles and how the representation varied across the two newspapers. The results of the analyses indicated that the most frequent terms used to refer to the SAM were migrant, people and refugee. It also indicated differences in connotations of those three words, with refugee ‘sympathetically’ connoted, migrant negatively connoted and people connoted both negatively and positively. The overall conclusion was that the SAM’s representation was more ‘sympathetic’ in TG than in TDT.