LISBÃO, Yuri Marcondes. Metamorfoses da estética da mercadoria: implicações do fetichismo da mercadoria para as negociações identitárias de modelos comerciais. 2017. 148f. – Dissertação (Mestrado) Universidade Federal do Ceará, Programa de Pós-graduação Profissional em Psicologia, Fortaleza, 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-11-10T15:32:30Z No. of bitstreams: 1 2017_dis_ymlisbao.pdf: 2018808 bytes, checksum: 88875abb60eccb083c361302741fa7f9 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-11-10T17:49:30Z (GMT) No. of bitstreams: 1 2017_dis_ymlisbao.pdf: 2018808 bytes, checksum: 88875abb60eccb083c361302741fa7f9 (MD5) / Made available in DSpace on 2017-11-10T17:49:30Z (GMT). No. of bitstreams: 1 2017_dis_ymlisbao.pdf: 2018808 bytes, checksum: 88875abb60eccb083c361302741fa7f9 (MD5) Previous issue date: 2017 / This work aims to understand, from the perspective of critical social psychology, the metamorphoses of the commodity aesthetics and the implications of fetishism in the development and the identity negotiations of Brazilian women's commercial models. The research revolves around the following problematization: the model work – which summons the construction of a specific character among so many others who composes the identity – often ends up being experienced (and recognized) as the totality of the identity. So, since the model is worth its appearance and its body as merchandise, how do these women negotiate, everyday, the representation of this character? To take account of this issue, through the usef life-story narratives, this research, on a qualitative character, is circumscribed between the empirical and theoretical fields, weaves some articulations on the dynamics of relationships, interactions and negotiations identity of these models. It is believed that in the capitalist society of consumption, as it is contemporary, this theme is relevant and current, since it deals with discussing how the effects of the market have interfered in the way the identity process has occurred. And although the model profession explains the transformation of people into commodities, the processes of fetishism, reification and the (im)possible forms of recognition contained therein can be identified in large part of the professions that serve the mode of capitalist production / Este trabalho objetiva compreender, na perspectiva da Psicologia Social Crítica, as metamorfoses da estética da mercadoria e as implicações do fetichismo no desenvolvimento e nas negociações identitárias de modelos comerciais femininas brasileiras. A pesquisa gira em torno da seguinte problematização: o trabalho de modelo – que convoca à construção de uma personagem específica entre tantas outras que compõe a identidade – muitas vezes acaba sendo experienciado (e reconhecido) como sendo a totalidade da identidade. Assim, uma vez que a modelo se vale de sua aparência e seu corpo como mercadoria, como essas mulheres negociam, cotidianamente, a representação dessa personagem? Para dar conta dessa questão, através do emprego de narrativas de histórias de vida, essa pesquisa de caráter qualitativo circunscrita entre os campos empírico e teórico, tece algumas articulações sobre a dinâmica das relações, interações e negociações identitárias dessas modelos. Acredita-se que na sociedade capitalista de consumo, tal como é a contemporânea, este tema seja relevante e atual, uma vez que trata de discutir como os efeitos do mercado tem interferido na forma como o processo da identidade tem ocorrido. E embora a profissão de modelo explicite a transformação das pessoas em mercadorias, os processos de fetichização, reificação e as formas (im)possíveis de reconhecimento ali contidas podem ser identificadas em grande parte das profissões que servem ao modo de produção capitalista.

This study considers the way in which Margaret Atwood’s post-apocalyptic MaddAddam Trilogy functions as an environmental project. The main focus is on how the three novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013), simultaneously draw on and destabilise the apocalypticism inherent in so much environmental discourse, primarily through the use of satire. The trilogy is securely anchored in the concerns of contemporary readers, and transposition of the action to the near future is integral to Atwood’s environmental project: attention is focussed on the present causes of anticipated environmental catastrophe, which readers implicitly are implored to avoid. Atwood’s environmentalism is performed in the interplay between her literary stature, the equivocal content of her work, and the irreverence with which she metaleptically blurs distinctions between fact and fiction, art and commodity, and activism and aesthetics. Whereas the satiric mode serves as a way of avoiding some of the limitations of apocalyptic thinking by maintaining and even creating complexity, it also renders the entire project ambiguous. Uncertainty about the exact environmental injunction presented in the trilogy creates doubts about the degree to which Atwood’s extradiegetic environmental activism should be taken seriously, or conversely. Storytelling is foregrounded in all three novels, and through its concurrent critique of and reliance on market forces and the political potential of art, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world. / Margaret Atwood routinely eludes her readers, and the MaddAddam Trilogy is no exception. These three novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013), are ostensibly written in the tradition of environmental apocalypse, yet they constantly undermine its conventions through satire. This study considers the trilogy as an environmental project, performed in the interplay between Atwood’s literary stature, the ambiguous content of her work, and the irreverence with which she blurs distinctions between fact and fiction, art and commodity, and activism and aesthetics. Atwood’s use of the MaddAddam Trilogy in her real-world environmental activism creates uncertainty about how seriously both her art and her activism should be taken. Her opinions on environmental matters are legitimised, but at the same time an urgent environmental ‘message’ is presented as entertainment. Atwood’s message often appears circular: her art carries no message, but Margaret Atwood the writer does have an important message, which she gets to deliver precisely because of her art. Storytelling is a central theme in all three novels, and through both critiquing and relying on commercialism, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world.

Made available in DSpace on 2016-10-13T14:10:26Z (GMT). No. of bitstreams: 1 Eduardo Manente Batista.pdf: 4649864 bytes, checksum: c666dfe73d91b1e9578186467c15d93b (MD5) Previous issue date: 2016-03-14 / This research aims to discuss the social entrepreneurship involved the in the crowdfunding platforms, researched from its communicational aspect. The social entrepreneurship configures itself as the new spirit of capitalism (BOLTANSKI; CHIAPELLO, 2009) adjusting its projects within the commodity aesthetics (HAUG, 1997) to convince the public to consume/investment in its cause. We consider the crowdfunding platforms as a discursive market (FAIRCLOUGH, 2001), whose commodities are the projects launched for funding purposes, constituting its forms of symbolic consumption. In that way, we pursue to comprehend the meanings of discursive strategies of social entrepreneurship on these platforms. The research methodology is based on the Critical Analysis of Discourse of Fairclough (idem). / Esta pesquisa tem como tema o empreendedorismo social nas plataformas de financiamento coletivo, também conhecidas como crowdfunding, investigado sob seu aspecto comunicacional. O empreendedorismo social configura-se como o novo espírito do capitalismo (BOLTANSKI; CHIAPELLO, 2009) adequando seus projetos com a estética da mercadoria (HAUG, 1997) para convencer o público ao consumo-investimento de sua causa. Consideramos as plataformas de crowdfunding como um mercado discursivo (FAIRCLOUGH, 2001) cujas mercadorias são os projetos lançados para o financiamento, constituindo suas formas de consumo simbólico. Por isso, buscamos compreender os significados das estratégias discursivas do empreendedorismo social nestas plataformas. A metodologia de pesquisa é fundamentada na Análise Crítica do Discurso de Fairclough (idem).