This thesis attempts to contribute to the study of punctuation marks (including emoji and emoticons) used in computer-mediated communication. It aims to describe their role in abusive comments on YouTube videos with LGBT content and the extent to which their use differs in respectful and hateful comments on such videos. The analysis concentrates also on how the distribution of punctuation marks differs in relation to the polarity, content and length of comments. The thesis also provides a comparison of the frequency of the occurrence of punctuation marks in both respectful and hateful comments. In addition to that, this paper attempts to classify emoji and emoticons according to their role in the text. Key words Computer-mediated communication, YouTube, emoji, emoticons, punctuation, Internet communication

Made available in DSpace on 2016-10-13T14:10:39Z (GMT). No. of bitstreams: 1 Matheus Matsuda Marangoni.pdf: 4833409 bytes, checksum: df69910f0f497433c878820a10bd3586 (MD5) Previous issue date: 2012-03-23 / YouTube is currently configured as a platform to launch the so-called viral marketing, among other uses. This piece of research investigates the development of actions designed as entertainment and advertising produced to generate content that spread like virus over the Internet. Considering that the phenomenon of viralization necessarily implies a certain amount of unpredictability, this study analises successful campaigns such as Pôneis Malditos, VW The Force and Sem Papel examining their production strategies and the logics of reception and consumption. In the intercross between production and reception that is typical of this type of communication in the digital environment, we find developments in the form of spoofs, quotes and other related productions whose development was monitors. We hoped that study can contribute to furthering our understanding of this type of action in the current media scene. / O YouTube configura-se atualmente como plataforma para lançamentos da chamada comunicação viral, dentre outros usos. Esta pesquisa investigou o desenvolvimento de ações publicitárias concebidas como entretenimento e produzidas de modo a gerar conteúdos que possam ser viralizados na internet. Tendo em vista que o fenômeno da viralização implica necessariamente em certa dose de imprevisibilidade, parte-se do estudo de campanhas bem sucedidas como Pôneis Malditos, VW The Force e Sem Papel do Banco Itaú, examinando suas estratégias de produção e lógicas de recepção e consumo. No intercruzamento entre produção e recepção que é característico desse tipo de comunicação no ambiente digital, encontramos desdobramentos na forma de paródias, citações e outras produções conexas cujo desenvolvimento a pesquisa monitorou. Espera-se que este estudo possa contribuir para ampliar nossa compreensão dessa modalidade de ação na cena midiática atual.

Made available in DSpace on 2017-07-21T18:15:28Z (GMT). No. of bitstreams: 1 Luciane do Rocio Moura.pdf: 4141708 bytes, checksum: 2cbe253ac1bd0efd96447768de9a4de6 (MD5) Previous issue date: 2012-10-04 / This study aims to understand how the Brazilian woman constitutes the Social Representations (SR) of gender through YouTube in the context of recent international migration between Brazil and Portugal. The recent growth of Brazilian immigration in Portugal constitute new social relations and representational contents dispersed in the communication processes. The genre as a constituent of SR brings the female presence in the migration process re-meaning studies on immigration that was only thought from the male presence. The YouTube has been the source of this choice for the development of research to understand what is most popular among video sites, enabling international communication among users. The collection of videos happened from August 1st to December 31st, 2010. This period does not follow the date of posting the comments, it's just a way to organize and maintain the data. It can't be forgotten that the source is dynamic. Through the exploration of the uploaded videos: Brazilian Immigration in Portugal, Brazilian Women in Portugal, Brazilians / Portuguese and Brazilians / Mestizos, there was the ability to analyze the meanings that are present in the SR of these videos about the Brazilian immigration in specific about women, created by Portuguese, using the discourse analysis. The results show that the presence of coloniality between Brazil and Portugal and the proximity to the language facilitates the migration process, but makes the experience of immigrants more difficult. Besides these factors, it was clear that the signification produced by the Portuguese who associate the immigrants to the illegality and exploitation, at the same time that they associate joy and tropicality sensuality. In particular Brazilian women, whose characteristics are identified by their corporeality. Anyway, the contents mixed representational elements of permanence and change that characterize the socio-spatial relations between these two social groups. / Esse trabalho tem como objetivo compreender como a mulher brasileira constitui as Representações Sociais de gênero por meio do YouTube no contexto da recente imigração internacional entre Brasil e Portugal. O crescimento recente da imigração brasileira em Portugal constitui novas relações sociais e conteúdos representacionais dispersos nos processos de comunicação. O gênero enquanto constituinte de RS traz a presença feminina no processo migratório re-significando os estudos sobre imigração que até então era pensado a partir apenas da presença masculina. O YouTube foi a fonte escolhida para desenvolvimento da pesquisa por entender que é o mais popular entre os site de vídeos, possibilitando uma comunicação internacional entre os usuários. A coleta de vídeos acontece no período de 01 de agosto à 31 de dezembro de 2010. O período estipulado não segue a data de postagem dos comentários, é apenas uma forma de organizar e manter os dados, lembrando que a fonte se mostra dinâmica. Através da exploração dos vídeos postados: Imigração Brasileira em Portugal, Mulher Brasileira em Portugal, Os Brasileiros/Portugueses e Os Brasileiros/Mestiços, foram analisados, por meio de análise de discurso, os significados presentes nas RS veiculadas nesses vídeos sobre a imigração brasileira, em específico sobre as mulheres, criados por portugueses. Os resultados evidenciam que a presença da colonialidade existente entre Brasil e Portugal e a proximidade com a língua, facilita o processo migratório, mas dificulta a vivência dos imigrantes. Além desses fatores, ficou claro que a significação elaborada pelos portugueses que associam os imigrantes brasileiros à ilegalidade, exploração e ao mesmo tempo à alegria, tropicalidade e sensualidade. Em especial as mulheres brasileiras, cujas características são identificadas através da sua corporalidade. Enfim, os conteúdos representacionais mesclam elementos de permanência e mudança que marcam as relações socioespaciais entre esses dois grupos sociais.

Avec l’apparition des chaînes musicales au début des années 1980, l’industrie musicale investit massivement dans la production de clips vidéo. Pour répondre à la forte demande de clips, de nombreux réalisateurs venant aussi bien de la télévision, de la publicité, que du cinéma mirent tous leur talent au service de ce nouveau format télévisuel. C’est dans ce contexte que différents artistes visuels furent également sollicités ou proposèrent leur service pour réaliser différents clips. Au début des années 1980, le clip apparut à certains artistes comme le format idéal pour diffuser leurs images à la télévision. Il leur permettait par sa diffusion à la télévision de toucher un plus large public que celui des musées ou des galeries d’art. Pour d’autres, le clip fut un format d’expérimentation mais aussi un prolongement possible pour leur pratique artistique. Ainsi cette étude se propose d’analyser une partie de la production de certains artistes plasticiens souvent ignorée par les historiens de l’art et les critiques. À travers leurs travaux artistiques, certains artistes construisirent au contraire une critique et interrogèrent le format tout en remettant en question la pop culture diffusée à la télévision. Si la création de MTV fut une date fondatrice dans l’histoire du clip vidéo, vingt-cinq ans plus tard, l’avènement de YouTube et des sites de partage de vidéos dès 2005 marqua un grand changement dans la production mais aussi dans la consommation de clips vidéo. Nous verrons que cela entraina de nouveaux usages pour les utilisateurs pour les artistes qui s’emparèrent des contenus disponibles pour les détourner. / With the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it.

Allt fler människor använder sig av Youtube och andra öppna internetmiljöer för att lära sig matematik. Enligt tidigare studier finns det en stor spridning när det gäller bostadsort och ålder bland deltagarna i dessa miljöer. Min undersökning visar att ett urval om 10 Youtubevideor om ekvationslösning och deras kommentarsfält också kännetecknas av en stor spridning av matematikdiskurser bland deltagarna. En studie av 85 dialoger i kommentarsfälten visar att i omkring hälften av dialogerna uttrycker sig olika deltagare på sätt som kännetecknar olika matematikdiskurser, medan i den andra hälften alla deltagare uttrycker sig på sätt som kännetecknar samma matematikdiskurs. De förra dialogerna slutar mer sällan med att deltagarna upplever förståelse, medan lärandet i de senare dialogerna begränsas av vad som går att uttrycka inom ramen för den rådande diskursen. Genom att utveckla begrepp och kategorier för att beskriva matematikdiskurserna lägger studien grunden för fortsatt forskning, både kvalitativa med intervjuer av deltagare och kvantitativa med större material. / The use of Youtube and other open internet environments for learning mathematics is becoming increasingly common. According to earlier studies there is a great diversity of ages and nationalities among participants in these environments. My investigation shows that a selection of 10 Youtube videos about equation solving and their comments sections also are characterized by a diversity of mathematics discourses. A study of 85 dialogues in the comments sections shows that in approximately half of the dialogues different participants express themselves in manners characteristic of different mathematics discourses, while in the other half all the participants express themselves in manners characteristic of the same mathematics discourse. The former dialogues more seldom end with experiences of understanding, while learning in the latter group of dialogues is limited by what is possible to express within the dominant discourse. By developing terms and categories for describing the mathematics discourses this study lays the foundation for further research, both qualitative research comprising interviews with participants and quantitative research on greater amounts of data.

Made available in DSpace on 2016-08-03T12:29:47Z (GMT). No. of bitstreams: 1 SILVAp1-110.pdf: 3967531 bytes, checksum: 3fd29e9971b83c3c26ae79f782019184 (MD5) Previous issue date: 2013-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Since its inception the internet has received by advertisers replicas advertising content developed for other media, but over the years the internet has gained space and received the attention of advertisers eager to use their strengths to benefit from the sale of their products. Yet very little is known about the characteristics of specific language of the internet, and the existing literature is few and inconclusive. Based on this framework study compared the advertising videos developed specifically for the internet with other developed originally for television and published on the Internet in order to identify points of parity and convergence between them with regard to language. The work was based on the theories of cyberculture and the Network Society and the studies of Marshall McLuhan and a comparative analysis of the videos investigated in order to understand the technical language, visual and discursive them. The survey showed marked differences between the two groups of videos investigated, especially with regard to interactivity, and maximizing potential viralization viewing. It also identified that in regard to technical language discourse videos showed little differentiation because the technology and the language used in its construction are the same. / Desde sua criação a internet tem recebido por parte dos anunciantes réplicas propagandas desenvolvidas para outras mídias, porém com o passar dos anos a internet ganhou espaço e recebeu a atenção dos anunciantes desejosos por utilizar suas forças à favor da venda de seus produtos. Contudo conhece-se muito pouco a respeito das características de linguagem específicas da internet, e a literatura existente e pouca e inconclusiva. Com base nesse quadro o trabalho comparou vídeos publicitários desenvolvidos especificamente para a internet com outros desenvolvidos originalmente para a televisão e publicados na internet a fim de identificar pontos de paridade e convergência entre eles no que se refere à linguagem. O trabalho baseou-se nas teorias da Cibercultura e da Sociedade em Rede e nos estudos de Marshall McLuhan e em uma análise comparativa dos vídeos a fim de entender a linguagem técnica, discursiva e visual dos mesmos. A pesquisa apontou diferenças entre os dois grupos de investigados, sobretudo no que se refere à interatividade, potencial de viralização e maximização de visualização. O estudo identificou também que no que se refere à linguagem técnico-discursiva os vídeos apresentaram pouca diferenciação embora tenha-se comprovado que os vídeos desenvolvidos para a internet são mais recentes o que evidencia um início do processo de adaptação da linguagem publicitária ao meio internet.

Submitted by Jordan (jordanbiblio@gmail.com) on 2017-02-07T12:26:08Z No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-02-07T12:52:23Z (GMT) No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) / Made available in DSpace on 2017-02-07T12:52:23Z (GMT). No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) Previous issue date: 2011-11-11 / CAPES / Esta pesquisa tem por objetivo observar o processo de interação entre fãs na internet que utilizam o site YouTube como ferramenta de compartilhamento de fan films. Uma parcela dos fãs não está mais interessada em consumir passivamente os produtos das grandes empresas de comunicação de massa, ela também quer produzir conteúdo, quer se tornar coautor da obra que admira. O foco desta pesquisa são os fan films veiculados no site de compartilhamento de vídeos YouTube, que dispõe de diversas ferramentas que incentivam a comunicação entre os usuários. A produção e divulgação das fan labors cresceu em função do desenvolvimento das novas tecnologias e da internet. Foram selecionados fan films baseados em livros e jogos de computador. Os mesmos foram analisados através das ferramentas de comentário e avaliação da própria plataforma do YouTube. As principais conclusões deste trabalho referem-se a forma e o conteúdo das discussões entre os fãs no YouTube, principalmente sobre o questionamento critico dos fãs à fidelidade do fan film em relação ao cânone. / This research aims to observe the interaction of fans who access YouTube for viewing and sharing videos such as fan films. A considerable number of fans is not satisfied in passively consume large media corporation products. They want to make something new based on the products of their admiration. This research will analyze fan films shared on YouTube, which has several tools to stimulate users’ interaction. Fan labors have been producing and sharing more since new internet technologies were developed. Fan films based on computer games and books were selected and analyzed using review and evaluation tools, available on YouTube platform. Conclusions concern basically the form and content of fans interaction on YouTube, specifically to fans fidelity regarding the original product.

Made available in DSpace on 2016-06-02T19:39:30Z (GMT). No. of bitstreams: 1 4890.pdf: 876358 bytes, checksum: 141114649f7ba759328751132e458d99 (MD5) Previous issue date: 2012-12-19 / This study has as purpose an analysis of relational tensions and the way they are present into schools, including among them, the relationship that is established between teachers and students a full of meanders and veiled messengers interaction. Fruit of social tensions generated and perpetuated by a manipulator process of production, the dialogue between teachers and students reaches the highest point in episodes of mutual aggression, destruction of the self esteem and in a detachment of the intended goals. Inserted in a complex reality that favors the mass production and consume, fed by ideologies, the educational processes are marked by difficulties to fulfill his role of former human beings able to exercise their role as citizens, as recommended by laws, statutes and declarations that focus the educational question. The influence of the cultural industry in education is one of the central focuses of this study; as well the reflex of massification and of the resentment that comes of this and that is manifested in the school environment. Scenes that show episodes of disagreements and aggressiveness between students and teachers were recorded by students in classrooms and were, here analyzed under the Critical Theory optics to glimpse the panorama in which the educational process are developed and the solutions that theorists present to go beyond the capital by a more humanized education that wins the barbarism nowadays installed. / O presente trabalho tem como proposta uma análise das tensões relacionais e da maneira pela qual elas se apresentam dentro da escola, incluindo-se entre elas a relação cheia de meandros e mensagens veladas que se estabelece entre alunos e professores. Fruto das tensões sociais geradas e perpetuadas por um sistema de produção manipulador, o diálogo entre docentes e discentes culmina, hoje, em episódios de agressão mútua, destruição da autoestima e em um distanciamento de objetivos pretendidos. Inserida em uma realidade complexa em que se privilegia a produção e o consumo em massa, alimentado pelas ideologias e pela mídia, a educação tem tido dificuldades para cumprir seu papel de elemento formador de seres humanos aptos a exercer plenamente seu papel de cidadão, tal qual preconizam as leis, estatutos e declarações que focam a questão educacional. A influência da Indústria Cultural na educação é um dos focos centrais deste estudo, assim como os reflexos da massificação e dos ressentimentos dela decorrentes e manifestados na escola. Cenas gravadas por alunos, em sala de aula, registrando episódios de desentendimentos e agressividade entre alunos e professores foram analisadas sob a ótica da Teoria Crítica a fim de se vislumbrar o panorama em que os processos educacionais vêm se desenvolvendo e as soluções que os teóricos têm proposto para que se possa ir além do capital, por uma educação mais humanizada que vença a barbárie hoje instalada.

För att uppmärksammas bland dagens stora utbud av videoklipp på Youtube skapar vloggare rubrik- och bildsättningar som innehåller clickbaits. Begreppet innebär att rubrik- och bildsättningar är av uppseendeväckande karaktär, innehåller lite information och enbart syftar till att locka mottagare att klicka sig in på videoklipp. Syftet med denna studie är därför att öka medvetenheten om hur clickbaits är utformade på Youtube. Studien bygger på en kvalitativ kritisk textanalys. Vi har studerat en av Sveriges största Youtube-kanaler där sammanlagt 22 av de populäraste videoklippen från 2017 studerats utifrån retoriken och semiotiken. Detta för att synliggöra vilka attribut clickbaitsen är utformade med. Därefter har 4 slumpmässigt utvalda videoklipp analyserats utifrån relevansteorin för att undersöka hur relevant clickbaitsen är för innehållet. Studiens resultat visar att sex, starka känslor, välvilja och personlighet är vanligt förekommande i utformningen av clickbaits på Youtube, där personligt varumärke visar sig vara av stor betydelse. Resultatet visar även att videoklippens rubrik- och bildsättningar till stor del inte är relevanta för innehållet. Studien diskuterar även att clickbaits är något som gynnar vloggarna eftersom det ger dem en hög klickfrekvens, men missgynnar oss mottagare eftersom vi tar del av information som många gånger inte är den mest relevanta. / To be noticed among today's large supply of video clips on Youtube, the creators are using both headline and thumbnails that contain clickbaits. The concept means that the headline and thumbnails are of a ostentatious character, they seldom contain information about the video you are about to watch. The clickbaits only purpose is to entice the watcher to click on videos. Therefore the purpose of this study is to raise awareness of how clickbaits are built up on Youtube. The study is built upon a qualitative critical text analysis. We have studied one of Sweden's largest Youtube-channels, where 22 of the channels most popular clips from 2017 have been studied through the rhetoric and semiotic. We want to make visible on which attributes the clickbaits are built upon. Subsequently has 4 randomly picked videoclips been analysed through the relevance theory to examine how relevant the clickbaits are for the actual content of the video. The studies result show that sexual content, strong emotions, goodwill and personality are common traits within clickbaits on Youtube, where the personal brand show to be of great meaning. The result also show that the headlines and thumbnails are not relevant to the content of the video. The study indicates that the use clickbaits benefits the creator because it gives them more views on their video. From the viewers point of view are they not beneficial, because the information that we receive from the clickbait is not the most relevant when you compare it to the actual content of the video.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-18T18:40:22Z No. of bitstreams: 1 raizasilvacampos.pdf: 1801195 bytes, checksum: 53b22770fe39c474cad8d6c99181e27c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-19T14:40:55Z (GMT) No. of bitstreams: 1 raizasilvacampos.pdf: 1801195 bytes, checksum: 53b22770fe39c474cad8d6c99181e27c (MD5) / Made available in DSpace on 2017-05-19T14:40:55Z (GMT). No. of bitstreams: 1 raizasilvacampos.pdf: 1801195 bytes, checksum: 53b22770fe39c474cad8d6c99181e27c (MD5) Previous issue date: 2017-03-22 / No presente trabalho pretendemos propor uma forma de analisar o humor de qualidade no YouTube. Para isso, utilizamos conceitos do humor e do riso apresentados por autores como Bergson (1983) e Pirandello (1996). Na fundamentação teórica utilizamos o histórico dos estudos de qualidade na televisão, que servem de base para a reflexão que apresentamos sobre o YouTube. Discorremos sobre as suas especificidades, visto que a plataforma é o principal meio de divulgação da produção audiovisual do canal Porta dos Fundos, nosso objeto de estudo. Buscamos compreender em que aspectos os vídeos produzidos pelo coletivo de humor podem ser considerados como humor de qualidade. A partir da metodologia proposta pelo Observatório da Qualidade no Audiovisual (UFJF), associada ao conceito de engajamento – característica intrínseca à internet, compreendemos que os vídeos apresentam conteúdos originais e criativos, promovem a reflexão de um público vasto e que está disposto a interagir no ambiente do Youtube a partir do tema que foi proposto. / In this work we intend to propose a way to analyze quality humor on YouTube. For this, we use concepts of humor and laughter presented by authors such as Bergson (1983) and Pirandello (1996). In the theoretical basis we use the history of quality studies on television, which serve as the basis for the reflection we present on YouTube. We discuss its specificities, since the platform is the main means of publicizing the audiovisual production of the channel Porta dos Fundos, our object of study. We seek to understand in which aspects the videos produced by the group can be considered as quality humor. Based on the methodology proposed by the “Observatório da Qualidade no Audiovisual” (UFJF), associated with the concept of engagement - intrinsic characteristic of the Internet, we understand that the videos present original and creative content, promote the reflection of a vast audience which wishes to interact in the Youtube environment about the proposed theme.