O presente trabalho analisou o discurso ideológico do merchandising social, fenômeno presente atualmente em todas as telenovelas da Rede Globo de Televisão, a partir da visão do seu maior ideólogo e representante das idéias da emissora, Márcio Ruiz Schiavo. As idéias desse autor foram analisadas sob a perspectiva teórica da Teoria Crítica, sobretudo a partir dos conceitos elaborados por Theodor Adorno e Max Horkheimer a respeito da formação, experiência formativa, educação, indústria cultural, ideologia, comunicação, informação, semiformação, sociedade administrada, televisão e cultura de massas. Apresentou-se a definição do merchandising social como um instrumento de educação voltado para as massas, cuja origem remete às técnicas de marketing comercial, marketing social e merchandising comercial, bem como à chamada entertainment education, estratégia implementada nas telenovelas da rede de televisão mexicana Televisa. A análise procurou identificar as lacunas ideológicas na gênese e na práxis desse pretenso instrumento educativo. Assim, concluiu-se que, ainda que se obtenham resultados socialmente desejáveis com tal instrumento ideologicamente \"vendido\" como educativo, o que se tem por \"educação\" na visão de quem o defende como eficiente agente social do ensino informal é, na verdade, adaptação, reprodução do saber e heteronomia. Além de constituir um eficiente agente de auto-promoção da emissora, o merchandising social contribui para a manutenção da sua hegemonia e do status quo vigente. / This research analyzed the ideological discourse behind a phenomena which is nowadays present in all soapoperas in Rede Globo de Televisão: the social merchandising. It is analyzed through the ideas of its greatest ideologist and representer of the organization\'s ideas, Márcio Ruiz Schiavo. The author\'s ideas are analyzed from the perspective of Critical Theory, specially the Theodor Adorno and Max Horkheimer\'s concepts of formation, formative experience, education, cultural industry, ideology, communication, information, semi-formation, administered society, television and mass culture. It is presented the definition of social merchandising as an educational device directed to the mass, whose origin lies in the concepts of commercial marketing, social marketing and commercial merchandising, as well as in the entertainment education strategy implemented in soapoperas of the mexican television Televisa. The analyzes intended to identify the ideological gaps in the social merchandising genesis and praxis. We concluded that, even considering that this deviced ideologically presented as educational can produce social desirable results, the conception of education in which it is based actually means adaptation, knowledge reproduction and heteronomy. Besides acting as an efficient self-promotion agent for the organization, the social merchandising contributes to the maintaining of its hegemony and of the status quo.

The sixth volume of the DIGAREC Series holds the contributions to the DIGAREC Keynote-Lectures given at the University of Potsdam in the winter semester 2009/10. With contributions by Mark J.P. Wolf (Concordia University Wisconsin), Espen Aarseth (Center for Computer Games Research, IT University of Copenhagen), Katie Salen (Parsons New School of Design, New York), Laura Ermi and Frans Mäyrä (University of Tampere), and Lev Manovich (University of Southern California, San Diego).

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Esta dissertação teve como ponto de partida a constatação empírica de que houve, nas páginas de alguns jornais e revistas que circularam durante o regime militar brasileiro, um aparentemente paradoxal processo de “divulgação do proibido”. A publicação na imprensa de notas, referências e críticas sobre diversas interdições censórias foi aqui explicada pela existência de dois mecanismos distintos de atuação da Censura. Um deles, o controle de espetáculos feito pela Divisão de Censura de Diversões Públicas (DCDP), era caracterizado pelo perfil público e aberto. O outro, voltado para a imprensa e realizado pelo SIGAB, tinha o anonimato como principal característica de suas atividades. Como a clandestinidade era uma especificidade da censura à imprensa, estavam explicadas as inúmeras referências à censura localizadas no curso desta investigação, já que todas elas diziam respeito ao controle de diversões públicas (cinema, teatro, música, rádio, tv etc.). Depois de identificada a distinção de ethos das “duas censuras”, buscou-se as justificativas dessa clivagem, o que envolveu uma reflexão em dois eixos, quais sejam: 1) sobre a diferença de legitimidade legal das censuras à imprensa e às diversões públicas; e, ainda, 2) sobre as diferenças de legitimidade social às intervenções censórias de natureza política e àquelas com ênfase na moralidade e costumes. / This investigation had as starting point the empiric verification that there was, in the pages of newspapers and magazines that circulated during a period of the Brazilian military regime, a seemingly paradoxical process of “publishing of the forbidden”. That press notes, references and critics about many interdictions of censorship has its explanation in the fact that two different mechanisms of censor performance existed. One of them, the control of shows done by DCDP, Divisão de Censura de Diversões Públicas (Division of Censorship of Public Amusements), was characterized by the public profile, by the “opening” tendency. The other surveillance type, that followed the press and was accomplished by SIGAB, had as main characteristic the anonymity of its activities. As the secrecy was a specificity of the censorship towards the press, countless references regarding censorship were so explained. This, because all of them concerned the transparent control of public amusements (movies, theater, music, radio, tv). After identified the ethos distinction of the “two censorships”, we looked for its justifications, which involve a explanation sustained on two axles of reflection: the difference of legal legitimacy regarding the censorships towards the press and the public amusements and, moreover, the differences of social legitimacy and civilian support to the censorship interventions of political nature and of those with emphasis on morals and good habits.

Esta dissertação teve como ponto de partida a constatação empírica de que houve, nas páginas de alguns jornais e revistas que circularam durante o regime militar brasileiro, um aparentemente paradoxal processo de “divulgação do proibido”. A publicação na imprensa de notas, referências e críticas sobre diversas interdições censórias foi aqui explicada pela existência de dois mecanismos distintos de atuação da Censura. Um deles, o controle de espetáculos feito pela Divisão de Censura de Diversões Públicas (DCDP), era caracterizado pelo perfil público e aberto. O outro, voltado para a imprensa e realizado pelo SIGAB, tinha o anonimato como principal característica de suas atividades. Como a clandestinidade era uma especificidade da censura à imprensa, estavam explicadas as inúmeras referências à censura localizadas no curso desta investigação, já que todas elas diziam respeito ao controle de diversões públicas (cinema, teatro, música, rádio, tv etc.). Depois de identificada a distinção de ethos das “duas censuras”, buscou-se as justificativas dessa clivagem, o que envolveu uma reflexão em dois eixos, quais sejam: 1) sobre a diferença de legitimidade legal das censuras à imprensa e às diversões públicas; e, ainda, 2) sobre as diferenças de legitimidade social às intervenções censórias de natureza política e àquelas com ênfase na moralidade e costumes. / This investigation had as starting point the empiric verification that there was, in the pages of newspapers and magazines that circulated during a period of the Brazilian military regime, a seemingly paradoxical process of “publishing of the forbidden”. That press notes, references and critics about many interdictions of censorship has its explanation in the fact that two different mechanisms of censor performance existed. One of them, the control of shows done by DCDP, Divisão de Censura de Diversões Públicas (Division of Censorship of Public Amusements), was characterized by the public profile, by the “opening” tendency. The other surveillance type, that followed the press and was accomplished by SIGAB, had as main characteristic the anonymity of its activities. As the secrecy was a specificity of the censorship towards the press, countless references regarding censorship were so explained. This, because all of them concerned the transparent control of public amusements (movies, theater, music, radio, tv). After identified the ethos distinction of the “two censorships”, we looked for its justifications, which involve a explanation sustained on two axles of reflection: the difference of legal legitimacy regarding the censorships towards the press and the public amusements and, moreover, the differences of social legitimacy and civilian support to the censorship interventions of political nature and of those with emphasis on morals and good habits.

Esta dissertação teve como ponto de partida a constatação empírica de que houve, nas páginas de alguns jornais e revistas que circularam durante o regime militar brasileiro, um aparentemente paradoxal processo de “divulgação do proibido”. A publicação na imprensa de notas, referências e críticas sobre diversas interdições censórias foi aqui explicada pela existência de dois mecanismos distintos de atuação da Censura. Um deles, o controle de espetáculos feito pela Divisão de Censura de Diversões Públicas (DCDP), era caracterizado pelo perfil público e aberto. O outro, voltado para a imprensa e realizado pelo SIGAB, tinha o anonimato como principal característica de suas atividades. Como a clandestinidade era uma especificidade da censura à imprensa, estavam explicadas as inúmeras referências à censura localizadas no curso desta investigação, já que todas elas diziam respeito ao controle de diversões públicas (cinema, teatro, música, rádio, tv etc.). Depois de identificada a distinção de ethos das “duas censuras”, buscou-se as justificativas dessa clivagem, o que envolveu uma reflexão em dois eixos, quais sejam: 1) sobre a diferença de legitimidade legal das censuras à imprensa e às diversões públicas; e, ainda, 2) sobre as diferenças de legitimidade social às intervenções censórias de natureza política e àquelas com ênfase na moralidade e costumes. / This investigation had as starting point the empiric verification that there was, in the pages of newspapers and magazines that circulated during a period of the Brazilian military regime, a seemingly paradoxical process of “publishing of the forbidden”. That press notes, references and critics about many interdictions of censorship has its explanation in the fact that two different mechanisms of censor performance existed. One of them, the control of shows done by DCDP, Divisão de Censura de Diversões Públicas (Division of Censorship of Public Amusements), was characterized by the public profile, by the “opening” tendency. The other surveillance type, that followed the press and was accomplished by SIGAB, had as main characteristic the anonymity of its activities. As the secrecy was a specificity of the censorship towards the press, countless references regarding censorship were so explained. This, because all of them concerned the transparent control of public amusements (movies, theater, music, radio, tv). After identified the ethos distinction of the “two censorships”, we looked for its justifications, which involve a explanation sustained on two axles of reflection: the difference of legal legitimacy regarding the censorships towards the press and the public amusements and, moreover, the differences of social legitimacy and civilian support to the censorship interventions of political nature and of those with emphasis on morals and good habits.

La thèse aura pour objectif premier de relire les discours scientifiques sur la danse à travers quelques démarches considérées comme illustratives d’une discipline. Ce parcours a pour vocation seconde d’interroger les modes de construction de l’objet danse au sein des études en arts du spectacle vivant. Comment les sciences ont-elles pensé la danse ?Fallait-il penser la danse ?A travers quels questionnements peut-on appréhender la performance dansée sans englober un paradigme plus vaste ?Toutes problématiques qui conduisent non seulement à saisir de manière critique les regards sur la danse mais à élaborer un modèle propre qui pose à la fois la question de l’identité et des processus énonciatifs de la danse au sein du paradigme des « arts du spectacle vivant ». / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

Piano instructors often have to work as a bridge connecting music from the past and the future. From a pedagogical viewpoint, contemporary works should be considered just as important as those in the standard repertoire. Yet, most piano instructors are skewed towards modern music and their teaching materials are focused on eighteenth and nineteenth century repertoire. It is essential for them to introduce various kinds of music from different periods and cultures in order to fully develop a student's musicianship. The purpose of this study is to compare two modern works that are designed mainly for pedagogical purposes: 32 Piano Games by Ross Lee Finney (1906-1997) and Amusements by Stephen Chatman (b. 1950). These compositions are intended for beginner and intermediate students and incorporate a number of contemporary elements and techniques. This study can help instructors and students understand how these elements are being used and the ways they have evolved over time. Most importantly, this dissertation can provide teachers with a distinct methodology that enables them to present modern pieces to beginning level students in a more approachable fashion, further providing theoretical and technical assets that will allow them to play advanced contemporary music in the future.

The purpose of this paper is primarily that of determining what recreational needs exist today, what social changes have occurred to bring about these needs, what unit of society is most capable of taking the lead in meeting these needs, and what procedures may be adopted for meeting them. An interest in this subject has stemmed from observation of two main factors: (1) The existence of inadequate programs for meeting recreational needs in schools with which the writer has been associated, and (2) General indifference to or ignorance of the importance of educating for worthwhile use of leisure time. / "A Paper." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Virgil E. Strickland, Professor Directing Paper. / Includes bibliographical references.

This study discusses how motion picture spectatorship practices in Brooklyn developed separately from that of any other urban center in the United States between 1893 and 1928. Often overshadowed by Manhattan's glamorous cultural districts, Brooklyn's cultural arbiters adopted the motion picture as a means of asserting a sense of independence from the other New York boroughs. This argument is reinforced by focusing on the motion picture's ascendancy as one of the first forms of mass entertainment to be disseminated throughout New York City in congruence with the Borough of Brooklyn's rapid urbanization. In many significant areas Brooklyn's relationship with the motion picture was largely unique from anywhere else in New York. These differences are best illuminated through several key examples ranging from the manner in which Brooklyn's political and religious authorities enforced film censorship to discussing how the motion picture was exhibited and the way theaters proliferated throughout the borough Lastly this work will address the ways in which members of the Brooklyn community influenced the production practices of the films made at several Brooklyn-based film studios. Ultimately this work sets out to explain how an independent community was able to determine its own form of cultural expression through its relationship with mass entertainment.