Made available in DSpace on 2016-04-26T18:14:11Z (GMT). No. of bitstreams: 1 Amanda Bastos Mareschi Aggio.pdf: 1378221 bytes, checksum: ec8addc054040f22f31905d710f42d58 (MD5) Previous issue date: 2014-06-10 / This thesis aims to study the media devices in the Internet, where biopolitcs tools put the digital spectator as part of a system which capitalize on his views. The hypothesis proposed here suggests that games of power maintain the modus operandi of the representation media in the Web and encourage the digital spectator to be a viewing worker by remunerating him as long as there is proof of his existence. Expecting to understand what maintains the spectator in this function of viewing worker, this research used case studies to exemplify these games of power that eventually falls on him. Some questions emerged when studying how some entertainment tools work: how the interactivity offered by new digital technologies have resulted in overcoming the stigma of passivity of the traditional spectator? In order to avoid the dogmatic discourse on the supposed passivity of the spectator, it was necessary to devote a chapter of research to understand the system of thought that maintains the opposition between passivity and activity. From the book The emancipated spectator, Jacques Rancière, it was identified in contemporary media devices the perpetuation of the supposedly extinct traditional critical thinking, but in its inverted form. The theoretical conversation between Rancière and Didi-Huberman revealed points of agreement between their theories, such as the need to go beyond the understanding of image and viewer by understanding the operation of the machine. This demand for clarifying how to operate devices was met through the study of Foucault's biopolitics, which led to concepts that offered the ultimate coherence: a) the subjection (Foucault) to others allowing the viewer to the construction of his identity; b) viewing as work (BUCCI) as the capital shifted to the competent body of homo economics / O objetivo principal desta pesquisa é investigar dispositivos midiáticos na Internet onde mecanismos biopolíticos posicionam o espectador digital como parte de um sistema que capitaliza o seu olhar, depositando a partir dele certo valor monetário no material visto. Para responder ao problema, a hipótese elaborada sugere que esse jogo de forças que sustenta o modus operandi de algumas mídias de representação na Web convoca o espectador digital a ser trabalhador do olhar e o remunera com a comprovação da sua existência. A fim de compreender o que leva o espectador a manter-se nessa posição de trabalhador do olhar diante dos dispositivos de quantificação de visualizações (views) disponíveis em algumas mídias, a pesquisa partiu do estudo de casos que exemplificam esse jogo de forças o qual recai eventualmente sobre ele. A apresentação de como funcionam algumas ferramentas digitais de entretenimento levantou questões como: a interatividade proporcionada pelas novas tecnologias digitais resultou na superação do estigma de passividade do espectador tradicional? Com o intuito de evitar o discurso dogmático sobre a suposta passividade do espectador, foi necessário dedicar um capítulo de pesquisa à compreensão do sistema de pensamento que sustenta o embate entre passividade e atividade. A partir do livro O espectador emancipado, de Jacques Rancière, identificou-se a persistência do pretensamente superado pensamento crítico tradicional - em sua forma invertida - nos dispositivos midiáticos contemporâneos. A conversa teórica entre Rancière e Didi-Huberman revelou pontos de conformidade entre suas teorias, como a necessidade de ir além do entendimento da imagem e do espectador e de compreender o funcionamento da máquina. Essa demanda pelo esclarecimento da forma de operar dos dispositivos foi satisfeita pelo estudo da biopolítica foucaultiana, levando esta pesquisa ao encontro dos conceitos que lhe ofereceram a coerência necessária para finalizá-la: a) a sujeição (FOUCAULT) como aquilo que permite ao espectador a construção de sua identidade, e b) o olhar como trabalho (BUCCI) enquanto o capital deslocado para o corpo competente do homo oeconomicus

Partindo da constatação de que a dança contemporânea para crianças vem se tornando uma área expressiva no campo da pesquisa e criação em dança, a presente dissertação busca refletir sobre as singularidades dessa área de atuação da dança cênica. No encontro da dança contemporânea com as crianças, emerge o entrecruzamento de diversas áreas de conhecimento. A partir desses estudos, surge o encontro da leitura feita das referências bibliográficas com a análise de três obras de arte brasileiras que se enquadram no campo da produção em dança para crianças. Foram escolhidas três produções de três companhias de dança que partiram de processos de criação distintos, acreditando que, desta forma, possam ser relevantes para se estabelecer um panorama das produções em dança para crianças atuais no país. As três obras escolhidas foram Dança em Jogo da Balangandança Cia, Poemas Cinéticos da Lagartixa na Janela e Pequena Coleção de Todas as Coisas da Cia Dani Lima. As análises de tais obras assim como a contextualização do fenômeno dança para crianças foram realizadas através de diferentes autores que advém de campos distintos como estudos da infância, produção cultural, arte contemporânea, dança contemporânea, recepção estética, entre outros campos epistemológicos. Manoel de Barros, poeta que exercita ser criança em sua poesia, assim como as crianças que exercitam ser poetas no seu ser criança, também exerceram grande influência nesta pesquisa. Tanto a dança para crianças como a poesia de Manoel de Barros, são línguas de brincar. No caso da dança, o papel do performer é central nessa língua. Sendo um público bastante exigente e sincero, a criança entendida aqui como um ser produtor de culturas e de saberes, precisa se sentir conectada com os adultos em cena, e, para ocorrer conectividade com seu público-alvo, é fundamental a presença de um corpo cênico receptivo. Um estado corporal cênico brincalhão que se apresenta no entrelaçamento, compartilhando com a criança através da expressividade do gesto do adulto memórias e imaginários permitindo que, na atualidade da cena, dança e criança se encontrem numa experiência compartilhada. Através da interface de estudos interdisciplinares, portanto, esta pesquisa pretende trazer contribuições para a dança contemporânea, produção cultural para crianças e estudos da infância. / Given that contemporary dance to children is becoming an expressive area in the research and creation field in dance, this thesis endeavors to reflect the singularities in this area of scenic dance performance. At the meeting between contemporary dance and children emerges the intersecting of several areas of knowledge. From these studies, the reading of bibliographic references meets the analysis of three Brazilian works of art that fits into the field of dance production for children. Three productions from three dance companies that started from different creation processes were chosen by the belief that they can be relevant to establish a panorama of dance productions for the current children in the country. Dança em Jogo from Balangandança Cia, Poemas Cinéticos from Lagartixa na Janela and Pequena Coleção de Todas as Coisas from Cia Dani Lima were the chosen works of art. The analysis of these productions as well as the contextualization of the phenomenon dance for children were carried out from a theoretical frame composed with different authors from distincts fields as studies on childhood, cultural production, contemporary art, contemporary dance, aesthetic reception and other epistemological fields. Manoel de Barros - a poet who exercises being a child in his poetry - and children- who exercises being poet in your being child- also exerted great influence on this research. Both dance for children and Manoel de Barros poetry are languages to play. In the case of dance, the performer role is central in that language. Being a highly demanding and sincere public children, who is consider here a cultural and knowledge producer, needs to feel connected to the adults on the scene and, in order to have this connectivity with their target audience, the presence of a scenic body that is attentive and present, fluid and sensitive is fundamental. A goofy scenic body condition which expresses itself as entanglement and shares memory and imagination with the children through the expressiveness of the adult\'s gesture allows that dance and children meet themselves at the actuality of the scene and in one shared experience. Therefore, this research intends to contribute to contemporary dance, cultural production for children and studies of childhood through the interface of multidisciplinary studies.

Studien har sitt fokus på börsnoterade fotbollsklubbar i Europa. I studien tillämpas en kvantitativ metod med ett deduktivt angreppsätt vilket ansågs vara lämpligt för denna studie. Hypoteserna är formulerade med stöd från tidigare forskning med teoretiskt förhållningssätt. En panel-dataanalys formades genom ett urval av tio börsnoterade fotbollsklubbar.Vidare valdes sportsliga variabler ut för analysering gentemot den beroende variabeln aktiepris. Dessa oberoende variabler är inköp och försäljning av fotbollsspelare, publiksnitt och sportsliga resultat. En regressions- samt korrelationsanlys utfördes för att analysera potentiella samband mellan de befintliga variablerna. Matrisen av de sportsliga interna dimensionerna resulterade i att klubbarnas aktiepris till viss del inte påverkas av sportsliga prestationer på och utanför fotbollsplanen. / The study has its focus on listed football clubs in Europe. The study applied a quantitative method with a deductive approach which was considered appropriate for this study. The hypotheses are formulated on the basis of previous research with a theoretical framework. A panel data analysis was formed by a selection of ten listed football clubs. Sporting variables were selected for further analysis in relation to the dependent variable share price. The independent variables are sales and purchases of football players, average spectators and sporting results. A regression- and correlations analyses were used to analyze the potential correlation between the existing variables. The matrix of sporting internal dimensions proved that the share price is in part influenced by the sporting achievements on and off the football field.

Made available in DSpace on 2014-07-29T16:27:52Z (GMT). No. of bitstreams: 1 Dissertacao Marla Cardoso Oliveira Cunha.pdf: 5884961 bytes, checksum: 94570c104aa52ddcf87a92a7246eb4a4 (MD5) Previous issue date: 2011-06-30 / The object of this research is to investigate the cinema produced in Goiás specifically in the film by João Bennio (1927-1984) Simeão, o boêmio (1969), from its sociocultural and historical relevance and from interpretations constituted by a discussion group, formed by eight students and three professors of the Social/Audiovisual Communication Course at Universidade Estatual de Goiás. In order to discuss the possible relations between public and film producer, seven meetings with the discussion group have been called and happened in two phases. The first encompassed six meetings organized with the project proposal presentation; film projection and discussion; argumentation with the group based on various images which relate to the film and our trajectories and affection; creation and realization of a visual narrative derived from those images and their interpretations. The second phase consisted of only one gathering intended for presenting the result obtained with the the finalized visual narrative to the discussion group. Considering that the relations between the spectator and the film are part of the social practices in a constant relationship between teaching and learning, the viewer is thought of not as a passive consumer, but as a main character who produces social value and cultural languages, integrating the complexity of the contemporary society complexities. I consider that the histories described in this paper have not been concluded, still they bear some reserve for other possible histories yet to come and many more. / O objetivo desta pesquisa é investigar o cinema feito em Goiás com recorte no filme de João Bennio (1927-1984) Simeão, o boêmio (1969), a partir da sua relevância no âmbito sociocultural e histórico e de interpretações constituídas pelo grupo de discussão, formado por oito alunos e três professores do Curso de Comunicação Social/Audiovisual da Universidade Estadual de Goiás. Para discutir sobre as possíveis relações entre público e realizador de cinema, foram promovidos sete encontros com o grupo de discussão, que aconteceram em duas etapas. A primeira contou com seis encontros organizados com a apresentação da proposta do projeto; projeção e discussão do filme; discussão com o grupo a partir de imagens diversas que se relacionam com o filme e nossos percursos e afetos; criação e realização de uma narrativa visual a partir dessas imagens e suas interpretações. A segunda etapa constituiu-se de apenas um encontro para apresentação, ao grupo de discussão, do resultado obtido com a narrativa visual finalizada. Considerando que as relações entre o espectador e o filme fazem parte das práticas sociais em uma constante relação entre ensinar e aprender, o espectador é pensado não como um consumidor passivo, mas como personagem principal que produz valores sociais e linguagens culturais, integrando a complexidade das dinâmicas da sociedade contemporânea. Considero que as histórias apresentadas neste trabalho não foram finalizadas, mas portam reticências para outras possíveis histórias que virão e outras tantas mais.

This chapter discusses atmospherics as a sport marketing strategy. Even though it has traditional retail roots, atmospherics have emerged as a strategy that may be utilized in the physical, online, and mobile sport environments. A comprehensive review of major traditional and sports atmospheric variables, online atmospheric variables, and applications to sport are discussed. In addition, the spectator experience cycle is introduced with atmospheric correlations. The purpose of the chapter is to explain why atmospherics are important to the sport industry and to demonstrate how sport marketers may use physical, online, or mobile atmospherics to enhance spectator experience, increase loyalty, impact attitude, consumer choice, and impact purchase behavior. In addition, the chapter is meant to emphasize the importance of atmospherics to ultimately achieve promotional and marketing objectives. Finally, future research directions are recommended.

Cette thèse envisage la critique de la « société du Spectacle » (concept forgé dans l’essai éponyme de Guy Debord) telle qu’elle procède dans des œuvres du théâtre expérimental et sur les scènes de la performance au cours des années 2000 à Berlin, Londres et Paris. Les pièces étudiées recyclent des références empruntées aux médias de masse, souvent assimilés à des machines à aliéner le public. Le corpus regroupe aussi bien des auteurs et des metteurs en scène que des collectifs : Martin Crimp, David Ayala, Joël Jouanneau, Falk Richter, René Pollesch, Tom Kühnel, Katie Mitchell, le Collectif MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad et Superamas. L’approche pluridisciplinaire traite à la fois des composants dramaturgiques et des considérants sociologiques de la représentation. D’une part, ce travail étudie la structuration des réseaux dans lesquels les artistes se rencontrent ou coopèrent. D’autre part, nous examinons tant l’organisation des différents éléments scéniques, parmi lesquels les caméras et les écrans tiennent une place importante, que la corporéité des interprètes ainsi que les modes de réception des spectateurs, entre autres par la mise en place d’une enquête. En trans-contextualisant leurs sources, les artistes instaurent des écarts et creusent de la distance à travers divers procédés : l’incorporation littérale, la citation, la parodie et le pastiche, mais aussi l’ironie et le ton cool fun. La dimension critique de ces œuvres ne s’exerce pas de manière frontale et n’est souvent pas même revendiquée. Loin de la rejeter en bloc, les auteurs et interprètes affectionnent certains objets de la culture des médias de masse. Pour mettre en branle leur fonction critique, ils se situent au cœur même de la « société du Spectacle » et de l’esprit du temps. Ainsi cette critique s’est déplacée de l’extérieur à l’intérieur du champ. Leur démarche mêlant le sérieux au ludique dénote une volonté de ne pas se désolidariser des spectateurs face auxquels ils veulent s’inscrire sur un pied d’égalité pour rendre le dialogue et parfois l’interaction possibles. / This thesis tackles the critic of the “Society of the Spectacle” (concept brought by the Guy Debord’s eponymous essay) performed in experimental theater works and the performance scenes during the 2000s in Berlin, London and Paris. The studied theater pieces borrow cultural references to the mass media, often considered as machines to alienate the public. The corpus includes authors as well as stage directors and collectives: Martin Crimp, David Alaya, Joël Jouanneau, Falk Richter, René Pollesch, Tom Khünel, Katie Mitchell, the Collective MxM (Cyril Teste), Forced Entertainment (Tim Etchells), Gob Squad and Superamas.The multidisciplinary approach deals with both the dramaturgy aspects and the sociological patterns of representation. One the one hand, this work studies the network structure in which the artists meet each others and collaborate. On the other hand, we investigate the various stage elements, among which cameras and screens take an major part, as well as the actors’ corporeality as well as the spectators’ ways of perception, among others, by the mean of a survey. By trans-contextualizing their sources, the artists create a gap and increase the distance with them using several techniques: literal incorporation, quotation, parody and pastiche, but also irony and cool fun tone.The critical dimension of these works is not straight forward, and often not even claimed. Far from rejecting it as a whole, the authors and actors are fond of the mass media culture’s objects. In order to set in motion their critical function, they place themselves at the heart of the “Society of the Spectacle” and the Zeitgeist. Thus, such a critic has moved from an external point of view to an internal one. Their approach, mixing seriousness and fun, indicates a will not to separate themselves from the spectators to whom they want to set on equal footing in order to make the dialogue and sometimes the interaction possible.

The present study examined how a fan's desire to participate in superstitious behaviors depends on team identification, team location, and game outcome. The study is a 2 (team identification: high vs. low) x 2 (game outcome: close game vs. blowout) x 2 (location of team: local vs. distant) between subjects factorial design. Participants for the current study included 234 students, recruited from undergraduate psychology classes at Western Kentucky University. Participants completed the Sport Spectator Identification Scale, read a randomly assigned vignette differing in team location and game outcome, and filled out the Superstition Questionnaire to measure their desire to complete superstitious behaviors based on the vignette. They also filled out the Desirability of Control Scale, and the Depression Anxiety Stress Scales to account for the possible covariates of desirability of control and anxiety level. An analysis of the covariates showed that there were no significant correlations between desirability of control or anxiety level and the desire to complete superstitious behaviors. Results indicated that highly identified fans reported wanting to perform more superstitious behaviors than low identified fans. However, no main effect was found for game outcome or team location, and there were no interactions. This finding reiterated the importance of team identification and its effects on the fan. The study also brought new variables to the table, game type and team type, that could be used in future research.

Sport im Allgemeinen und Fußball im Besonderen erfreuen sich nicht nur unter aktiven Sportlern, sondern auch unter Zuschauern aktuell hoher Beliebtheit. Angesichts teils enormer Einschaltquoten scheint es wahrscheinlich, dass Fußballspiele nicht nur von Fans der beteiligten Mannschaften verfolgt werden. Dies kann sowohl gänzlich neutrale Zuschauer als auch Anhänger anderer Teams betreffen. Während Fans allerdings durch die Literatur bereits ausführliche Aufmerksamkeit erfahren haben und durch relativ eindeutige und verlässliche Denk- und Verhaltensweisen gekennzeichnet scheinen, bleibt dies für ‚sonstige‘ Zuschauer bisher unbeleuchtet. Aufbauend auf der Theorie der Selbstkategorisierung (Turner et al. 1987) widmet sich die vorliegende Arbeit deshalb – ohne explizite Einschränkung auf Anhänger einer Mannschaft – der Zuordnung von Zuschauern zu den beteiligten Teams eines Fußballspiels und beleuchtet, inwieweit diese teambezogenen Kategorien als Grundlage für das Denken und Handeln herangezogen werden. Hierfür werden theoretische Annahmen über eine Selbstkategorisierung zweiter Ordnung formuliert, welche das Entstehen salienter Selbstkategorien auch ohne das Vorliegen hoher Identifikation mit dem Team erklären. Die durchgeführten empirischen Studien stützen die Annahmen und zeigen, dass auch von Spiel zu Spiel wechselnde Selbstzuordnungen auftreten können.

The cult of sensibility in the eighteenth century celebrates delicate emotional responses. Such susceptibility to emotion, however, has to rely on somatic representations such as sighs, tears, convulsion, and faints. So, paradoxically, interiority is known to others only by outer bodily signs, signs that could just as easily reflect an affectation of sensibility as sensibility proper. The attempt to control the slippage in the reference between interiority and appearance becomes an anxious cultural feature of eighteenth-century men and, especially, women, of the higher classes. If sensibility requires such careful control and practice, its assumed spontaneity becomes a fiction. The performing body of sensibility turns into a screen that veils one¡¦s true interiority rather than a transparent reflection of it. The performing body is theatricalized¡X placed on the stage as a spectacle, examined by spectators. Sensibility falls prey to insincere, artificial, and affected performances. Emotional representations are constantly facing inroads of theatricality. When emotional expressions are rendered formulaic and reproducible, they lose their naturalness. Moreover, sensibility requires witnesses, spectators who can vouch for its authenticity (but never validate it beyond all doubt). Sensibility cannot proclaim itself because such proclamation would violate sensibility¡¦s principle of sheer sincerity and spontaneity. Theatricality, as an abstracted concept of theater, points both to the formulaic performances and to the model of spectator and spectacle in the theater. Sensibility is closely related to theatricality in these terms. This thesis aims to reveal the dynamics of the interplay between theatricality and sensibility in two eighteenth-century British novels. Both novels present a young heroine making her debut in the world after spending her formative years in seclusion with a male guardian. The Introduction reviews the eighteenth-century cult of sensibility. Chapter One discusses the theoretical and contextual relations between theatricality and sensibility. Chapter Two deals with Charlotte Lennox¡¦s novel The Female Quixote (1752), and how the heroine¡¦s sensibility is ridiculed as a form of self-theatricalization. Lennox gives the clash between sensibility and ridicule a generic dimension by blaming romance for the heroine¡¦s delusions. Chapter Three examines Frances Burney¡¦s epistolary novel Evelina (1778) and argues that the heroine¡¦s sensibility is both sealed and revealed in Burney¡¦s epistolary form since it enables Evelina to switch between being both spectator and spectacle. The conclusion briefly sums up the previous chapters and points out how, more generally, interpretations of literature can benefit from a recognition of the dynamics of theatricality and sensibility.

[pt] Nosso trabalho buscou apresentar a concepção de juízo na obra de Hannah Arendt, cuja compreensão se apoia em uma livre interpretação do juízo reflexionante estético de Kant. As razões pelas quais Arendt teria se voltado para o tema refletem sua preocupação com o obscurecimento do mundo, cuja pluralidade esteve visivelmente ameaçada com o advento do totalitarismo. Para a pensadora, os acontecimentos sem precedentes decorrentes do totalitarismo fazem parte de um contexto em que a ausência de reflexão e uma consequente inabilidade para julgar o que se passava fizeram do século XX um dos mais sombrios períodos da história da humanidade. A faculdade do juízo reflexionante estético, capaz de refletir sobre o particular sem que exista um universal dado, foi pensada por Arendt em um contexto político, e suas características apontam para a necessidade de compreender sem corrimãos os assuntos mundanos que se apresentam na contemporaneidade. Poderíamos considerar uma teoria do juízo arendtiana apenas de um modo fragmentado, uma vez que esse foi um projeto de uma pesquisa teórica que não foi realizado integralmente por ela, e do qual temos um quebra-cabeça a ser montado. Suas peças podem ser resgatadas desde os seus primeiros ensaios, quando a ação política era o seu leit motif intelectual. Posteriormente, a partir do julgamento de Eichmann, quando ao cunhar a expressão banalidade do mal ela própria se tornou exemplar em seu juízo reflexionante. Julgar prospectivamente com uma mentalidade alargada ou retrospectivamente com desinteresse são, pois, lados possíveis da mesma moeda: o juízo de gosto, cujo resgate Arendt se esforçou em trazer à luz. Tal juízo possui as características da comunicabilidade e intersubjetividade que possibilitam a existência do mundo, entendido como o espaço entre homens e espaço de visibilidade do pensamento reflexivo. Por essa razão, a atividade de julgar assim compreendida é a única faculdade espiritual do homem capaz de estabelecer o horizonte da pluralidade. / [en] Our work intended to present the notion of judgment in the writings of Hannah Arendt, whose comprehension supports itself on a free interpretation of Kantian aesthetic reflective judgment. The reasons why Arendt would have turned herself to the theme reflect her concern about the darkening of the world, whose plurality had been visibly threatened by the advent of totalitarianism. For philosopher, the unprecedented events that came from totalitarianism are part of a context in which the lack of deliberation and a subsequent inability to judge what was happening made the 20th century one of the darkest periods of human history. Arendt studied the faculty of aesthetic reflective judgment, capable of deliberating about the particular without a given universal, in a political context, and its characteristics point to the necessity of comprehending without handrails the mundane topics that present themselves on contemporaneity. We are able to consider only a fragmented Arendtian theory of judgment, since this was a research project not done solely by herself, and of which we have a whole puzzle to assemble. The pieces of this puzzle can be found beginning on her first essays, when the political action was her intellectual leit motif. Later, from Eichmann s judgment on, when she became an example on her own reflective judgment after coining the expression banality of evil. Judging prospectively with an enlarged mentality or retrospectively with disinterest are, then, two possible sides of the same coin: the judgment of taste, something Arendt tried to rescue and bring to light. This judgment holds the same characteristics of communicability and intersubjectivity that make possible the existence of the world, understood as the space between men and space of visibility of reflective judgment. For this reason, the activity of judging, comprehended this way, is the only spiritual faculty of men capable of establishing the horizon of plurality.