Orientador: Anna Christina Bentes da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-12T03:51:23Z (GMT). No. of bitstreams: 1 Azanha_ElizaniaFabiadeSousa_M.pdf: 949384 bytes, checksum: 9430da9bcf7800d49643e2f36633fc0b (MD5) Previous issue date: 2008 / Resumo: As interações sociais têm sido amplamente estudadas por lingüistas, no Brasil e em outros países. Da mesma forma, encontramos diversos trabalhos que exploram a questão da cognição social, procurando entender como se constroem conhecimentos partilhados e como são utilizados. Nosso trabalho fará uma tentativa de utilizar esses dois conceitos para analisar interações entre alunos do Ensino Médio sobre gêneros televisivos, a que assistiram, em situações por nós propiciadas. Gravamos matérias televisivas e selecionamos gêneros com enfoque para a informação: notícia, comentário e entrevista. Todos apresentados em jornais de grande circulação e em horário nobre, em canal aberto. Solicitamos aos alunos, divididos em três grupos, que assistissem a cada uma das matérias e em seguida comentassem o que haviam compreendido. Esse corpus foi analisado observando-se como compreenderam as matérias através das construções conjuntas de sentido que elaboraram e, ainda, quais as estratégias que utilizaram para demonstrar essa compreensão. Observamos que esses alunos, através da interação, demonstraram compreender as matérias assistidas realizando construções conjuntas, a partir de conhecimentos prévios e uso de recursos como repetições e paráfrases. Concluímos que a interação pode favorecer a construção dos sentidos do texto oral, através de negociações que os indivíduos realizaram buscando apresentar sua compreensão das matérias a que assistiram. E, ainda, que as estratégias de repetição e paráfrase podem, muitas vezes, favorecer essa compreensão por permitir aos informantes, através das retomadas enunciativas, reelaborarem os conteúdos a que assistiram com o intuito de construir novos saberes a partir dos já existentes. Não podemos ignorar o caráter avaliativo presente em muitos dos comentários elaborados pelos alunos nas diferentes interações, o que nos conduz à conclusão de que, quando conhecem o assunto a que assistem consideram-se autorizados a apresentar sua opinião a respeito desse tema. Pretendemos, com nossas análises, apresentar uma possibilidade de trabalho com alunos do Ensino Médio, a partir da mídia televisiva, que trata de gêneros televisivos como objeto de estudo e demonstram a co-construção dos sentidos nas interações propiciadas por esse gênero. / Abstract: The social interaction has been hugely studied by linguistics, in Brazil and in other countries. Likewise, we find several studies that explore the question of social cognition, looking for understanding how communal common grounds are constructed and used. Our paper will try to use both of this concepts to analyze interactions among students of high school level about television genres that they have watched in propitiated situations. We recorded some television programs and we selected genres which focus on information: news, comments and interviews. All of them were presented at newscasts of huge circulation, at nightcast, on open channel. We asked for the pupils, distributed in three groups, to watch each feature and to comment it at following, to show what they had understood. This corpus was analyzed with the goal for seeing how they had comprehended the feature through the common constructions of meaning that they elaborated and, then, which strategies they have used to show this comprehension. We noticed that this students, through the interaction, demonstrate comprehension about the features that they watched, they made common constructions, from their communal common grounds and the use of recourses like repetition and paraphrase. We can conclude that interaction can favor the construction of meanings from oral text, through the negotiation that the individuals made to show their comprehension about the features they had watched. And, still, that the strategies of repetition and paraphrases can, many times, favor that comprehension for letting to the informants re-elaborate the contents that they had watched with the deal of construct new knowledges from those that they have already have, using the enunciative resumed. We can't ignore the evaluated character that it is present at many of the comments elaborated by students in the different interactions, what carry us to the conclusion that when they know the subject that they watch they give theirselves the right to present their opinion about that subject. We intent, with our analysis, present a possibility of work with high school students, from television media, which see the television genres like object of study and demonstrate the co-construction of meanings at interactions propitiated by this genre. / Mestrado / Mestre em Linguística

Made available in DSpace on 2016-08-03T12:29:37Z (GMT). No. of bitstreams: 1 Dirceu Lemos da Silva pg 1_160.pdf: 2528127 bytes, checksum: f8c573f16805a13fad56b9710391dc90 (MD5) Previous issue date: 2012-05-07 / Television programming is the soul of a network. It places a TV channel within the correct identity among the viewing public and can be considered the true product of broadcasting. A network s schedule of programs is built within a strategy to attract the largest possible audience and, especially, to foment loyalty. In the 70 s, TV Globo reached the highest share-of-audience with a television schedule that, in general terms, still applies nowadays, such as the soap opera-news- soap opera formula. But how was Brazilian television programming before Globo? Which genres were the most common? What was broadcasted during the evening prime time? How was the schedule of former leader TV Tupi? Or how was programs scheduling for other networks, such as TV Excelsior and TV Record, from Mr. Paulo Machado de Carvalho? And how about TV Paulista, that operated from a small apartment? During the first two decades of the Brazilian commercial broadcasting television, we witnessed the introduction of audience ratings, videotapes, satellite transmissions and the creation of networks. How some of those technologies did influence TV programming? Through qualitative and quantitative methodologies, based on bibliographical research, data observation and interviews with TV professionals, this exploratory research is based on two structural pivots: 1) Review the main classification criteria for television genres and, with this classification, conduct the second part of the study; 2) Analyze the characteristics of TV programming for the four leading commercial broadcasting networks in São Paulo, during the decades of 1950 and 1960. / A programação é a alma da emissora, ela dá identidade ao canal e é o verdadeiro produto da TV. A grade de programação faz parte de uma estratégia que busca atrair o máximo de audiência possível e, principalmente, mantê-la fiel. Na década de 1970, a TV Globo alcançou o primeiro lugar de audiência com um modelo de grade que, em linhas gerais, permanece até hoje, como por exemplo, o sanduíche novela-telejornal-novela. Mas como era programação televisiva antes da Globo? Quais os gêneros de programas mais comuns? O era exibido no horário nobre? Como era a programação da então líder TV Tupi? Da glamurosa TV Excelsior? Da TV Record de Paulo Machado de Carvalho? E da pequena TV Paulista que funcionava num apartamento? Nas duas primeiras décadas da TV brasileira é que surgiram as pesquisas de audiência, o videoteipe, as transmissões via satélite e o início da formação das redes. Como algumas dessas tecnologias influenciaram a programação? Por meio de uma metodologia quantitativa e qualitativa, baseada em pesquisa bibliográfica, observação de dados e em entrevistas com profissionais do setor, esta pesquisa de caráter exploratório se baseia em dois eixos estruturais: 1) Rever os principais critérios de classificação de gêneros televisivos e, com esta classificação, fazer a segunda parte do estudo: 2) Analisar as características de programação das quatro emissoras comerciais de maior audiência da TV aberta paulista, nas décadas de 1950 e 1960.

This diploma thesis deals with the development of TV listings of major Czech commercial channels, TV Nova and TV Prima, during 2002 - 2012. It focuses solely on their own production and covers the shift in aired genres, which has changed from the earlier variety shows and quiz shows to reality shows and soap operas that run the listings nowadays. Most TV production is based on so-called reality TV; there the emphasis is on capturing reality in a way, which is attractive for viewers and goes across many genres and styles. Consequently, the line between genres is becoming very thin and is no longer determining. The approaches these two channels took to structuring their TV listings are also very important since each had its own specific way. This thesis draws on theoretical grounds and covers important mechanisms affecting TV in the Czech Republic in three basic areas (global, technological and economic). It points out that globalization has brought about homogenized culture and international integration, which means many programmes are of foreign license. Moreover, we can see the trend of internetisation and convergence of TV content, which is increasingly influenced by modern technologies. The purpose of all this is high ratings that affect profits from advertising. And economic profit is for...

This dissertation investigates the mediation of art on Swedish television during the 1950s and 1960s. The aim is to examine how the new medium of television was put to use in the dissemination and promotion of contemporary and modernist art during this time. The primary research question concerns the significance and consequences of television as a media form for the practices of art popularization and art education. The introduction of the new medium coincided with the post-war emergence of the welfare state and ambitions of governmental and non-governmental organizations and initiatives to make modern art an integral part of modern society. This dissertation investigates the role and significance of television in these endeavours from the point of view of Sveriges Radio/TV, by focusing on the actors involved as well as the form and content of arts programming at the time. The study makes use of mediatization theory and the concept of remediation, in order to capture and analyse the dynamics as well as the conflicts between television and art at the time. The study uses the method of media-specific genre analysis, inspired by cultural theory, asserting that arts programming is a cultural category made up of practices and processes and interwoven with ideological structures and power relationships. The dissertation is divided into three chapters investigating different aspects of the phenomenon of art on TV during the specific historical period.  The dissertation shows how the 1950s and 1960s witnessed great hopes for television as a way of disseminating art and educating the public on matters of art, aspirations closely connected to notions of art distribution as a way to achieve cultural democratization. First and foremost, however, the close study of the practices of arts programming shows how the relationship between television and art at the time was also characterized by problems and conflict. Using the terminology of mediatization theory, it is possible to speak of conflicts between distinct logics. These conflicts can further be understood on several levels, adhering to the twin logics of remediation: transparent immediacy and hypermediacy. The actors involved all shared a view of television as the great medium of the future when it came to disseminating and promoting art to the wider public. However, they also shared notions of television’s limitations when it came to the matter of ”doing justice” to a work of art when broadcast. This was first and foremost considered to be purely a matter of technical limitations, such as the lack of colour and the small screen size. It is however also evident that the actors’ view of their task and that of the medium with regard to arts programming, to represent works of art to the viewers as honestly as possible, delimited the form and content of shows and programming. On another level, the conflict between art and television was a matter of art’s supposedly critical and societal value. According to the actors, art was considered something other than regular programming, in the sense that art constituted different ways of seeing and perceiving the world. The function and importance of arts programming, then, was considered to be in the ways it differed from regular programming, making possible to educate the TV-viewing public in critical thinking towards the manipulation of media as well as providing ways of developing the form and aesthetics of the television medium.