This thesis is divided into two chapters, the first being an examination of conspiracy and paranoia in Libra, while the second focuses on the relationship between art and terror in Mao II, “In the Ruins of the Future,” Falling Man, and Point Omega. The study traces how DeLillo’s works have evolved over the years, focusing on the creation of counternarratives. Readers are given a glimpse of American culture and shown the power of narrative, ultimately shedding light on the future of our collective consciousness.

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Research has shown that presenting incidental reminders of death, a manipulation referred to as mortality salience, increases unconscious accessibility of death thoughts and, in turn, increases the use of various defense mechanisms to reduce such thoughts. Death-thought accessibility and use of such defense mechanisms vary based on self-reported attachment style. Because self-reports do not verify causality, the current study aimed to establish a causal relationship between attachment and terror management. It was posited that experimentally activating a secure attachment schema after mortality salience should decrease unconscious accessibility of death thoughts, whereas activating an insecure attachment schema should increase accessibility of death thoughts (i.e., there should be a Mortality Salience x Attachment Priming interaction). Lastly, these effects should not be mediated by mood. A 2 Mortality Salience vs. Control) x 3 (Priming: secure. insecure, or neutral) x 2 (Sex) ANOVA on death-thought accessibility did not show the predicted interaction. The discussion section focuses on the obstacles in accurately rneasuring death-thought accessibility and future directions for research. / Department of Psychological Science

Zugl.: Mainz, Universiẗat, Diss., 2008. / Literaturverz.

Thesis (Ph. D.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 151-159).

Terrordåd blir allt vanligare i Europa, men Sverige har under lång tid varit skonade från den typen av brottslighet. Det kom att ändras den 7 april 2017 då IS-anhängaren Rakhmat Akilov stal en lastbil med målet att döda så många som möjligt. Den här studien analyserar bildrapporteringen kopplat till terrordådet som kom till att rubba den svenska befolkningens syn på terror. Den här studien jämför rapporteringen i fyra av Sveriges största nyhetstidningar. Två dagstidningar och två kvällstidningar, varav alla har sitt huvudkontor i Stockholm där terrordådet genomfördes. Totalt har vi analyserat 170 bilder, med rubrik och bildtext, tillhörande 170 artiklar genom kvantitativa metoder. För att göra detta har vi tagit stöd av gestaltningsteorin, nyhetsvärdering, semiotik, retorisk analys och teorier för att analysera sambandet mellan bild och rubrik. Resultatet av studien visar att artiklar med etisk inramning var mest representerat när det kommer till alla fyra tidningar sammanslaget. Mellan dagstidningarna och kvällstidningarna visar det sig att det finns skillnader i hur tidningsredaktionerna har valt att rama in händelsen. Kvällstidningarna har en högre representation av opinionsartiklar jämfört med dagstidningarna i anslutning till attentatet. Studien visar även att kvällstidningarna i större utsträckning gjorde känslomässiga anknytningar för att locka läsare.

This is an integrative paper aiming to encapsulate the themes of my previously published work upon which this PhD is being assessed. This work; encompassing several papers and various chapters of my book are attached behind this essay. The research question, examines the effect of Western support to warlords on political legitimacy in the post 9/11 Afghan war. I contextualise the research question in terms of my critical engagement with the literature of strategists in Afghanistan during this time. Subsequently, I draw out themes in relation to the available literature on warlords, politics and security in Afghanistan. I highlight the value of thinking about these questions conceptually in terms of legitimacy. I then introduce the published work, summarising the focus of each paper or book chapter. Later, a ‘findings’ section addresses how the policy of supporting warlords has affected legitimacy through its impact on security and stability, the political settlement and ultimately whether Afghans choose to accept the Western-backed project in Afghanistan, or not. I argue that this issue is important as it has security implications not just in the immediate region, but increasingly, throughout the Middle East and possibly further.

Submitted by Estagiário SPT BMHS (spt@fgv.br) on 2012-03-16T11:39:56Z No. of bitstreams: 1 000051742.pdf: 29720444 bytes, checksum: 11bceb12032cce57a86cb07873a97c85 (MD5) / Made available in DSpace on 2012-03-16T11:40:50Z (GMT). No. of bitstreams: 1 000051742.pdf: 29720444 bytes, checksum: 11bceb12032cce57a86cb07873a97c85 (MD5) Previous issue date: 1988 / Divided in to three main parts, this discourse intends to point out the relations between the young’s pleasure for horror stories and Educational Psychology. / Dividida em três blocos principais, a presente dissertação pretende apontar as relações entre o gosto da juventude pela história de terror e a Psicologia da Educação.

Orientador: Maria do Rosário F. V. Gregolin / Co-orientador: Nilton Milanez / Banca: Cleudemar Alves Fernandes / Banca: Luzmara Curcino Ferreira / Banca: Denise Gabriel Witzel / Banca: Mara Rúbia de Souza Rodrigues Morais / Resumo: Este estudo tem respaldo teórico-metodológico no campo da Análise do discurso de origem francesa e seus desdobramentos no Brasil, tomando como eixo as noções de memória discursiva, intericonicidade e subjetividade. O corpus base de nossa pesquisa é composto por excertos dos filmes da "trilogia de Zé do Caixão", de José Mojica Marins, a saber: À meia-noite levarei sua alma (1964), Esta noite encarnarei no teu cadáver (1967) e Encarnação do demônio (2008), tendo em vista o objetivo de compreender a produção de horror por meio da memória discursiva na materialidade dos filmes que nos propusemos a analisar. As cenas foram selecionadas considerando os elementos clássicos das narrativas de horror, observados tanto na literatura como no cinema, e aqueles que revelam a singularidade artística da obra do diretor brasileiro. Investigamos e discutimos a produção de horror na materialidade discursiva, considerando as noções de memória e intericonicidade. Para alcançar esse objetivo, inicialmente, estudamos a materialidade discursiva da visualidade fílmica, a fim de depreender uma regularidade no funcionamento discursivo das estratégias cinematográficas. Em seguida, refletimos sobre o discurso horrífico como práticas historicamente situadas, avaliando a ordem do discurso na cenografia e na trilha sonora do período da segunda metade do século XX e início do século XXI. Depois, investigamos a produção de sentido de horror na materialidade do cinema, considerando as noções de memória e intericonicidade na visualidade dos filmes. Assim, fomos guiados pelas seguintes questões: a) quais são os deslocamentos teórico-metodológicos necessários para analisar o funcionamento discursivo de estratégias cinematográficas; b) como elas produzem subjetividades no diálogo entre discursos na visualidade fílmica; e c) como a materialidade discursiva do objeto fílmico faz retornar discursos e produz sentidos horríficos ... / Abstract: This study has theoretical and methodological support in French Discourse Analysis as have been developed in Brazil, taking as axis notions of discursive memory, intericonicity and subjectivity. The corpus of our research consists of excerpts from the films that make up the "Coffin Joe Trilogy" by José Mojica Marins, namely: At midnight I'll take your soul (1964), This night I'll possess your corpse (1967) and Embodiment of evil (2008), in order to understand the production of horror through discursive memory in materiality of the films we set out to analyze. The scenes were selected considering the classics of horror narratives, observed both in literature and film elements, and those that reveal the artistic uniqueness of the work of the filmaker. We explore horror production in discursive materiality, highlighting the notions of memory and intericonicity. For this, first we comprehend discursive memory in film visuality, to know regularity in discursive working of cinema strategies. Next, we reflect about horror discourse as historical practices, thinking of discursive order in cenography and sound track in the period between XX century second half and XXI beginning. Then, we explore sense production of horror in cinema materiality, highlighting the notions of memory and intericonicity in film visuality. And so we was conducted by those questions: a) what are theory methodological work to analyze discursive working of cinema strategies?; b) how it produces subjectivity in discourse and filmic visuality; and c) how discursive materiality in film revivals discourses and produces horror senses. The investigation of plans and sequences points to specific place to the subject transgressor as who emerges discourses about monstrosity and horror in transgressor practices to Jewish-Christian moral. In the Marins films, horror construction is in Zé do Caixão practices as much in strategies of plans construction. Those analytical exercises ... / Doutor

A tese investiga como se estabelece o dispositivo do olhar enquanto experiência estética no cinema de horror found footage a partir da materialidade cinematográfica. Realiza-se uma discussão acerca do modo como esses filmes circulam no gênero horror com o cruzamento de teorias de cinema, tecnologia e da Comunicação. A concepção de dispositivo do olhar é pensada, especialmente, a partir de Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser e Philippe Dubois. O dispositivo do olhar é, portanto, delineado como o comportamento visual e de uso de artefatos tecnológicos que aparece nos filmes e o modo como esse olhar de dentro do filme pode afetar a forma de ver do espectador. Não é como a tecnologia é representada nos filmes, mas a estratégia dessa e seus respectivos discursos em intentar o apelo sensível do público. O problema de pesquisa é: Como se constitui o dispositivo do olhar nos filmes de horror found footage e o que esse fenômeno pode indicar da nossa relação com o cinema e a tecnologia na contemporaneidade? De que modo é possível discutir a experiência estética com o cinema de horror a partir dessas produções? Assim, o objetivo geral da pesquisa é compreender como opera o dispositivo do olhar no cinema de horror found footage e a maneira como ele propõe experiências estéticas, a fim de perceber características da nossa relação com o cinema e a tecnologia na contemporaneidade. Já os objetivos específicos são os seguintes: a) Problematizar o dispositivo do olhar no cinema, sua produção imagética nos respectivos aspectos tecnológicos, sociais e culturais, a partir do horror contemporâneo; b) Estudar aspectos estéticos e narrativos do gênero horror com ênfase nos filmes found footage; c) Discutir especificidades da imagem no found footage; d) Analisar os filmes que compõem o corpus, discutindo-os a partir das movimentações do dispositivo do olhar no horror e das experiências estéticas que potencializam. Entre alguns pressupostos abordados pela tese estão os de que o horror found footage é um fenômeno pós-sala de cinema, ainda que muitas produções circulem em grandes espaços de shopping centers e sejam lançadas em 3D. Ou seja, ver filmes é cada vez mais uma atividade privada e individual. O espectador está sozinho, do mesmo modo que as personagens que correm pela noite escura com uma câmera na mão. A visualidade dos games, a navegação pelas interfaces computacionais ou dispositivos móveis, também deixam marcas nas narrativas com esse estilo. Há ainda diversos tipos de imagens, texturas, cores diferentes que até o desenvolvimento do found footage não haviam sido exploradas no gênero horror. Essas imagens intentam ambiências, conceito de Gumbrecht (2014) que auxiliou a análise. As texturas estranhas, as falhas, ruídos, os “erros” dos equipamentos potencializam as experiências a partir de atmosferas, muitas dessas de aparelhos visuais que não são mais consumidos massivamente, como o VHS. Há sim uma presentificação do passado desses artefatos, dos modos como eram usados, um retorno de hábitos que são reconfigurados pelo contexto do horror. As ambiências possíveis pelas imagens, a perseguição pela experiência tátil com a narrativa, marcam um fenômeno contemporâneo de busca pela apreensão do tempo, das memórias, da vida. Um desejo de possuir as imagens e seus mundos, algo que se sobrepõe à intenção de registro ou de representação do mundo. Podemos afirmar ainda que a ideia de Gumbrecht (2015) do presente amplo se aplica aos filmes estudados nesse aspecto. / This thesis investigates the establishment of the apparatus of seeing as an aesthetic experience within found footage horror movies, from their cinematographic materiality. A discussion about the way as these movies circulate in horror genre is made through crossing film, technology and Communication theories. The apparatus of seeing conception is thought, especially, from authors such as Jonathan Crary, Michel Foucault, Giorgio Agamben, Laurent Mannoni, Hans Ulrich Gumbrecht, Vilém Flusser and Philippe Dubois. The apparatus of seeing is, therefore, thought as a behavior, both visual and regarding the usage of technological artifact, that appears within the movies and in the way how this seeing from inside the film can affect the spectator habit of viewing. This is not about the representation of technology, but its strategy and its discourses to propose sensitive appeal in the public. The research problem is: How the apparatus of seeing is composed in found footage horror movies and what can this phenomenon denote about our relation with cinema and technology in contemporaneity? How is it possible to discuss the aesthetic experience with horror movies from these productions? Thus, the main objective is to understand how the apparatus of seeing operates in found footage horror movies and how it proposes aesthetic experiences, in order to see characteristics of our relation with cinema and technology in contemporaneity. The specific objectives are: a) To problematize the apparatus of seeing in cinema, its imagistic production in the respective technological, social and cultural aspects, from contemporary horror genre; b) To study aesthetics and narrative aspects of the horror genre, especially the found footage films; c) To discuss the specificities of the image within found footage; d) To analyze the corpus of films, discussing them from changes of apparatus of seeing and the aesthetic experiences that it potentiates. Among the assumptions the thesis approaches, are that the found footage is a post-cinema phenomenon, although many productions circulate in large spaces of shopping centers and are released in 3D. In other words, watching movies is increasingly a private and individual activity. The spectator is alone, just like the characters that run through the dark night with a camera in their hands. The game visuality, the navigation through computational interfaces or mobile devices, also leave marks in the narratives marked by this style. There are still several types of images, textures, different colors that, until the development of found footage, had not been explored in the horror genre. These images attempt to establish ambiences, a concept of Gumbrecht (2014) that aided the analysis. The strange textures, the flaws, the noises, the "errors" of the equipments potentiate experiences from atmospheres, many of them of visual devices that are no longer massively consumed nowadays, like the VHS. There is rather a presentiment of the past of these artifacts, the ways that they were used, a return of habits that are reconfigured by the context of horror. The possible ambiences of the images, the persecution for a tactile experience with the narrative, mark a contemporary phenomenon of search for the apprehension of the time, the memories, the life. A desire to possess the images and their worlds, something that overlaps the intention of recording or representing the world. We can also affirm that the idea of Gumbrecht (2015) of the broad present applies to the films studied in this aspect.