Submitted by Priscilla Araujo (priscilla@ibict.br) on 2016-07-26T17:41:49Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) PriscillaDissertaçãoFinal01.pdf: 7022366 bytes, checksum: b213e5571c0b525690f16fee628b4b8b (MD5) / Made available in DSpace on 2016-07-26T17:41:49Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) PriscillaDissertaçãoFinal01.pdf: 7022366 bytes, checksum: b213e5571c0b525690f16fee628b4b8b (MD5) Previous issue date: 2015-08-10 / Aborda sobre a preservação digital dos periódicos científicos eletrônicos em Ciência da Informação publicados no Brasil. Ressaltam-se primeiramente, conceituações e características relacionadas aos periódicos científicos eletrônicos e aos objetos digitais, além de elementos procedimentais e práticas envolvidas no âmbito da preservação digital de periódicos eletrônicos, conforme a literatura especializada. Foram identificadas também as ações das iniciativas internacionais e brasileiras de preservação digital de periódicos eletrônicos, entre elas, a Rede Cariniana, pioneira iniciativa coletiva brasileira de preservação digital. Em seguida, são analisados os resultados do questionário aplicado aos periódicos selecionados para esta pesquisa, bem como a observação nos sites The Keepers e da Rede Cariniana para complementar a pesquisa empírica inerente à preservação digital desses periódicos. Com base nesse aporte teórico e analítico foi possível apresentar o panorama das práticas de preservação digital dos periódicos científicos eletrônicos brasileiros em Ciência da Informação, enfatizando a importância das ações de preservação digital para assegurar o armazenamento adequado, a usabilidade e o acesso a longo prazo desses objetos digitais. / Discusses about the digital preservation of electronic journals in Information Science published in Brazil. Emphasizes first, concepts and functions related to electronic journals and digital objects, as well as procedural elements and practices involved in the framework of digital preservation of electronic journal, according to the specialized literature. International and Brazilian initiatives actions were also identified, among them, Cariniana Network, a pioneering Brazilian collective initiative of digital preservation. Then, analyzes the results of the questionnaire applied to the selected journals for this research and observation in sites The Keepers and Cariniana Network to complement the empirical research inherent in digital preservation of these journals. Based on this theoretical and analytical contribution it was possible to present an overview of digital preservation practices of Brazilian electronic journals in information science, emphasizing the importance of digital preservation actions to ensure proper storage, usability and long-term access to these digital objects.

This thesis concerns itself with a phenomenon found in film music that can be described as audible diegetic transitions. In short, an audible diegetic transition occurs when film music shifts from one implied musical placement to another by changing its pre­sented sound quality. This occurs predominantly through the employment of music that is pre-existing in relation to the release of the film where the music is utilised. These audible diegetic transitions are categorised as aural displacements and transaural dis­placements which are both anchored in previous re­search concerning stable musical place­ments. In order to answer the research questions regarding technical aspects and narra­tological implications, the thesis is centred around a film music analysis. The de­marcation of said analysis uses pre-existing songs from the film Joker (Philips, 2019) as its main focus. In order to provide a colourful and meaningful discussion the selected material also contains a variety of examples from other films. The analysis shows that the selected audible diegetic transitions can provide narra­tological implications both for a film as a whole and for a specific scene or se­quence in any film. In Joker specifically, the audible diegetic transitions arguably contain the narra­to­logi­cal im­plication of adding to the retrospective and unreliable narration, which is im­port­ant for the story of the film. The thesis also argues that the technical aspects of the ana­lysed audible diegetic transitions can be condensed into being either diegetic to comm­en­tary, or vice versa. Diegetic music is, in this context, defined as music that is im­­­­plied as being heard in the acoustic space of the story-world, whereas commen­tary music is an um­brella term defined as music that is not implied being heard in the acous­tic space of the story-world. The analysis shows that these transitions can transpire either instantly or gra­­­dually with the change of sound quality from being either narrow or wide. These tech­nical aspects contribute in under­standing the narratological im­plications of said au­dible diegetic transition by categorising them as either emotive or groun­ding. Both of these narratological implications can be concluded and described as swift enforcers of the relationship be­tween the one consuming the film and the char­acters, or lo­cations, of the film they are con­­­­suming. Audible diegetic transitions figura­tively breach the fourth wall that is the screen.