As fandom studies are becoming more popular and important, one fandom yet remains largely unstudied: the fandom surrounding Disneyland. The Disneyland fandom is unique in a number of ways, chief among them the fans’ relationship to the content creators: unlike many other companies in similar positions, Disney seeks to put boundaries on fan participation and to discourage or stamp out behaviors it deems unacceptable. And yet, in spite of this official meddling, the fandom continues to thrive. I propose that the reason for this unique dynamic is the Disney “Magic”—that is, fans’ recognition of a unique emotional experience inherent in visiting the park, composed of a mix of nostalgia, immersion in the park experience, and the unique Disney atmosphere, all of which is often described using quasi-spiritual language. I posit that the Magic is what keeps fans coming back: they feel that something is special about the park, and seek to engage with it more deeply through various fan activities—activities which, paradoxically, seem to threaten that same Magic that inspires such dedication in the first place. In this thesis, I look at three specific fan activities, both to explore this concept of Magic further, and to learn more about this understudied fandom. The first topic is urban legends of ash scatterings in the Haunted Mansion ride, which appear to simultaneously be a commentary on harsh working conditions inside the park, and, more importantly, a perhaps-misguided attempt to pay respect to the deep connections fans have to Disneyland. The second is pin trading, which functions both as a folk activity guests can use to build their public identities, and also as a market for cheap fakes that tarnishe the Magic. The third is Disneybounding, a costuming activity that expresses fans’ love of the park, while carefully stepping around Disney’s regulations preventing such activities. Even in the diverse and fascinating array of fandoms, the Disneyland fandom deserves some additional attention. Disney Magic, and its resultant fan behavior, has no clear parallel elsewhere. Understanding what makes Disneyland fans tick will lead to a better understanding of how fandoms work in general.

Made available in DSpace on 2016-04-26T18:18:47Z (GMT). No. of bitstreams: 1 Natalia Eunice Paiva Moreira.pdf: 1414671 bytes, checksum: a64da425a26b2aba68f8ba150207fca0 (MD5) Previous issue date: 2010-07-02 / This research processes and analyzes the popular contemporary narratives that are told in Brazil. The material was collected through bibliographical researches and interviews. This work aims to explain how the urban legend phenomenon is constituted of media production and historical and cultural environment, plus social, political and cultural mediations and impacts over daily life. The urban legend in this work is seen as an actualization of tradition, which is build in a mobile cultural network that involves orality and multiple media supports (such as newspaper, internet, mobile phone). This creative network reveals anxieties, interdictions, fears and prescriptions of a determined society in a determined place. The main references of this research are the contemporary legend studies, such as Paul Smith, Gillian Bennet, Jean-Bruno Renard, Jean-Nöel Kapferer, Véronique Campion-Vincent; the ideia of mythpoetics found in the work of Eleazar Meletinski; the cultural studies of Jerusa Pires Ferreira and Jesus Martin-Barbero; the idea of semiosphere, from Iuri Lotman. The collected material is analyzed in its internal and external aspects. The goal is to understand how each urban legend is constituted and how it operates in determined society and place / Esta dissertação mapeia, processa e analisa as narrativas populares contemporâneas que circulam no Brasil, a partir de pesquisas bibliográficas e de entrevistas. O objetivo é refletir sobre o fenômeno lenda urbana a partir das relações entre a produção midiática e o ambiente histórico e cultural, implicando, nesse recorte, as mediações e os impactos sociais, políticos e tecnológicos na organização da vida cotidiana. A lenda urbana é aqui vista como uma atualização de repertórios da tradição, que se articulam numa rede de cultura viva e móvel, que envolve oralidade e migra de suportes (para jornal, internet), em uma rede de recriação, revelando anseios, prescrições, interdições e desejos de determinada sociedade, em determinado espaço. As referências teóricas estão ligadas ao estudo do lendário contemporâneo, como Paul Smith, Gillian Bennet, Jean-Bruno Renard, Jean-Nöel Kapferer, Véronique Campion-Vincent; à idéia de mitopoética de Eleazar Meletínski; à constituição de sociabilidades no espaço urbano, em Janice Caiafa; ao conceito de cultura das bordas , de Jerusa Pires Ferreira, e de produção popular-massiva , de Jesús Martín-Barbero; à multiplicidade de suportes na comunicação e constituição de novas maneiras de expressar, como em Lúcia Santaella. Toda essa discussão é apoiada, no background, pela semiótica da cultura de Iuri Lótman e seu conceito de semiosfera, e o material recolhido é analisado em seus aspectos internos e externos , com a finalidade de compreender o modo de ser e a inserção de cada lenda urbana em determinado ambiente

Submitted by Fabiana Aparecida Benicá null (fabi_benica@hotmail.com) on 2018-03-30T23:54:29Z No. of bitstreams: 1 FabianaBenica_dissertação_mestrado_ lendaurbanaumapropostadeensinodaoralidade_2018.pdf: 3405624 bytes, checksum: 8d89411c95375f56c73b63e46c20eac2 (MD5) / Approved for entry into archive by Maria Luiza Carpi Semeghini (luiza@assis.unesp.br) on 2018-04-02T22:08:37Z (GMT) No. of bitstreams: 1 benica_fa_me_assis.pdf: 3405624 bytes, checksum: 8d89411c95375f56c73b63e46c20eac2 (MD5) / Made available in DSpace on 2018-04-02T22:08:37Z (GMT). No. of bitstreams: 1 benica_fa_me_assis.pdf: 3405624 bytes, checksum: 8d89411c95375f56c73b63e46c20eac2 (MD5) Previous issue date: 2018-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O domínio da expressão oral com proficiência e desenvoltura amplia as possibilidades do estudante na vida escolar, social e pessoal. Entretanto, a escola e os materiais didáticos, que dão suporte ao trabalho do professor, ainda não reconhecem a oralidade e, consequentemente, os gêneros orais, como objeto de ensino. Ainda hoje, muitas vezes, a oralidade, quando trabalhada nas aulas de língua portuguesa, é tratada como lugar do “erro” numa perspectiva polarizada em relação à escrita. Dessas constatações originou-se este estudo que tem dois objetivos principais: investigar como o gênero lenda urbana pode possibilitar o desenvolvimento da competência comunicativa, oral e escrita, de alunos do 6º ano do Ensino Fundamental de uma escola da Rede Pública Estadual de Bauru, SP; e elaborar uma sequência didática que focalize o gênero lenda urbana, considerando a relação de interação e complementaridade entre as modalidades oral e escrita da língua e a noção de adequação do discurso às situações de comunicação. Para tanto, seguimos as orientações dos Parâmetros Curriculares Nacionais (1998) e embasamo-nos em linguistas que defendem o trabalho com a oralidade em sala de aula sob uma visão não dicotômica, como Antunes (2009), Cavalcante e Melo (2009), Fávero et al (2012) e Marcuschi (2005, 2007, 2008), dentre outros. Além disso, para o desenvolvimento da atividade com o gênero lenda urbana, seguimos o modelo de sequência didática proposto por Dolz e Schneuwly (2004). Metodologicamente, optamos pela pesquisa-ação de natureza qualitativa e caráter interventivo e interpretativo. Seguimos as etapas: a) revisão bibliográfica, b) análise de documentos oficiais e materiais didáticos; c) desenvolvimento da sequência didática, d) análise dos resultados e revisão da sequência didática. Participaram da aplicação da sequência didática dezessete alunos do Ensino Fundamental de uma escola da Rede Pública Estadual de Bauru, SP, envolvidos em práticas de produção textual oral e escrita. Os resultados obtidos evidenciam as afirmativas iniciais da ausência de um trabalho com a oralidade mais monitorada em sala de aula e do uso da escrita, pelos estudantes, como representação da fala, para além dos anos iniciais. O gênero adotado - lenda urbana - contribuiu para o envolvimento dos participantes nas atividades, possibilitando o resgate da cultura popular de contar e ouvir histórias, pouco comum, entre os discentes. Por fim, a proposta de intervenção configurou-se um instrumento pedagógico eficiente para auxiliar o docente no trabalho com a oralidade considerando sua relação de complementaridade com a escrita, na ampliação das competências comunicativas dos estudantes. / The mastery of oral expression with proficiency expands the student's possibilities in school, social and personal life. However, school and teaching materials, which support the teacher’s work, still have not recognized orality and, consequently, oral genres as an object of teaching. When orality is approached in Portuguese classes is still considered a place of “error” in a polarized perspective in relation to writing. These findings led to the current study which has two main objectives: to investigate how the urban legend genre can promote the development of oral and written communicative competence of students from the 6th grade of the Public Elementary School in Bauru, SP; and to elaborate a didactic sequence that focuses on the urban legend genre, considering the relation of interaction and complementarity between the oral and written modalities of the language and the notion of adequacy of the discourse to the situations of communication. Therefore, the National Curriculum Parameters (1998) guidelines were considered and linguists who defend the work with orality in the classroom under a non-dichotomous vision supported this work, such as Antunes (2009), Cavalcante e Melo (2009), Fávero et al (2012) and Marcuschi (2005, 2007, 2008) among others. In addition, in order to design the genre urban legend activity, the didactic sequence model proposed by Doz and Schneuwly (2004) was used. In relation to methodology, action research of qualitative nature and intervention and interpretative character was chosen. The following steps were taken: a) bibliographical review, b) analysis of official documents and didactic materials; c) elaboration of the didactic sequence, d) analysis of the results and revision of the didactic sequence. The didactic sequence was applied to seventeen students of the Public Elementary School in Bauru, SP and they were involved in oral and written production practices. The obtained results showed the lack of a monitored orality work in the classroom and the students' use of writing as a representation of speech, beyond the initial years. The adopted genre - urban legend - contributed to the involvement of the participants in the activities, enabling the rescue of the popular culture of telling and listening to stories, uncommon among students. Finally, the intervention proposal was an efficient pedagogical tool to support the teacher in the work with orality considering its relation of complementarity with writing, in the expansion of the students' communicative competences. / 5649492

KULLMANOVÁ, Katarína Bc.: Transformation of Golem in Popular Culture (diploma thesis) Charles University in Prague. Faculty: Institute of Ethnology. Supervisor: PhDc. Peter Janecek, Ph.D. Praha, 2015-08-16 The aim of the study is to outline the Golem legend, through the work of Alois Jirasek: Old Czech Legends (1894) a film by Martin Fric: The Emperor's Baker and Baker's Emperor (1951), which enables got Golem today's visually similar. Subsequent demonstration on how much above two sources affect people's perceptions on the topic. The aim of this work is also to show the gradual disappearance of the original legends of the 16th century and approach the area where the phenomenon Golem applied later: literature, film, tourism and the transformation of the 19th-21st centuries.