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Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-04-10T12:03:09Z No. of bitstreams: 1 daianamariaveigasigiliano.pdf: 4382171 bytes, checksum: 00c98a07bfce59fb7b6c48d4e03cbc50 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-04-11T11:34:28Z (GMT) No. of bitstreams: 1 daianamariaveigasigiliano.pdf: 4382171 bytes, checksum: 00c98a07bfce59fb7b6c48d4e03cbc50 (MD5) / Made available in DSpace on 2017-04-11T11:34:28Z (GMT). No. of bitstreams: 1 daianamariaveigasigiliano.pdf: 4382171 bytes, checksum: 00c98a07bfce59fb7b6c48d4e03cbc50 (MD5) Previous issue date: 2017-02-22 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O ambiente de convergência alterou de forma decisiva os modos de pensar, produzir, distribuir e consumir televisão. É a partir deste contexto que a social TV se configura, o fenômeno é caracterizado pelo compartilhamento de conteúdos (comentários, memes, vídeos, fotos, montagens, etc.) feito através das redes sociais (Twitter, Facebook, Snapchat, etc.) e dos aplicativos de segunda tela (TVShow Time, TV Tag, Viggle, etc.) de maneira síncrona à exibição da grade de programação.Ao estabelecer uma relação simbiótica entre a televisão e o ciberespaço, o fenômeno potencializa e reconfigura a conversação em torno do conteúdo televisivo e a experiência coletiva. Nesse sentido, esta dissertação tem como objetivo discutir de que forma a social TV reforça o conceito de laço social de Wolton (1996). Isto é, se o autor propunha o entendimento do laço social enquanto uma experiência compartilhada que aproxima os telespectadores e as diferentes comunidades que constituem uma sociedade, estabelecendo assim um conhecimento comum entre eles, o fenômeno não só potencializa este aspecto, como também propicia a formação de comunidades momentâneas e teias colaborativas no backchannel. Nesse contexto, analisamos as ações de social TV adotadas pelo canal estadunidense Fox para engajar os telespectadores e a forma como as publicações dialogam com o universo ficcional da série The X-Files. Criada por Chris Carter, a tramaé protagonizada pelos agentes do FBI Fox Mulder (David Duchovny) e Dana Scully (Gillian Anderson). Mulder e Scully são investigadores de casos não solucionados envolvendo fenômenos paranormais, conhecidos como x-files. Sendo assim, realizamos um estudo sobre as estratégias promovidas pela emissora estadunidense para os episódios da décima temporada de The X-Files e analisamos os conteúdos (comentários, memes, fotos, montagens, etc.) compartilhados pelos telespectadores interagentes no Twitter durante a exibição da atração. Desta forma, concluímos que, ao entrelaçar o fluxo televisivo e a temporalidade always on do Twitter, a social TV reforça o lado social de Wolton (1996) e ressignifica a experiência televisiva, possibilitando novas formas de participação, colaboração e expansão do universo ficcional. / The convergence environment has decisively changed the ways of thinking, producing, distributing and consuming television. It is from this context that thesocial TV gets configured; the phenomenon is characterized by the content sharing (comments, memes, videos, photos, montages, etc.) made through the social networks (Twitter, Facebook, Snapchat, etc.) and the second screen applications (TVShow Time, TV Tag, Viggle, etc.) synchronously to the programming griddisplay. By establishing a symbiotic relationship between the television and the cyberspace, the phenomenon potentializes and reconfigures the conversation around the television content and the collective experience. In this sense, this master thesis aims to discuss how the social TV reinforces the concept of social bond developed by Wolton (1996). In other words, if the author proposed the understanding of the social bond as a shared experience that approachesthe viewers and the different communities that constitute a society, establishing then a common knowledge among them, the phenomenon not only enhances this aspect, but also provides the formation of momentary communities and collaborative webs in the backchannel.In this context, the social TV actions adopted by the american channel Fox to engage the viewers and the way the publications dialog with the fictional universe of the series The X-Files were analyzed. Created by Chris Carter, the plot is starred by the FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson). Mulder and Scully are investigators of unsolved cases involving paranormal phenomena, known as x-files. Therefore, we conducted a study on the strategies promoted by the american broadcaster for the episodes of the The X-Files tenth season and analyzed the content (comments, memes, photos, montages, etc.) shared by the interacting viewers on Twitter during the exhibition of the attraction. In this way, we concluded that, by interlacing the TV stream and the always on temporality of the Twitter, the social TV reinforces the social side of Wolton (1996) and re-signifies the television experience, allowing new forms of participation, collaboration and expansion of the fictional universe.

The X-Files (svensk titel Arkiv X) är en TV-serie som producerades mellan 1993-2002. Serien har gått till historien för att fånga tidsandan och dess postmoderna misstro mot myndigheter och intresse för nyandlighet. I ett flertal avsnitt kommer huvudpersonerna i kontakt med den kristna religionen. Uppsatsen undersöker hur olika former av kristendom gestaltas i The X-Files. Frågeställningen berör de bikaraktärer som dyker upp i serien och som kan beskrivas som representationer av kristendomar. Genom närläsningar av sex avsnitt nås följande resultat: Generellt sett kan man inte säga att framställningen av kristna är uteslutande positiv eller negativ. Den är mångfacettered, vilket stämmer väl överens med TV-seriens postmoderna och ”livsåskådningsfragmentariska” natur. En vanligt förekommande stereotyp är protestantiska fundamentalister, som kan visa sig vara goda karaktärer eller charlataner.  Den katolska kyrkan framställs som en liberal kyrka vars främsta roll är terapeutisk och katolicismen framställs som den normativa, sansade och vanliga formen av kristendomen. The X-Files bryter mot en hel del stereotyper som förekommer i amerikansk film och TV. Trots att fundamentalisten har en framträdande roll så framställs den ofta i slutändan i en relativt positiv dager. Skräckfilmsstereotypen där katolska präster tampas med det övernaturliga bryter serien också mot, och låter protestantiska karaktärer ha dessa roller istället. The X-Files lyfter fram positiva och negativa aspekter hos såväl fundamentalism som mer liberal kristendom. Med det konstaterat så är slutsatsen ändå att den kristendomsform som får mest utrymme i serien är fundamentalistisk. / The X-Files is a television show that was produced between the years 1993-2002 . The series has gone down in history for capturing the zeitgeist of the 1990s with its postmodern distrust of authorities and its interest in new forms of spirituality. In several episodes, the main characters come in contact with the Christian religion. This thesis examines how different forms of Christianity were portrayed in The X-Files. The questions asked concerns the secondary characters that are featured individual episodes of the series and can be described as representations of different form of Christianity. Through close readings of six episodes the following results were discovered: Generally speaking, one cannot say that the portrayal of Christians is exclusively positive or negative. It is multifaceted, which is in line with postmodern nature of the show. A common stereotype is the Protestant fundamentalist, which can prove to be good characters as well as charlatans. The Catholic Church is portrayed as a liberal church whose primary role is therapeutic and Catholicism is presented as the normative form of Christianity. The X-Files contradict a lot of stereotypes that exist in American film and television. Although fundamentalists have a prominent role, they often end up as portrayed in a relatively positive way. The common horror stereotype where Catholic priests struggle with the supernatural, is also one with which the series break, and instead Protestant characters are given these roles. The X-Files highlight the positive and negative aspects of both fundamentalist and liberal Christianity. Even so the form of Christianity that gets the most screen time in the series is fundamentalist.

The purpose of this study was to identify Artaudian criteria contained in three different performance practices including (1) a television performance, (2) a live performance, and (3) a workshop performance. These included, respectively, (1) an episode from The X-Files television series; (2) MetamorphoSex, a live ritual performance with performance artist Annie Sprinkle; and (3) Rachel Rosenthal’s DbD Experience Workshop. Core criteria of Artaudian Theater of Cruelty were established through analyses of the relevant literature. These criteria were then coupled with characteristics of French feminist theory and a “shamanistic” perspective to create a theoretical-analytic tool with Artaudian criteria as its centerpiece. Also, performance analysis, experiential and experimental reflexive-subjectivity, and performative poetics were techniques applied for analytic purposes. Analyses identified a range of Artaudian criteria and feminist and “shamanistic” characteristics in the three performances; these included radical and performative poetics, embodied states of ecstasy and transformation, and non-reliance on written texts and scripts in performance practices. Among other things, analyses of different performance practices indicates that identified Artaudian performances, as a whole, tend to hinge upon performing “in the extreme” and may inadvertently serve to reinscribe race and imperialist hegemonies through an exaggeration of performing “whiteness in the extreme.” Additionally, women performing “in the extreme” are often unfairly characterized as heightened and exaggerated examples of “womanness.” Masked behind themes of women’s empowerment are cultural and performative archetypes of woman as “goddess,” “monster,” or heartless “cyborg.” Implications of these findings are discussed as well as the creation of public spaces where groups of people gather for an “extreme” performative event that, through dramatic spectacle and purpose, unites them with a particular theme or focus. It is argued that such spaces have the potential to catalyze endeavors seeking transformation and, in particular, transform the social lives of the participants. / text

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Scholars are paying a great deal of attention to the complexity of the stories being created for print, film, television, and the Web. In this essay, we expand on the concept of polymediated narrative complexity in contemporary storyworlds to explore how external discourses influence their legacies and interpretations. Our exploration of the relationship between complex narratives and the discourses in which they participate focuses on one television genre and starts with one television program: Kolchak: The Night Stalker. We argue that Kolchak remains an important and ever-evolving discursive fragment within the supernatural drama genre.

Die vorliegende Seminararbeit zeigt anhand einer breit gefächerten Analyse von Mystery die Vielfältigkeit des Mystery-Begriffes und -Genres auf, besonders im Hinblick auf die Parallelen und Unterschiede zu seinem englischen Ursprung. Es erfolgt eine detaillierte etymologisch-lexikografische Betrachtung. In dieser wird auf die verschiedenen Bedeutungsfacetten von Mystery eingegangen sowie eine Anglizismus-/Pseudoanglizismus-Debatte geführt. Ausgangspunkt bildet der ursprüngliche Sinn von Mystery als Unerklärliches, generelles Rätsel, Geheimnis oder religiöses Mysterium. Es werden Verbindungen zu englischen Rätselgeschichten (mystery stories) gezogen, die allgemein von unerklärlichen Begebenheiten erzählt. Diese mysteries umfassen sowohl Rätsel im verbrechensbezogenen Kontext (detective stories) als auch die im Deutschen vorherrschenden Verbindungen zum Übernatürlichen sowie Geheimnisvoll-Rätselhaftes in den vielfältigsten Kontexten (Gothic novels, moderne American mystery story). Somit wird eine Annäherung der englisch-deutschen Mystery-Bedeutung sichtbar. Ferner versucht die Arbeit, auf Ursprünge und Entwicklungen des deutschen Mystery-Trends einzugehen und die Faszination Mystery zu erklären. Eine bedeutende Rolle kommt der Serie Akte X zu. Denn im Zuge ihrer Ausstrahlung und Vermarktung im deutschen Fernsehen wurde die englische Mystery-Bezeichnung aufgegriffen. In die gesamte Aufarbeitung werden verschiedenste Meinungen von Rezipientenseite, Vermarktung, Medien, Wissenschaft einbezogen. So entsteht ein Überblick zum Dargestellten im Mystery-Genre. Es wird belegt, dass im deutschsprachigen Raum ein relativ einheitliches Bewusstsein dafür besteht, was das Genre Mystery im filmischen und literarischen Bereich ausmacht.

Die vorliegende Seminararbeit zeigt anhand einer breit gefächerten Analyse von Mystery die Vielfältigkeit des Mystery-Begriffes und -Genres auf, besonders im Hinblick auf die Parallelen und Unterschiede zu seinem englischen Ursprung. Es erfolgt eine detaillierte etymologisch-lexikografische Betrachtung. In dieser wird auf die verschiedenen Bedeutungsfacetten von Mystery eingegangen sowie eine Anglizismus-/Pseudoanglizismus-Debatte geführt. Ausgangspunkt bildet der ursprüngliche Sinn von Mystery als Unerklärliches, generelles Rätsel, Geheimnis oder religiöses Mysterium. Es werden Verbindungen zu englischen Rätselgeschichten (mystery stories) gezogen, die allgemein von unerklärlichen Begebenheiten erzählt. Diese mysteries umfassen sowohl Rätsel im verbrechensbezogenen Kontext (detective stories) als auch die im Deutschen vorherrschenden Verbindungen zum Übernatürlichen sowie Geheimnisvoll-Rätselhaftes in den vielfältigsten Kontexten (Gothic novels, moderne American mystery story). Somit wird eine Annäherung der englisch-deutschen Mystery-Bedeutung sichtbar. Ferner versucht die Arbeit, auf Ursprünge und Entwicklungen des deutschen Mystery-Trends einzugehen und die Faszination Mystery zu erklären. Eine bedeutende Rolle kommt der Serie Akte X zu. Denn im Zuge ihrer Ausstrahlung und Vermarktung im deutschen Fernsehen wurde die englische Mystery-Bezeichnung aufgegriffen. In die gesamte Aufarbeitung werden verschiedenste Meinungen von Rezipientenseite, Vermarktung, Medien, Wissenschaft einbezogen. So entsteht ein Überblick zum Dargestellten im Mystery-Genre. Es wird belegt, dass im deutschsprachigen Raum ein relativ einheitliches Bewusstsein dafür besteht, was das Genre Mystery im filmischen und literarischen Bereich ausmacht.:1 Einleitung 3 2 Herkunft und Bedeutung des Wortes Mystery 4 2.1 Etymologie 4 2.2 Lexikografische Definition 5 2.3 Bedeutung im Englischen 6 3 Anglizismus-Debatte 7 3.1 Mystery als Anglizismus 7 3.2 Mystery als Scheinanglizismus 8 4 Mystery story im angloamerikanischen Raum 10 4.1 Detective und Mystery Stories 11 4.2 American mystery im Wandel 13 5 Faszination Mystery 14 5.1 Paranormales in den US-Medien 14 5.2 Der Trend des Übernatürlichen in Deutschland 15 5.3 Mögliche Gründe für den Mystery-Erfolg 18 6 Marketing-Etikett Mystery 19 6.1 Für Bekanntheit, Quoten und Standardisierung 20 6.2 Vom Krimi zu Mystery 20 7 Mystery als Genre und Stilmittel 22 7.1 Allgemeine Genrebetrachtung 23 7.2 Genrehybrid oder Subgenre? 24 7.3 Spannungserzeugung durch Mystery 26 8 Schlussbetrachtung