Made available in DSpace on 2016-10-13T14:10:44Z (GMT). No. of bitstreams: 1 Davi Naraya Basto De Sa.pdf: 3279609 bytes, checksum: 912b995937cb18636e58475f6048ddda (MD5) Previous issue date: 2014-03-24 / This research aims to study the consumption of games based on mythologies, named mythic games, and its repercussion in cosplay practice. It recognizes the existence of two mythological-narrative matrices as logics to the production of other cultural texts, as for example, the games and cosplays analyzed in this study. The research starts by demonstrating the importance of the consumption of games in the current society by the writings of Mike Featherstone, Grant McCracken, among others. After that, based on studies concerning the mythological structures found in the researches carried out by Mircea Eliade, the first narrative matrix is identified through the evaluation of the Pokémon game and by observing how this game counted on mythological structures to create its own narrative. The second matrix is obtained when evaluating the Age of Mythology, where the use of existing mythology was perceived, as well as its translation, for the production of the game narrative. Such translation is indeed a transcreation, based on Haroldo de Campos studies. In the third part, this study discusses the practice of cosplay, observing how youth get dressed and act as media characters specially when representing mythic games. This research counts on results from fieldwork approaches at anime events, where cosplays get together in the capital of the state of São Paulo, as well as on documents collected in events held in the city of Rio de Janeiro. Here, evaluations followed the considerations proposed by Nunes and by Perper and Cornog. Mythology, it seems, is still nowadays a widely-consumed product. Consumption can be found in tangible, symbolic and media dimensions but also as a sense of belonging and identification propelling, not to mention its link to communication and culture, perceived as memory. / O presente trabalho tem o objetivo de estudar o consumo de games baseados em mitologias, aos quais chamamos de games míticos, e a sua repercussão na prática cosplay. A pesquisa reconhece a existência de duas matrizes narrativas mitológicas como lógicas para a produção de outros textos culturais como os games e os cosplays analisados durante o desenvolvimento do trabalho. Para realizar este estudo, primeiramente demonstramos a importância do consumo de games na sociedade atual por meio de autores como Mike Featherstone, Grant McCracken, entre outros. A seguir, com base nos estudos de estruturas mitológicas descritas pelas pesquisas de Mircea Eliade, identificamos a primeira matriz narrativa por meio da análise do game Pokémon, apontando como este jogo usou de estruturas mitológicas para criar sua própria narrativa. No caso da segunda matriz, o game utilizado para análise foi Age of Mythology e, neste caso, percebemos o uso de uma mitologia já existente e sua tradução para a produção da narrativa do jogo. Compreendemos, também, que esta tradução é uma transcriação, baseado nos estudos de Haroldo de Campos. Na terceira parte do trabalho, foi discutida a prática cosplay , em que jovens se vestem e atuam como personagens midiáticos especialmente aqueles vindos de games míticos. A pesquisa conta com resultados de visitas a campo a eventos de animes, onde se reúnem os cosplays, na capital do estado de São Paulo e também se vale de documentos coletados em eventos da cidade do Rio de Janeiro. Aqui as análises foram orientadas pelas reflexões de Nunes e de Perper e Cornog. Entendemos que a mitologia ainda é um produto de amplo consumo na contemporaneidade. Consideramos que o consumo aparece nas dimensões materiais, simbólicas e midiáticas e também como pertencimento e propulsor de identificações, além de se relacionar com a comunicação e a cultura compreendida como memória.

The popularity of wearing costumes and masks has a long tradition. The phenomenon called cosplay began to be discussed for the first time in the 1980s. Cosplayers are fans of media content that not only wear costumes, but they also try to imitate the character's character on festivals. Some individuals, thanks to their activity, become celebrities themselves within the community. Fans may not always be just a passive group of recipients of media content. This thesis focuses on how these positions can be achieved and how the hierarchy is shaped in the Czech cosplay community. The theoretical framework is based on findings of fan studies. Methods used for data collection include participant observation and semi-structured interviews. The timeframe for data collection is the period from May 2018 to October 2018. For analysis were used the grounded theory principles, namely open and axial coding. The output is a paradigmatic model. This research has brought new information related to the topic of hierarchy in fan communities. Not only has the high activity of the individuals but also the social ties had an influence on hierarchy formation. This work also reflected the Czech cosplay community.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-12-07T17:07:16Z No. of bitstreams: 3 Dissertação - Veramar Gomes Martins - 2015.pdf: 14185061 bytes, checksum: b3fbb48d4d9cc252d1e682821047db21 (MD5) Dissertação - Veramar Gomes Martins - 2015 - Anexo.pdf: 4394862 bytes, checksum: cb1594de1ad7bf186edcbe4c90b111ae (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-12-08T06:35:46Z (GMT) No. of bitstreams: 3 Dissertação - Veramar Gomes Martins - 2015.pdf: 14185061 bytes, checksum: b3fbb48d4d9cc252d1e682821047db21 (MD5) Dissertação - Veramar Gomes Martins - 2015 - Anexo.pdf: 4394862 bytes, checksum: cb1594de1ad7bf186edcbe4c90b111ae (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-12-08T06:35:46Z (GMT). No. of bitstreams: 3 Dissertação - Veramar Gomes Martins - 2015.pdf: 14185061 bytes, checksum: b3fbb48d4d9cc252d1e682821047db21 (MD5) Dissertação - Veramar Gomes Martins - 2015 - Anexo.pdf: 4394862 bytes, checksum: cb1594de1ad7bf186edcbe4c90b111ae (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-06-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research in visual poetics and search processes of creating two related goals, for a theoretical reflection involving cosplay elements and their connections with the visual language of comics and games in the universe of Japanese pop culture; and create a transmedia fictional universe that dialogue concisely with the issues involved in this theoretical reflection. Therefore briefly present the elements of the language of comics and game cosplay. Seeking establishing relations between the creation of a fictional universe and the development of a transmedia narrative. Done this theoretical framework, I analyze five productions involving the transmedia narrative concepts and two projects in the same space, but from the perspective of the artistic experience. Finally, I present the construction process of the fictional universe "Between Worlds", and how this content is related to the theoretical elements studied throughout this thesis, also reflecting on the imagery creation of this narrative, designed to exploit multiple media platforms, site, Facebook, Comic, Game and Cosplay. / Esta pesquisa em poéticas visuais e processos de criação busca dois objetivos relacionados, elaborar uma reflexão teórica envolvendo os elementos do cosplay e suas conexões com as linguagens visuais das histórias em quadrinhos e dos games no universo da cultura pop japonesa; e criar um universo ficcional transmidiático que dialogue de forma concisa com os aspectos envolvidos nessa reflexão teórica. Para tanto apresento brevemente os elementos que constituem a linguagem dos quadrinhos do game e do cosplay. Buscando tecer relações entre a criação de um universo ficcional e a elaboração de uma narrativa transmídia. Feito este recorte teórico, analiso cinco produções envolvendo os conceitos de narrativa transmídia e dois projetos nesse mesmo espaço, mas na perspectiva da experiência artística. Finalmente, apresento o processo de construção do universo ficcional [ENTRE] mundos, e como este conteúdo se relaciona com os elementos teóricos estudados ao longo da presente dissertação, refletindo também sobre a criação imagética desta narrativa, criada para explorar as múltiplas plataformas midiáticas: o Site, o Facebook, a História em Quadrinhos, o Game e o Cosplay.

本研究之目的可分為三個部分。第一，研究者在此論文中，深刻討論了角色扮演活動（cosplay）在台灣的現況與未來發展趨勢；第二，為進一步探究角色扮演活動在台灣的本土性，本研究將台灣角色扮演活動與發源地日本的角色扮演活動在活動特質上作出比較；第三，本研究以符號互動論與高夫曼的劇場論為主要切入觀點，研究台灣角色扮演活動如何透過人與人之間的互動被建構而成。 本研究採用質性研究方法，主要以參與觀察法與深度訪談法，並透過實地與網路進行了約一年的田野研究。研究者根據田野資料，整理出以下的研究發現： （一）在互動建構出角色扮演活動這方面，本研究分別從事前準備階段與實際活動階段來考察。在事前準備階段，角色扮演者（coser）與製作服裝道具的店家（或工作室），兩者之間在互動方式上出現了世代的差異；從早期的集體行動轉變為現今之個人行動。此外，本研究討論了角色扮演服裝製作面臨的趨勢：專業化、商品化與國際化。實際活動部份，研究者則區分了會場活動、私拍活動與其他活動，三者各有其不同的互動模式。 （二）與日本經驗相比，本研究發現台灣的角色扮演活動有兩個獨特之處。第一是台灣缺乏嚴謹的規範，第二則是台灣在霹靂布袋戲的部分有著大型的商業組織在幕後主導，甚至影響了角色扮演活動的實質內容，而在日本則無此現象。 （三）從符號互動論來觀察角色扮演活動時可發現，角色扮演活動中各個行動者的互動，共同建構了角色扮演活動。它不像小時候的扮家家酒遊戲，將未經世事的小孩進行社會化。而是角色扮演者脫離了日常生活的規範，去社會化之後，重新於角色扮演的場域進行的「再社會化」。從高夫曼的劇場論來看，角色扮演活動是一個劇班整體通力合作所建構出來的表演，在事前準備階段，劇班的幕後人員與角色扮演者一起建構出適合角色扮演者扮演的前台區域。在實際活動階段，則是由角色扮演者、馬內、攝影師與觀眾等人共同建構出前台的表演。 關鍵字：cosplay、coser、角色扮演、互動、建構、行動者、劇班 / The purpose of this study is threefold. First, it examines the current phenomenon of cosplay activities in Taiwan and discusses its future development. Second, the study compares the cosplay activities in Taiwan with those in Japan, where this cultural phenomenon was originated. Third, this thesis uses symbolic intercationism and Goffman’s theory of drama and theater as the main theoretical point of view, to explore how cosplay activities in Taiwan are constructed by different agents’interaction. The study utilizes qualitative research methods（including participant observation and in-depth interviewing techniques）to conduct field study about a year. Based on the analysis of the field data, some major findings are stated as follows: The thesis analyzes the construction of cosplay activities and divides the process into two parts: the preparing stage and the real-show stage. In the preparing stage, the cosers interact with those costume makers, and such interactions differ among different grenerations. While the early generation of cosers prefers to act in groups, the cosers from the new generation tends to act in solo. Furthermore, the researcher discusses three tendencies that costume making is facing: specialization, commercialization and internationalization. In the real-show stage, the thesis finds three types of cosplay activities: the exhibition activity, the photography activity and the third which is categorized as “other”. These three activities have different characteristics and different interactions. The researcher finds two unique characteristics existing in cosplay activities in Taiwan whild comparing with those in Japan. First, cosplay activities in Taiwan have loose regulations. Second, there is a large commercial organization which plays a very important role in PI-LI Chinese puppet show cosplay activities in Taiwan. This organization not only affects the contents of cosplay activities but also controls the resources in PI-LI Chinese puppet show cosplay activities. From the perspective of symbolic interactionism, the thesis claims that all agents involved in cosplay activites co-construct the cosplay activities. Unlike the playing house in childhood, cosplay activities are not a socialization activity which aims at teaching the rule of daily life. Instead, cosers escape from regulations of daily life and re-socialize in the cosplay field. From the perspective of Goffman’s theory, cosplay activity is a performance orchestrated by a team. In the preparing stage, all the backstage agents cooperate to set up a front stage area. In the real-show stage, there are managers, cosers, photographers and audiences co-construct the performance at the front stage. Keyword: cosplay, coser, costume play, interaction, construction, agents, team

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-07-13T18:04:36Z No. of bitstreams: 1 DIS_RAFAEL_RODRIGUES_DE_MELLO_COMPLETO.pdf: 1737900 bytes, checksum: aa27096e6fa75c8c7ba944c805895e75 (MD5) / Made available in DSpace on 2017-07-13T18:04:37Z (GMT). No. of bitstreams: 1 DIS_RAFAEL_RODRIGUES_DE_MELLO_COMPLETO.pdf: 1737900 bytes, checksum: aa27096e6fa75c8c7ba944c805895e75 (MD5) Previous issue date: 2017-03-30 / It?s not unusual to see consumers buying and consuming many products and services with the intention to live through ludic experiences. Nowadays, it?s known how these forms of consumptions can contribute to the consumer?s well-being, either by conceiving episodic pleasures, or by leading to some personal growth. Despite a number of studies exploring how services and products can individually be a source of these experiences, little has been dedicated to comprehending how both a product and a service can be consumed at the same time and space. This restricted scope has limited the knowledge of some ?ornamented consumption?, on which, with the intention of live a richer experience, the consumer deliberately bring a complementary product to be consumed during a service. Willing to comprehend how the consumers can use such products to create symbiotic experiences with a service, and how these consumptions can benefit his or her well-being, the present dissertation explored the ?cosplay experience?. The cosplayers bring and wear their own cosplays at geek conventions, intentionally enriching their experiences inside these spaces by characterizing themselves as some fictional character from the geek culture, widening their range of interactions and activities during the con, such as posing to some photos or playing the character in an improvised scene in front of a crowd of other consumers. Through the observation of geek conventions and a series of videographic interviews with cosplayers, this study assessed how the cosplay can shift the way the consumer interpret the geek convention, becoming seemed as just a stage for the use of cosplays; with the cosplay being used both as a way to intensify the ludic and escapist aspects of the convention experience, and/or a form of self-expression and personal challenge, evoking multiple long term benefits to the consumer well-being, as self-comprehension, social skills and body acceptance. / Consumidores costumam comprar e consumir diversos produtos e servi?os na inten??o de viver experi?ncias l?dicas. Hoje em dia se compreende que tais formas de consumos possuem impactos sobre o bem-estar de uma pessoa, seja por conceder um prazer epis?dico, seja por contribuir para o crescimento pessoal do consumidor. Apesar de diversos estudos explorarem como um servi?o ou um produto em espec?fico podem ser fontes de experi?ncias que contribuem para o bem-estar, pouco se explorou como ambos podem ser consumidos em um mesmo espa?o e tempo. Este escopo restringido limita a compreens?o de consumos ornamentados, onde, com a inten??o de consumir uma experi?ncia mais rica, o consumidor leva um produto complementar para ser consumido durante um servi?o. Visando compreender como o consumidor pode usar estes produtos para criar esta experi?ncia simbi?tica com o servi?o, e como este consumo contribui para o seu bem-estar, a atual disserta??o explorou a experi?ncia cosplay. Os cosplayers levam e vestem os seus pr?prios cosplays nos eventos geek, intencionalmente enriquecendo as suas experi?ncias nestes espa?os ao se caracterizarem e interpretarem algum personagem fict?cio da cultura geek, ampliando o seu leque de intera??es e atividades no evento, como posar para fotos e realizar encena??es improvisadas em frente a uma plateia de outros consumidores. Atrav?s de observa??es participantes em eventos geek e entrevistas videogr?ficas com cosplayers, este estudo averiguou que o uso do cosplay altera a forma como o cosplayer interpreta o evento geek em geral, se tornando somente um palco para o uso do cosplay; com o cosplay podendo ser consumido tanto como uma forma de intensificar as atividades l?dicas e escapistas da experi?ncia no evento, quanto como um meio para express?o e desafio pessoal, gerando diferentes retornos a longo prazo, como autocompreens?o, habilidades sociais e aceita??o corporal.

Made available in DSpace on 2016-04-26T18:12:54Z (GMT). No. of bitstreams: 1 Gabriel Theodoro Soares.pdf: 2562292 bytes, checksum: 2cd4c70928b7f3564c4c297898c3ceaa (MD5) Previous issue date: 2013-05-10 / It is necessary to understand how images relate to us and the effects they cause in our bodies. This research analyzes cosplay (costume play, the activity of dressing as characters, generally from games, cartoons or movies) in conventions about Japanese animations, where there is a blend between Japanese pop culture and Brazilian culture. This creates a marginal culture still not well studied in communication, despite being so rich. The images, which are the characters created by that culture, utilizes people s bodies via cosplay to make themselves part of the material world. Why people consume and let themselves be consumed by them is what we want to find out in this research, after all, they are still so mysterious and need more scientific glances at all of their manifestations, so they can be better understood. For this, we will use Vilém Flusser s concept of image and Norval Baitello Jr. s iconophagy, which proposes we are more and more consuming and being consumed. The objectives of this research are to understand how an image can subdue a body, considering its iconophagic features that devours the body and take its place, and analyze how they are closer to us than we often imagine. Cosplays will be analyzed inside Brazilian anime conventions, more specifically in São Paulo, where the biggest conventions in the country happens. The most plausible hypothesis is that people do cosplay in order to be part of a group of Japanese pop culture fans, to be recognized by this group, to find themselves in this group and, as said Boris Cyrulnik, to let themselves be enchanted by it / É necessário entender como as imagens se relacionam conosco, e os efeitos que elas causam em nosso corpo. Esta pesquisa analisa cosplays (costume play, a atividade de se fantasiar de personagens, geralmente de games, desenhos e filmes) em eventos de animação japonesa, onde há a uma mistura entre a cultura pop japonesa e a cultura brasileira. Isso cria uma cultura marginal, que ainda é pouco estudada na área de comunicação, apesar de tão rica. As imagens, em forma de personagens criados por essa cultura, se utilizam, por meio do cosplay, do corpo das pessoas para se fazer presentes no mundo material. E o motivo pelo qual pessoas consomem e se deixam consumir por essas elas é o que pretendemos descobrir nesta pesquisa, afinal, são ainda tão misteriosas e necessitam de mais olhares científicos em todas as formas em que elas se apresentam, para serem entendidas melhor. Para tal, utilizaremos os conceitos de imagem de Vilém Flusser, de que estas são superfícies que pretendem representar algo, e a iconofagia de Norval Baitello Junior, segundo o qual estamos cada vez mais consumindo e sendo consumidos por imagens. Os objetivos desta pesquisa são entender como uma imagem pode dominar um corpo, observando o caráter iconofágico dela, que devora o corpo e toma seu lugar, e analisar como elas estão mais próximas de nós do que muitas vezes imaginamos. Os cosplays serão analisados dentro de eventos de animação japonesa que ocorrem no Brasil, principalmente em São Paulo, que tem os maiores eventos do país. A hipótese que parece mais plausível é de que as pessoas fazem cosplay para pertencer ao grupo dos fãs de cultura pop japonesa, para serem reconhecidos por esse grupo, se encontrarem nele e, assim, como diz Boris Cyrulnik, se deixarem encantar por ele

The Gamer Who Destroyed the World and Other Stories from my Life is the framework of a memoir about the extrapolation of utopic ideology upon bodies. It chronicles the author's life and lineage, examining themes of family, gaming, technology, gender, domestic violence, and economics. The memoir is divided into a prologue, three chapters, and an epilogue. The prologue is a scene depicting the teenaged author at a Live Action Role Play ("larp") game. The first chapter focuses upon the author's family history and her childhood experience of growing up in low-income housing in the 1990s, during which she creates meaning by working for money, until her childhood is disrupted by two expulsions: the expulsion of meaning from the "franchise" workplaces of her teens, and an abrupt expulsion from her childhood home. The second chapter flips between two realities: the author's anxiety as she struggles with homelessness while pushing herself through the American university system, and her adventures in the nerd subculture of the 2000s, focusing on her transition from cosplay (pretending to be fictional characters at genre conventions) to larp (pretending to be part of a fictional universe with others at a campground, dance club, or other physical location). The third chapter jumps forward to the authors' life in a Bay Area cooperative house during the Occupy Movement in 2011. The epilogue jumps back in time to 2006 to describe the author's final experiences larping, and the text concludes with her reflections on the concepts of consent and utopia.

This thesis is a creative work of fiction in the form of one novella and four short stories. The collection is a work of humour and entertainment. “The Coin Collective” delves into the cut-throat world of cosplay, “The Dead of Waynesboro” follows Declan Mortel as her tries to create the ultimate zombie movie in true gothic fashion, “220 Torren Mill Road” is an epistolary horror story about a whack-job mother and her game-addicted son, “Dragon’s Lair Comics & Collectables” is set during a Magic the Gathering tournament and questions ‘what makes a monster?,’ and Chemical Connection explores drug and raver culture through an eclectic variety of characters. I hope the collection will speak to an entire generation of self-described and closet geeks. For those without intimate knowledge of the material, I endeavoured to exhibit, even expose, aspects of specific subcultures, shedding light on the basement dwellers who inhabit them.

Made available in DSpace on 2016-06-02T19:00:21Z (GMT). No. of bitstreams: 1 2879.pdf: 1613390 bytes, checksum: 7c81475fc7aead8c03990cbdd204f5f4 (MD5) Previous issue date: 2009-02-10 / Universidade Federal de Minas Gerais / The interest by the outbreak of a group of people that are admirers of the Japanese pop culture - especially by the comic books (mangas) and the cartoons (animes) is what led me to the developing of this research, in which my goal is to understand the logic of the sociability among the consumers of these medias, through the use of some very important anthropological concepts, such as the sociability, the cultural consume and life style. To do so, I started a study that began at the mangas and animes conventions, where the otakus meet to participate in contests and workshops, as well as to watch the animes and musical presentations, and also to discuss their own stories. Beyond the merely social nature, these conventions have eventually became the first step to those who wish to enter the pop culture universe, besides being a way of assertion of a specific juvenile condition to those who are already a part of it. / O interesse pelo surgimento de um grupo aficionado pela cultura pop japonesa especialmente pelas histórias em quadrinhos (mangás) e pelos desenhos animados (animes) , me levou ao desenvolvimento dessa pesquisa na qual busco compreender a lógica da sociabilidade existente entre os consumidores dessas mídias tangenciando alguns conceitos caros à antropologia, tais como a sociabilidade, bem como o consumo cultural e o estilo de vida. Para tanto dei início a uma etnografia que teve como ponto de partida as convenções de mangás e animes, nas quais os otakus se encontram para participar de concursos, oficinas, para assistirem aos animes e apresentações musicais e trocarem experiências. Para além do caráter puramente comercial, essas convenções acabaram se tornando espaços de iniciação para aqueles que desejam ingressar neste universo de cultura pop, além de serem espaço de afirmação de uma dada condição juvenil para aqueles que já fazem parte dele.

La réalisation de l’expression artistique n’a jamais été si « facile » qu’aujourd’hui, et les enjeux de la création n’ont jamais été si « banals ». Il existe divers moyens pour satisfaire nos désirs expressifs, tels des moyens traditionnels et contemporains. Malgré cette facilité, nous avons peu de possibilité pour devenir un artiste célèbre. Nous sommes aujourd’hui bien conscients de cette situation difficile jusqu’à ce que nous soyons même parfois désespérés vis-à-vis de ce nouvel environnement médiatisé.Cependant, selon les recherches archéologiques, cette situation n’est pas nouvelle ni particulière. L’art est depuis toujours un moyen possible pour surmonter des problèmes personnels. En cherchant une expérience partageable avec les autres, nous bénéficions de l’utilité de l’art pour sublimer la difficulté de la vie.Le monde caractérisé par sa nature « mobile » et « liquide », donne naissance à l’art contemporain qui met souvent en lumière la question de l’intimité. Sa signification est en fait liée à l’universalité, qui semble pourtant s’éloigner de la notion d’égoïsme et d’individualité.Cette thèse a pour but de considérer l’exposition de soi « plurielle » pratiquée à l’époque « mobile » et « liquide », afin de comprendre la véritable signification de l’acte expressif. À travers l’observation des réalisations artistiques telles la photographie, la mode, la littérature et d’autres créations, je fonde une étude sur l’esthétique de l’exposition de soi non seulement par les artistes mais aussi par les amateurs, pour interpréter son utilité des points de vue sémiologique, phénoménologique, archéologique, anthropologique et esthétique. / Artistic expression has have never been easier to carry out than today. Engaging in creation has even become a mundane, commonplace undertaking. We have a vast array of mediums available to us to satisfy our desire for self-representation, including traditional and modern medias and advanced technologies. Despite this ease of access to platforms for self-expression, creators have no chance of becoming a celebrated artist. Facing this truth during our everyday interactions online and with modern media leads us to feel rather disheartened with today's media environment. However, from historical point of view, today's context of creative work and exposition is neither new nor unique. Art has always been one possible way to process or overcome personal problems. In our search for shared experiences with others, art is useful in easing life's difficulties.Today’s world, characterized by its "fluid" and “mobile” nature, is giving birth to a contemporary art that often highlights the question of intimacy. Its significance is universal, while being distant from notions of egoism and individualism.This thesis aims to consider “plural” self-representations practiced in our “fluid” and “mobile” world, in order to better understand the importance of expressive acts. Through the careful study of artistic activities such as photography, fashion, literature and other domains, I present a study on self-representation and exposition, found in both professional and amateur creative activities, to interpret how self-representation and exposition is useful and even essential, from semiological, phenomenological, archeological, anthropological and aesthetic points of view.