The words ??Globalisation?? and ??Internationalisation?? have received a great deal of interest from global nations, enterprises, citizens and academics especially since the late 20th century. Although the process of globalization began as a social trend for tracking the expansion of human population and the growth of civilization since as early as the 16th century, globalization became a business phenomenon in the 19th century from rapid growth in international trade and investment between the European imperial powers, its colonies and, later, the United States. Scholars of the 20th century vigorously attempted to theorise internationalisation of multinational enterprises (MNEs) based on MNEs?? internationalisation processes. As the vast majority of such theories were developed for the manufacturing industry, the validity of theories for the service industry became ambiguous. Despite the fact that one of the fastest growing sectors of global trade since the late 20th century is the trade in cultural goods and services, scholars haven??t attempted to validate such a phenomenon by reference to existing theories of internationalisation processes. This thesis attempts to dismantle the internationalisation processes of cultural firms and to explore the validity of existing internationalisation theories. Due to the inherent difficulties in analysing all sectors of cultural industries, this thesis has adopted a single in-depth case study method with qualitative data to support the findings of the thesis. Although the internationalisation processes of a firm consist of an abundant series of intermittent and continuous ventures by the firm, the particular focus of this thesis is on the longitudinal processes of a firm??s overall internationalisation processes. As one of the foremost runners of ??Hallyu ?? Korean Wave?? phenomenon, MBC has been selected as a case study object for this thesis. With a history of internationalisation processes over 40 years, involving various internal and external environmental factors/forces interactively, the case of MBC offers an insight into the empirical study of the internationalisation processes of cultural firms. Although this thesis shows strong support for the dynamic capabilities theory??a theory that explains dynamic activities and behaviours of MBC??s internationalisation processes in accordance with, and as a result of, ever-changing both internal and external factors/forces of environments??dynamic capability theory itself is deficient in explaining the underlying sources and drivers of those factors/forces. In order to overcome such a shortfall, this thesis suggests an integrative approach of integrating multidisciplinary theories as a theoretical framework for future studies of internalisation processes theories especially for empirical and industry-specific studies. This thesis provides comprehensive framework for three components??motives, way-stations and performance??of internationalisation processes of cultural firms, thereby contributing to the under-researched field in the discipline of international business.

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The words ??Globalisation?? and ??Internationalisation?? have received a great deal of interest from global nations, enterprises, citizens and academics especially since the late 20th century. Although the process of globalization began as a social trend for tracking the expansion of human population and the growth of civilization since as early as the 16th century, globalization became a business phenomenon in the 19th century from rapid growth in international trade and investment between the European imperial powers, its colonies and, later, the United States. Scholars of the 20th century vigorously attempted to theorise internationalisation of multinational enterprises (MNEs) based on MNEs?? internationalisation processes. As the vast majority of such theories were developed for the manufacturing industry, the validity of theories for the service industry became ambiguous. Despite the fact that one of the fastest growing sectors of global trade since the late 20th century is the trade in cultural goods and services, scholars haven??t attempted to validate such a phenomenon by reference to existing theories of internationalisation processes. This thesis attempts to dismantle the internationalisation processes of cultural firms and to explore the validity of existing internationalisation theories. Due to the inherent difficulties in analysing all sectors of cultural industries, this thesis has adopted a single in-depth case study method with qualitative data to support the findings of the thesis. Although the internationalisation processes of a firm consist of an abundant series of intermittent and continuous ventures by the firm, the particular focus of this thesis is on the longitudinal processes of a firm??s overall internationalisation processes. As one of the foremost runners of ??Hallyu ?? Korean Wave?? phenomenon, MBC has been selected as a case study object for this thesis. With a history of internationalisation processes over 40 years, involving various internal and external environmental factors/forces interactively, the case of MBC offers an insight into the empirical study of the internationalisation processes of cultural firms. Although this thesis shows strong support for the dynamic capabilities theory??a theory that explains dynamic activities and behaviours of MBC??s internationalisation processes in accordance with, and as a result of, ever-changing both internal and external factors/forces of environments??dynamic capability theory itself is deficient in explaining the underlying sources and drivers of those factors/forces. In order to overcome such a shortfall, this thesis suggests an integrative approach of integrating multidisciplinary theories as a theoretical framework for future studies of internalisation processes theories especially for empirical and industry-specific studies. This thesis provides comprehensive framework for three components??motives, way-stations and performance??of internationalisation processes of cultural firms, thereby contributing to the under-researched field in the discipline of international business.

In our present image-laden environment that only seems to keep growing, the nature of how we see and interpret this visual information becomes highly relevant for me in my art. Spectacle, nostalgia, notions of portraiture, theatricality and other visual reflections of our present culture industry, are all elements that I address in my work. It is with these ideas in mind that I construct visual fields where disparate forms and images coexist, forming new narratives aside from their individual isolated implications; incorporating art production methods that construct an evolving dichotomy that contains a sense of play, tension, and irony while evoking references to our current social experiences. Keywords: spectacle, nostalgia, portraiture, collective consciousness, culture industry

In recent years, along with took seriously regarding cultural creativity industry's rising, the government, the enterprise, the literary arts full of enthusiasm invests cultural industry this popular profession. This research will focus on pottery will regard as this research the main research subject. Base on research subject, this research attempts from the foundation viewpoint of entrepreneuring , will start an undertaking by one kind of total perspective will regard as the undertaking action, actors with the daily life which its living world is mixed altogether constructs in the undertaking developing process. And uses four entrepreneurs¡¦ stories by their self-narratives and discriminated the texts into several meaning unit form each story attempts to understand in pottery industry to have about the undertaking phenomenon discussion. In the research method, this research uses Foucault to elaborate the analysis to take the pottery as this research subject, the viewpoint which the union founds manages in the pottery industry the undertaking phenomenon. The findings obviously are: Will form by the elaboration may be helpful understanding on the creative process, to be helpful in the middle of the different elaboration practice form in leads the local industry the development, to found the entrepreneuring as discursive practice which is the possibility discussion in entrepreneurship research.

Culture industry may strengthen a nation's soft power, elevate its economic structures, and promote social development. It is also a more environment-friendly industry. Therefore, almost all developed nations have established policies geared towards cultivating their own culture industry. Mainland China is no exception. It drew up the ¡§National "11th Five-Year Plan¡¨ Period Cultural Development Plan¡¨ in 2006 and the ¡§Plan on Reinvigoration of the Cultural Industry¡¨ in 2009, both signifying the official effort to include culture industry as one of the key focuses in national development. Mainland China cultural industry¡¦s production, raw materials and subject matter had been destroyed in Cultural Revolution. Government of Mainland China started to give an impetus in changing state-operated Culture industry into with a fixed percentage During the Great Proletarian Cultural Revolution, China's culture industry suffered great loss in production, material, and content. However, when Deng took over, his reform towards market economy led to a more liberal attitude in the Chinese government. Today, many previously state-owned culture-related businesses are partially private-owned, traditional culture industries see possibilities in new technologies such as mobile devices and tablets, and the balance between developments in eastern and western China is valued. All these changes serves a same goal, which is to promote the Chinese culture industry internationally. For China, the development of culture industry not only improves its consumer structure and increase domestic jobs, but also proceeds with environment protection in synergy by shifting the internal economy and industry structures. It is undoubtedly that China's enormous size is impactful among the world's cultural market, especially iii when supported by its government. Thus this paper adopts the "Chinese socialism" model of development and analyzes the Chinese culture industry policies.

Abstract Reform, liberalization, and economic takeoff have propelled China toward becoming a major world power. Media industrialization and market orientation, combined with the growing pace of conglomeratization and globalization, are now an important national strategy for Beijing. One of its objectives is to gain a dominant voice in the international community while holding its own against leading European and American transnational media that are already eyeing China¡¦s media industry. Another objective is to suppress Taiwan¡¦s voice in the world arena and gradually marginalize Taiwan¡¦s film and television industries in the ethnic Chinese community. Even while the two sides of the Taiwan Strait are actively engaged in cultural and media exchanges, Taiwan has experienced a slowdown as China picks up pace in audiovisual media development. Taiwanese businesses and performing artists have been forced to take a strategic approach in seeking a future in China¡¦s market. This has resulted in an outflow of capital, human resources, and technology that has hurt Taiwan¡¦s film and television industries. China, on its part, has strategically ¡§attracted funding while keeping out programs¡¨ through media exchange policies and legal restrictions. It has blocked the broadcast of Taiwanese TV productions on local channels as well as the reception of Taiwan¡¦s TV channels. Additionally, it has used its huge market potential as bait to lure Taiwanese performing artists and media professionals to seek commercial and performing opportunities on the other side of the Strait. Through this two-pronged approach, China is trying to establish cultural hegemony over Taiwan with its media exports while pushing for unification. In other words, China¡¦s rapidly expanding audiovisual industry and the platform for cross-strait media exchange have contributed to the dwindling of Taiwan¡¦s film and television industries. China¡¦s carrot-and-stick strategy has compelled Taiwanese artists to cooperate and openly express views on specific political and national identity issues, thereby influencing viewers and listeners in Taiwan. This thesis explores how China¡¦s swiftly growing media industry has marginalized Taiwan¡¦s audiovisual media and influenced the national identity concept of Taiwanese performing artists. For this purpose, historical records and documents are analyzed and in-depth interviews conducted. The thesis takes an interdisciplinary approach that incorporates the concept of cultural hegemony espoused by Antonio Gramsci, the theory of culture industry advocated by Anthony Giddens and Nicholas Garnham, the role of discourse proposed by Michel Foucault, and the concept of national identity expounded by Benedict Anderson and Jhang Mao-guei. Research findings indicate a large gap between publicly expressed views and genuine standpoints of Taiwanese performing artists. Their positions on national identity clearly reflect a complex effect resulting from indelible impressions of Taiwan¡¦s history, education under the 50-year rule by the Kuomintang, Taiwan¡¦s democratic achievements, and realization that China adopts a very different social system. The study has not found a perceptible change in the national identity concept of Taiwanese artists seeking a future on the western shore of the Strait. Nonetheless, should cross-strait media exchange expand and Taiwan¡¦s film and television industries continue to weaken, Taiwanese artists will ultimately seek a sustainable future in China. Sooner or later, they will identify with China and embrace Beijing¡¦s ideological stand on cross-strait unification. Keywords: cultural hegemony culture industry conglomeratization media exchange, audiovisual exchange exposition national identity

Taiwan¡¦s democratization which began during former president Lee Teng-Hui¡¦s ¡]§õµn½÷¡^administration¡]1988-2000¡^has to be multiple values and open society. The democracy trend has influence the identity of nations ¡Ðeven the signature, meaning and territory of R. O. C. ¡]The Republic of China¡^ etc. issues¡Ðand the legitimacy of the governments. This article believes that culture policies are the key point of these issues, which have created cleavage of identity of nations, which even despoil the consolidation of democracy ¡X that is a common agreement of an order political board of nations. I believe that to decalcify the direction and change of culture policies is necessary and benefit for Taiwan¡¦s democratization consolidation. Generally, There are three main dimensions of culture policy researches: one is about the growth of economics; another is about the management¡]release and control¡^ of information-communication; the other is about individual¡¦s consensus which heritage from the socializations and nation¡¦s cultures. If we were used the three main dimensions to analysis Taiwan¡¦s development process of culture policies, we could discover that form two former Chiang president periods¡]¨â½±®É¥N¡^ to former president Lee Teng-Hui¡¦s administration, they were concerning on the first and second dimensions. The main points of culture policies of this period, which are the promotion of political loyalty, distribution of the massage which satisfied the profits of the ruler ranker, and educated the youths to be an unable to judge what is a justice and fairness for a society or a nations. But, the post- Lee Teng-Hui¡¦s period, Lee claims ¡§One-Country-On-Each-Side-Of-The-Strait¡¨¡]¨â°ê½×¡^and ¡§New Taiwanese¡¨¡]·s¥xÆW¤H¡^that is the great cleavage point from the culture policies of two former Chiang president periods culture policies which are ¡§Chinese Culture Recovery Movement¡¨¡]¤¤µØ¤å¤Æ´_¿³¹B°Ê¡^and ¡§Pax China¡¨¡]¤j¤¤°ê·NÃÑ¡^. The culture policy of Chen Shui-bian ¡]³¯¤ô«ó¡^,who beats competitor of KMT which party empower for 50 years, concerns over the first and third dimension of culture policies researches and is continued Lee¡¦s ¡§New Taiwanese¡¨ formation.The culture policies of Chen¡¦s administration are more concern over what are economic benefits ¡]incomes¡^ from them.

ARAÚJO, Thassio Queiroz de. Razão instrumental e consumo na internet – um estudo sobre a publicidade na web 2.0. 2016. 135f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-09-22T16:38:12Z No. of bitstreams: 1 2016_dis_tqaraújo.pdf: 2095506 bytes, checksum: 9734ef7411da9d8b78d765bb7c040b1d (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-22T22:47:10Z (GMT) No. of bitstreams: 1 2016_dis_tqaraújo.pdf: 2095506 bytes, checksum: 9734ef7411da9d8b78d765bb7c040b1d (MD5) / Made available in DSpace on 2016-09-22T22:47:10Z (GMT). No. of bitstreams: 1 2016_dis_tqaraújo.pdf: 2095506 bytes, checksum: 9734ef7411da9d8b78d765bb7c040b1d (MD5) Previous issue date: 2016 / The outbreak of Web 2.0 delimited a radical transformation in the use of the web, as it enabled the users’ passage from mere consumers of content to also producers, as well as granted them greater control over the contents they accessed. That was followed by the birth of several free content platforms, which quickly gained acceptance by users all over the world. Those platforms (such as social networks, video sharing websites and blogs) soon started to be sought by advertisers as an answer to the declining trend in which their traditional promotion techniques found themselves due to their unwantedness by users. However, in their purpose to get internet users’ attention without their ads being spotted as such, advertisers started to seek nonintrusive marketing techniques, such as invisible marketing, guerrilla marketing and native advertising. Advertising then starts to invade and blend itself with the very content displayed in those platforms, by means of commercial contracts with the authors of that content, which is not always disclosed to their audience. This study aimed to investigate the transformation of one kind of those platforms – namely, blogs – from “free” into commercial platforms. More specifically, it consisted in a qualitative research, both theoretical and empirical, whose theoretical framework of reference was the School of Frankfurt, and sought to investigate manifestations of the instrumental rationality in sponsored blogs. Using documentary research as technique and building on the contribution of authors such as Adorno, Horkheimer and Marcuse, this research studied the presentness of some concepts such as instrumental rationality, culture industry and one-dimensional man, considering contemporary forms of domination, which increasingly present themselves as gratification, thus being imperceptible or even desired by individuals. Sponsored blogs, when deceiving their followers by omitting the commercial nature of some of their posts, reproduce this mystificatory process, which is opposed to the purpose of enlightenment, that is, of emancipation of men from any form of domination. This research verified that instrumental rationality manifested itself in several ways in sponsored blogs, since the “selling” of the audience to sponsors and the aesthetic reformulation of blogs and posts to the usage of subtle persuasion techniques to induce the visitors of blogs to consume wares which were chosen by the advertisers. This persuasion, however, takes place while keeping the impression of autonomy of choice by the users, who ignores the stratagem plotted to convince them, so that subjectivity is still used as an instrument by advertising to accomplish its goals. / O surgimento da Web 2.0 demarcou uma transformação radical no uso da web, na medida em que permitiu aos usuários passarem de meros consumidores a também produtores de conteúdo, assim como lhes concedeu um maior controle sobre os conteúdos que acessam. Com isso, diversas plataformas de conteúdo livre surgiram e conquistaram rápida adesão em todo o mundo. Estas plataformas (como redes sociais, sites de compartilhamento de vídeo e blogs) logo passaram a ser buscadas por publicitários como solução para o franco declínio em que se encontravam suas técnicas tradicionais de anúncio na internet devido ao seu caráter aversivo para os usuários. Todavia, a fim de conquistar a atenção dos internautas sem que os anúncios fossem percebidos enquanto tais, os publicitários passaram a buscar técnicas não-intrusivas de marketing, como o marketing invisível, o marketing de guerrilha e a publicidade nativa. A publicidade passa, assim, a invadir e se confundir com o próprio conteúdo veiculado nessas plataformas, a partir de contratos comerciais com os autores desses conteúdos, que nem sempre são revelados ao público. Em face disso, este estudo procurou investigar a transformação de um tipo dessas plataformas – os blogs – de livres para comerciais. Mais especificamente, consistiu em uma pesquisa qualitativa, de natureza teórico-empírica e que adotou como referencial teórico a Escola de Frankfurt, a fim de investigar manifestações da racionalidade instrumental em blogs patrocinados. Utilizando como técnica a pesquisa documental e partindo principalmente da contribuição de autores como Adorno, Horkheimer e Marcuse, foi estudada a atualidade de alguns conceitos como razão instrumental, indústria cultural e homem unidimensional, tendo como horizonte as formas contemporâneas de dominação, que cada vez mais se apresentam como gratificação, sendo, desse modo, imperceptíveis e mesmo desejadas pelos indivíduos. Os blogs patrocinados, ao enganarem seus seguidores omitindo a natureza comercial de algumas de suas publicações, reproduzem esse processo mistificador, que vai de encontro ao propósito do esclarecimento, que é o de emancipar os homens de qualquer forma de dominação. Esta pesquisa constatou que a razão instrumental se manifesta de diversas maneiras nos blogs patrocinados, desde a “venda” da audiência para os patrocinadores e da reformulação estética dos blogs e das publicações até a utilização de técnicas sutis de persuasão para induzir os visitantes dos blogs ao consumo dos produtos escolhidos pelos anunciantes. Essa persuasão, todavia, se dá mantendo-se a impressão de autonomia da escolha do usuário, que ignora o estratagema arquitetado para o seu convencimento, de modo que a subjetividade continua a ser utilizada como um instrumento para a consecução dos fins da publicidade.

ALMEIDA, Fernanda Carvalho de. Autoexposição e imagens: uma análise do fenômeno selfie na sociedade de consumo. 2016. 112f. Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Psicologia, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-10-10T12:34:48Z No. of bitstreams: 1 2016_dis_fcalmeida.pdf: 2236362 bytes, checksum: 018292c1d36b9ab9c6f412654a5f86a0 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-10-11T13:51:36Z (GMT) No. of bitstreams: 1 2016_dis_fcalmeida.pdf: 2236362 bytes, checksum: 018292c1d36b9ab9c6f412654a5f86a0 (MD5) / Made available in DSpace on 2016-10-11T13:51:36Z (GMT). No. of bitstreams: 1 2016_dis_fcalmeida.pdf: 2236362 bytes, checksum: 018292c1d36b9ab9c6f412654a5f86a0 (MD5) Previous issue date: 2016 / n contemporary consumer society’s tecnocultural context, we’ve watched a growing virtualization of human’s relations .The individuals become potential web terminals of data’s reception and transmittion, being images a great part of that data. In this scenario, a certain type of image detaches: the selfies. At those, individuals self-portrait themselves on smartphones or webcams to share their images on social medias. This practice has increased broadly and has enclosed many life’s aspects. For example, we highlight moments in bed (bedtimeselfie), while driving (drivingselfie) and even after sex time (aftersexselfie) . Also, there is a certain kind of selfie called braggie that seeks to cause envy through desirable objects or social experiences. Therefore, the selfies have become an important vehicle of contemporary ideals and lifestyles. The aim of this study proposes a selfie phenomenon analysis, considering the cult of self-exposition through consumption ideals and a reflection about the repercussion of this phenomenon on individual’s subjectivity and sociability. In order to do this, we approach the phenomenon, in a qualitative perspective, using the Critical Theory from Frankfurts’s School as a theoretical and methodological referential, in addition to contemporary critical authors that thematizes about aspects involving the object of the research. Methodologically, it was made a use of Critical Theory proposal, whose micro logical approach conceives the particular as a revealing index that remits to social whole. By this mean, we elected selfie phenomenon as an index able to uncover the totality of contemporary significant consumption ideals. Therefore, objectifying this phenomenon’s comprehension, we first percussed a documental stage, being oriented by details, marginal data, vestiges and evidences connected to the presented phenomenon. The documents considered were: selfies, reportings, hashtags, cybernauts’ comments, documentary, tutorials and videos. Afterwards, the collected material was organized on three key-categories by certain themes: Dolce Vita, Telerrealidade and Ideal Body. The first one refers to a certain lifestyle found in the analyzed images, while the second one specifies the ambience that compounds this lifestyle. The third category is related to the body that appears in those images. Finally, we proceeded to our final considerations, which involved a dialectical articulation between the adopted theory referential and the documental stage that pointed selfies as consumption phenomenon of the self and the other. In fact, on selfies many sides – its finality, its types, the search for the perfect selfie and for likes – we observe the mirroring of consumption society’s aspects. The perfect selfie, synonym of maximum visibility and likes, shows itself as the “perfect” integration of consumption ideals through new shapes. The search to capture the otherness eyes through what is familiar: the publicity language, part of Culture Industry’s speech. In the end, the spectacle is craved because became a total existing manner to people and to objects: it has included the social scene. By this mean, we point the relevance of this study to our contemporaneity, especially, to critical social psychology. Still, at this research, it’s uncovered an individual immersed in an homogenizing clime produced by a culture industry exacerbated by Tecnocultura. Therefore, this individual’s output, in other words, the way he chooses to portrait himself, shows this “existence pedagogy” or “vision pedagogy” , on which visibility and existence are, at many times, overlapped. / No contexto tecnocultural da sociedade de consumo contemporânea, observamos uma crescente virtualização das relações humanas. Os indivíduos transformam-se em potenciais terminais receptores e transmissores de dados via web, sendo grande parte destes, alusivos a imagens. Neste cenário, destacam-se os selfies, autorretratos capturados via smartphone ou webcam para o compartilhamento em redes sociais. Esta prática tem crescido e abarcado diferentes aspectos da vida: a hora de dormir (bedtimeselfie), de dirigir automóveis (drivingselfie) e, até mesmo, do sexo (aftersexselfie). Há, ainda, selfies como o braggie, que busca gerar inveja através da ostentação de objetos e vivências socialmente desejáveis. Logo, os selfies tornaram-se um importante veículo de difusão de ideais e estilos de vida contemporâneos. Este trabalho se propôs a analisar o fenômeno selfie, considerando o culto à autoexposição estetizada e modelada por ideais de consumo, bem como refletir sobre as repercussões deste fenômeno na subjetividade e sociabilidade dos indivíduos. Para este fim, utilizamos a Teoria Crítica da Escola de Frankfurt, bem como de críticos da cultura contemporânea que tematizam acerca de conceitos como Sociedade de Consumo, Tecnocultura, Indústria Cultural e Sociedade do Espetáculo. Metodologicamente, nos valemos da abordagem micrológica da Teoria Crítica, que concebe o particular como um valioso índice que remete ao todo. Logo, além de compreender o fenômeno selfie como um índice capaz de desvelar a totalidade de ideais culturais contemporâneos, também foi utilizada esta abordagem durante a coleta de dados: selfies, reportagens, hashtags, comentários de cibernautas, documentários, tutoriais e vídeos. Portanto, no decorrer deste trabalho, realizamos uma análise teórico-crítica, articulando prática e teoria, findando por erigir três categorias-chaves a partir da recorrência de certos temas: Dolce Vita, Telerrealidade e Corpo Ideal. A primeira refere-se a certo estilo de vida encontrado nas imagens, ao passo que a segunda alude à ambiência, que compõe este estilo de vida. Quanto à terceira, relaciona-se ao corpo nestas imagens. Nossas reflexões finais apontam para o selfie como um fenômeno de consumo do eu e do outro, de modo que observamos o espelhamento de aspectos da sociedade de consumo em suas diversas facetas - tipos, finalidade, busca por selfies perfeitos e por curtidas. Busca-se, pois, capturar o olhar do outro através do que lhe é familiar: a linguagem publicitária, espécie de idioma da indústria cultural. Almeja-se, enfim, o espetáculo, porque este se tornou um modo de existir total, concernente tanto a produtos quanto a pessoas: ele engloba a cena social. Daí a relevância deste estudo para a contemporaneidade, especialmente para a psicologia social crítica. Ainda, nesta investigação desvelam-se indivíduos imersos no clima homogeneizante de bens culturais produzidos por uma indústria cultural exacerbada pela tecnocultura. Logo, a produção deste indivíduo, isto é, a maneira que ele escolhe para autorretratar-se, espelha esta “pedagogia do existir” ou “pedagogia da visão”, na qual visibilidade e existência encontram-se, muitas vezes, sobrepostos.