Made available in DSpace on 2016-07-27T14:21:45Z (GMT). No. of bitstreams: 1 Laura Drummond de Azeredo Coutinho Jardim.pdf: 625995 bytes, checksum: 003129089832e8f2fc79846f74a3472e (MD5) Previous issue date: 2009-04-25 / The present study has the objective of analyzing the possibility of including in Psychological Assistance Institutions, because of the huge demand, Super Heroes Therapeutic Groups. This idea has emerge from the perception of a necessity of group work in institutions, aiming to decrease the waiting list of patients, adding the possibility of inserting the theme Super Heroes as therapeutic mediator, observing that, nowadays, children have been presenting in their speech and play, interest in histories and films about them. The technique developed in this research is an adaptation of Gutfreind (2003) experience with fairytales therapeutic groups. Six children, of both sexes, going to school, age range between five and seven year s old and parents with low income were the group attended. All these kids were in the waiting list of patients, and had claimed of familiar relationship difficulties. These Therapeutic Groups happened in ten dates: two were designated to interview the parents and the other eight to meet and be with the children. At the end of the research, even though some considerations were made, could be seen that the Therapeutic Group helped in the emotional development and also offered some tools to the kids to work with reality. / O presente estudo tem como objetivo analisar a possibilidade de incluir em instituições de atendimento psicológico, onde a demanda é grande, Oficinas Terapêuticas com Super Heróis. Essa idéia surgiu a partir de uma percepção da necessidade de trabalhos em grupos em instituições visando diminuir a espera do atendimento, somado a questão da possibilidade de inserção dos Super Heróis como mediadores terapêuticos, visto que atualmente a criança, tanto em seu discurso quanto em suas brincadeiras, apresenta um grande interesse pelas suas histórias e filmes. A técnica desenvolvida na pesquisa é uma adaptação a partir de a experiência de Gutfreind (2003), com ateliês de contos de fadas. Participaram da pesquisa seis crianças de ambos os sexos e com idades entre cinco e sete anos, de baixa renda e que frequentam escola. Todas essas crianças haviam buscado atendimento na instituição com queixas ligadas a problemas de relacionamento familiar. As Oficinas Terapêuticas aconteceram em dez encontros, no qual dois foram reservados para entrevistas com os pais e os outros oito encontros com as crianças. Ao final da pesquisa, apesar de algumas considerações terem sido levantadas, percebeu-se que as Oficinas auxiliaram no desenvolvimento emocional e também ofereceram recursos para as crianças lidarem com a realidade.

Estudo sobre a publicação nacional dos super-heróis dos comic books dos EUA pela Editora Brasil-América (EBAL) entre meados dos anos 60 e 70. Para tanto, será traçado um panorama histórico, acrescido das coordenadas teóricas que norteiam a análise da iconografia dessas revistas. Houve uma extensa pesquisa iconográfica focalizada nas edições da EBAL, além de levantamento de histórias em quadrinhos de outras editoras e épocas. Mesmo sendo um produto típico da indústria cultural do século 20, as histórias em quadrinhos apresentam inflexões que permitem relacionar arte, cultura, sociedade e imaginário. O estudo inclui ainda entrevistas com leitores da EBAL. / Study on the publication in Brazil of American comic books superheroes by Editora Brasil-America (EBAL) from the mid-60\'s to the mid-70\'s. With such an aim, work traces an historical panorama to which shall be added the theoretical coordinates guiding the analysis of these magazines iconography. Extensive iconographic research focused in EBAL?s publications has been made, besides a survey of comics from other publishing houses and from other decades as well. Even being a typical product of 20th century cultural industry, comics show contradictions allowing to establish relations between art, culture, society and the imaginary. Study also includes interviews with frequent readers of EBAL publications.

Estudo sobre a publicação nacional dos super-heróis dos comic books dos EUA pela Editora Brasil-América (EBAL) entre meados dos anos 60 e 70. Para tanto, será traçado um panorama histórico, acrescido das coordenadas teóricas que norteiam a análise da iconografia dessas revistas. Houve uma extensa pesquisa iconográfica focalizada nas edições da EBAL, além de levantamento de histórias em quadrinhos de outras editoras e épocas. Mesmo sendo um produto típico da indústria cultural do século 20, as histórias em quadrinhos apresentam inflexões que permitem relacionar arte, cultura, sociedade e imaginário. O estudo inclui ainda entrevistas com leitores da EBAL. / Study on the publication in Brazil of American comic books superheroes by Editora Brasil-America (EBAL) from the mid-60\'s to the mid-70\'s. With such an aim, work traces an historical panorama to which shall be added the theoretical coordinates guiding the analysis of these magazines iconography. Extensive iconographic research focused in EBAL?s publications has been made, besides a survey of comics from other publishing houses and from other decades as well. Even being a typical product of 20th century cultural industry, comics show contradictions allowing to establish relations between art, culture, society and the imaginary. Study also includes interviews with frequent readers of EBAL publications.

Cette thèse porte sur la trajectoire éditoriale et artistique de la collection Vertigo créée en 1993 par DC Comics, maison d’édition états-unienne spécialisée dans la bande dessinée. Je me propose d’aborder Vertigo à travers l'apport des scénaristes britanniques employés par DC Comics depuis le milieu des années quatre-vingt. Leur rôle est en effet considérable, tant au moment de la fondation de Vertigo par la rédactrice Karen Berger que dans le succès ultérieur dont jouit la collection. La genèse de Vertigo met en lumière l’importance du phénomène appelé l’ « Invasion britannique », c’est-à-dire l’arrivée sur le marché états-unien de nombreux créateurs qui sont nés et travaillent à l’étranger pour DC Comics. Cette « invasion » révélera au public américain des scénaristes de tout premier plan tels Alan Moore, Grant Morrison ou Neil Gaiman, dont la série The Sandman est considérée comme un jalon majeur de l’histoire du média. La critique existante au sujet de Vertigo en général tend d’ailleurs à se focaliser sur la portion du corpus produit par les Britanniques, mais sans nécessairement prendre acte de cette spécificité culturelle. Le travail à mener est donc double ; d'une part, il s'agira de retracer une histoire du label en tant qu'instance productrice d'une culture médiatique particulière, qui s'inscrit dans un contexte socio-historique et repose sur les pratiques et les représentations de l'ensemble des acteurs (producteurs et consommateurs au sens large), eux-mêmes nourris d'une tradition qui préexiste à l'apparition de Vertigo. Il sera dès lors possible de prendre appui sur cette connaissance contextuelle pour interroger la poétique du label, et ainsi identifier les spécificités d’une « école » britannique au sein de cette industrie culturelle. / This thesis deals with the editorial and aesthetic history of the Vertigo imprint, which was created in 1993 by DC Comics, a US-American comics publisher. I shall consider in particular the contribution of British scriptwriters employed by DC and then by Vertigo from the 1980s onwards. Theise creators played a tremendous role, both at the time of Vertigo's founding by editor Karen Berger and at a later date, as the imprint gathered widespread recognition. The genesis of the Vertigo imprint sheds light on the so-called “British Invasion”, that is to say the appearance within the American industry of several UK-based creators working for DC Comics. Spearheaded by Alan Moore, the “invasion” brought to the fore many of the most important scriptwriters of years to come, such as Grant Morrison and Neil Gaiman, whose Sandman series has been described as a major landmark in the recognition of the medium. Existing criticism regarding Vertigo tends to focus on the body of work produced by British authors, without necessarily discussing their national specificity. My goal is therefore double; on the one hand, I intend to write a history of the label as the producer of a specific media culture that belongs to a given socio-historical context and is grounded in the practices and representations of the field's actors (producers and consumers in a broad sense). On the other hand, the awareness of the context in which the books are produced shall allow me to interrogate the imprint's poetics, thus identifying the specificity of a “British school of writing” within the comics mainstream industry.