Made available in DSpace on 2017-07-21T13:42:55Z (GMT). No. of bitstreams: 1 Thays Assuncao Reis.pdf: 4432354 bytes, checksum: 554706af71e1ee1f7a86b0b9d71d9bd9 (MD5) Previous issue date: 2017-02-22 / Fundação Araucária de Apoio ao Desenvolvimento Científico e Tecnológico do Paraná / The present research investigates the thematization of culture in the Maranhão newspapers, O Estado do Maranhão, O Imparcial, Jornal Pequeno and O Progresso in the light of the concepts of social field theory, worked by Pierre Bourdieu (1997), João Pissara (2003) and Adriano Rodrigues (1999); thematic scheduling (McCombs, 2009) and cultural journalism (Gadini, 2009), Piza (2011) and (Ballerini, 2015). The study adopted methodological resources of "research of the research"; exploratory itinerary; quantitative survey of the journalistic cultural product (which considers 224 newspaper editions between March and April 2016), interviews with Journalists, cultural producers and researchers. The result points out that the thematization and scheduling of the culture in the journalistic content of each newspaper, in general, is characterized by the use of the informative genre, represented by news and notes. They are short texts (6 paragraphs maximum) without identified sources or with few diverse sources, capable of transmitting a greater plurality to the journalistic view conveyed by the texts. The data collected in the study also indicate the presence of a culture rooted in the realities of the host cities of the vehicles (São Luís and Imperatriz) and distant from popular traditions and manifestations. Besides that, cultural journalistic production is visible and often guided by the logic of the 'agenda' of events and the use of press office materials. / A presente pesquisa investiga a tematização da cultura nos diários maranhenses, O Estado do Maranhão, O Imparcial, Jornal Pequeno e O Progresso à luz dos conceitos da teoria dos campos sociais, trabalhada por Pierre Bourdieu (1997), João Pissara (2003) e Adriano Rodrigues (1999); do agendamento temático (McCombs, 2009) e do jornalismo cultural (Gadini, 2009), Piza (2011) e (Ballerini, 2015). O estudo adotou os recursos metodológicos de “pesquisa da pesquisa”; roteiro exploratório; levantamento quantitativo do produto cultural jornalístico (que considera 224 edições dos jornais entre março e abril de 2016); entrevistas com jornalistas, produtores culturais e pesquisadores. O resultado aponta que a tematização e agendamento da cultura no conteúdo jornalístico de cada um dos diários, em geral, é caracterizada pelo uso do gênero informativo, representado por notícias e notas. São textos curtos (6 parágrafos no máximo) sem fontes identificadas ou com poucas fontes diversas, capazes de transmitir uma maior pluralidade ao olhar jornalístico veiculado pelos textos. Os dados levantados no estudo também indicam a presença de uma cultura enraizada nas realidades das cidades sede dos veículos (São Luís e Imperatriz) e distante das tradições e manifestações populares. Além disso, a produção jornalística cultural é visível e frequentemente norteada pela lógica da „agenda‟ de eventos e pela utilização de material das assessorias de imprensa.

Tiriamojo darbo aktualumas ir problematiškumas Per daugiau kaip septyniolika nepriklausomybės metų Lietuva ekonominėje, teisinėje bei sociokultūrinėje srityse išgyveno daug plėtros ir novacijų procesų, kilo „pilietinis“ – „regioninis“ atgimimas, dažniausiai skatinamas ir vadovaujamas kultūros politikos. Įsivyraujanti globalizacija, naujų socialinių koncepcijų formavimosi etapas įnešė daug naujo į žmogaus, visuomenės, valstybės kaitos sampratą bei pateikė naują kultūros socialinį statusą, kuris atspindimas įvairiuose socialiniuose procesuose, taip pat ir teisėje. Taigi kultūra yra neatskiriama mūsų gyvenimo dalis, kurios sąsajos su teise ir jos teisinis reguliavimas grindžiamas ne tik atitinkamais bendriausiais dėsningumais, tačiau ir išskirtine specifika. Visuomeninių santykių turinio kaitos sąlygomis žmogus, visuomenė ir valstybė ima kelti probleminius klausimus tiek kultūrai, tiek ir teisei, dėl to kinta įpročiai, nyksta buvęs kultūrinis tapatumas, atsiranda naujos gyvenimo tendencijos. Vykstantys socialiniai pokyčiai susaistomi su kultūrine motyvacija, taigi kultūra tampa aktualiu visuomenės kaitos veiksniu bei esmine socialinių pokyčių priežastimi, kartu lemiančia ir teisės adaptacinę kaitą. Taigi, kultūra tapo veiksminga socialinio gyvenimo, tame tarpe ir teisės raidos, skatintoja. Kartu ji - labai svarbi žmogaus asmenybės socialinės bei teisinės brandos priemonė ir vienas iš esminių visuomenės ir valstybės demokratinės plėtros instrumentų. Tačiau tikslingą ir... [toliau žr. visą tekstą] / The problem and topicality of the research. During more than seventeen years of independence Lithuania has experienced a lot of processes of development and novelty in economical, legal and socio-cultural spheres, there has emerged “civil”-“regional” rebirth that has been most frequently encouraged and led by the cultural policy. The settled globalization levels cultural values, weakens or at least already controls national identity. Sparing development trends are getting more and more developed as well as economical growth effects the materialization in the society that causes plenty of social and cultural issues. The role of culture is very significant in this process not only due to such qualitative signs of life as the standard of living, human rights, equal possibilities and civil human values, but as well as an objective factor – qualitatively indicated contribution of mankind advance and its index. There are important three following issues: cultural contribution towards the treasury of mankind wisdom; economical and social issues related to culture; the function of an enabling and authorizing means as human’s property. The culture has turned into a complex political, social and economical part in the development of society that often stimulates novelties and urges social and economical development of national powers. Culture and art are inalterable tolls of state politics those join and develop the society as well as induce its creativity and openness, persuasively... [to full text]

This study presents an in-depth analysis of spatial voting behavior in Finland at the municipality level, using electoral data from 1983 to 2019. The primary objective is to investigate if the cultural field hypothesis holds true for Finland. If this hypothesis holds, distinct cultural domains should emerge within Finland. Furthermore, we hypothesized that if the cultural field hypothesis holds true, a distinct community would appear along the Russian border, leading to an east-west partition of Finland. To test the cultural field hypothesis, we do a spatial correlation analysis, and we use community detection to find distinct communities within Finland. The spatial correlation analysis suggested the existence of distinct communities in Finland that span approximately 400 km in length. The community detection then confirms this, revealing two main communities: The northern and the southern communities, and in 6 out of 10 elections, three communities emerged. Hence, the cultural field hypothesis holds true for Finland. However, the distribution of these communities did not support the hypothesis that a distinct community would emerge along the Russian border creating an east-west partition of Finland. Instead, we observed a north-south and a “west/south coastal” partition.

L’objectif de cette recherche est d’étudier comment le champ littéraire latino-américain des années 50 est devenu un lieu de création symbolique alternatif. Le projet de modernisation en Amérique latine a abouti au questionnement de la représentation des sujets. Certains discours ont ainsi essayé d’intégrer des minoritaires en leur donnant la parole, comme par exemple les femmes et les paysans. Le champ littéraire a donc ouvert des espaces pour des individualités désireuses de participer à la construction d’un nouveau projet de nation, où des identités hétérogènes seraient acceptées. Dans cette perspective, nous nous intéresserons à l’œuvre de deux écrivains, Gloria Stolk et Juan Rulfo, qui dans les années 50 au Venezuela et au Mexique, ont réussi à construire un nouvel espace de création plurielle et à transformer la figure d’auteur. Notre analyse porte sur deux niveaux : l’un sur le discours de chacun et l’autre sur leur profil. D’une part, ils élaborent leur fiction sur la base de sujets qui les concernent. D’autre part, ils émergent en tant qu’auteurs avec de multiples facettes. / This research centers its study in how the Latin-American literature in the 50’s became a place of alternative symbolic creation. The modernization project in Latin-America resulted in the questioning of the subject representation. Some speeches intended to combine minorities, like women and peasants. The literary field has thus opened space for individuals willing to participate in the development of new project of nation, where diversity would be accepted. From this perspective, we are interested in the work of the Venezuelan writer Gloria Stolk, and Mexican Juan Rulfo. During the 50’s, they were able to establish a new space that diversify and transform the traditional role of the author. The analysis in this study considers two dimensions: the speeches and the profiles of these two authors. On one side they developed fiction around characters of their interest, on the other side they emerged as authors with multiple roles

Cette étude s’interroge sur les conditions de possibilités et les modalités d’entrance des auteurs africains dans le champ de la bande dessinée européenne de langue française. La thèse procède à une approche sociologique en effectuant, en premier lieu, une analyse institutionnelle des conditions de production, de circulation et de réception, ainsi que de la sociabilité dans les contextes locaux, notamment dans les pays de l’Afrique subsaharienne francophone. L’examen des modalités de publication dans l’édition ou dans la presse, des associations d’auteurs, des festivals et d’autres initiatives de promotion, des possibilités offertes par le monde associatif et celui des institutions montre que les auteurs locaux ont à réaliser leur vocation artistique et leurs projets professionnels dans des milieux mal organisés et peu propices. Cet état de choses, certes, oblige les agents à mettre en œuvre leur plus ou moins grande habileté à s’y adapter et à le faire jouer à l’avantage de leur parcours professionnel, mais il pousse aussi de nombreux auteurs à considérer la publication dans le champ européen comme le but vers lequel orienter leurs efforts et leurs stratégies. La problématique générale de l’entrance est l’angle d’attaque de la deuxième partie, qui analyse au moyen de la théorie du champ élaborée par Pierre Bourdieu les trajectoires des quelques auteurs africains de B.D. qui ont réussi à atteindre une certaine légitimation de la part des institutions de la B.D. européenne, à savoir les congolais Barly Baruti et Pat Masioni et l’ivoirienne Marguerite Abouet, ainsi que quelques autres parcours significatifs. Les notions d’habitus, de stratégie, de périphérie, d’autonomie et d’hétéronomie, mais aussi d’antinomie ont permis d’éclairer ces parcours. La théorie des champs, qui met l’accent sur les conditions sociales relatives à la création, à la circulation et à la consommation des biens symboliques et sur les institutions impliquées dans la « mise en acte » de l’objet artistique-culturel pour en comprendre la position dans la société de référence, a été l’instrument qui a permis de saisir l’importance de plusieurs facteurs : l’impact du secteur associatif et des institutions internationales ; l'autonomisation comme seconde étape ou éventuellement comme phase décisive, déterminant l’entrance dès le début ; les « instances de légitimation » / This research examines the conditions of possibilities within and the routes of entry of the African authors into the comic field of the French-speaking Europe. The dissertation employs a sociological approach by making, firstly, an institutional analysis of the conditions of production, circulation and reception, as well as the sociability in the local contexts, in particular in the French-speaking countries of sub-Saharan Africa. The examination of the modalities of publication in the edition or in the press, of the associations of authors, festivals and other promotional initiatives, and of the possibilities offered by associations and institutions, shows that local authors have to realize their artistic vocation and their professional projects in poorly organized and unfavourable environments. Of course, this state of things requires agents to exercise their greater or lesser skill in adapting to it and making it play to the advantage of their professional career, but it also prompts a number of authors to consider the publication in the European field as the goal towards which to focus their efforts and strategies. The general problem of entry is the angle of attack of the second part, which draws on Pierre Bourdieu’s theory of fields to analyse the trajectories of the few African comics authors who managed to achieve a certain legitimation in European environments, namely Congolese Barly Baruti and Pat Masioni and the Ivorian Marguerite Abouet, as well as some other significant paths. The notions of habitus, strategy, periphery, autonomy and heteronomy, but also antinomy have helped to illuminate these paths. The theory of fields, which emphasizes the social conditions relating to the creation, circulation and consumption of symbolic goods and the institutions involved in the "mise en act" of the artistic-cultural object, in order to understand the position in the society of reference, was instrumental in understanding the importance of several factors: the impact of associations and of the international institutions; autonomy as a second step or eventually as a decisive phase, determining the entrance from the beginning; the “instances of legitimation”

Made available in DSpace on 2017-07-21T14:42:31Z (GMT). No. of bitstreams: 1 Milena Mayer.pdf: 3297597 bytes, checksum: 984fd6b3a98df29c26bd331d25372a16 (MD5) Previous issue date: 2015-06-09 / Starting from an Interdisciplinary Approach, is sought to learn and analyze the role of cultural public policies before the preservation of the memory of a specific region, the Campos Gerais-PR. Through specific spaces as museums, is sought an identification and building of an idea of citizenship also through the cultural bias. It investigates also Symbolic struggles around the formation of a cultural field to comprehend the relationship between National Policy for Museums, created in 2003, and the actions of management actions of museological spaces from Campos Gerais before the discussion starting from public institution discretion, so, manage by the public power. Thus, seven institutions make up the object of the analysis, which correspond to the following municipalities: Castro, Jaguariaíva, Palmeira, Piraí do Sul, Ponta Grossa, Telêmaco Borba e Tibagi. For answering the listed goals above were performed visitations to the referred museums, interview with the managers and responsible people for the spaces, besides research and analysis of documents produced by the national and international bodies linked to museums and museology. Question the position that the museological spaces, and their managers, occupy within the social logic of a cultural field and the disposal of their own habitus, building an epistemological dialogue with Pierre Bourdieu. The text is composed of three chapters, which address, respectively, the following issues: The historicity of museums and the institutionalization thereof, the national and state public policies and the analysis and systematization of the collected data on the surveyed museums. / A partir de uma abordagem interdisciplinar busca-se apreender e analisar o papel das políticas públicas culturais diante da preservação da memória de uma determinada região, os Campos Gerais-PR. Através de espaços específicos como os museus, percebe-se a identificação dos sujeitos e a construção de uma ideia de cidadania também pelo viés da cultura. Investiga-se também as lutas simbólicas em torno da formação de um campo cultural para compreender a relação entre a Política Nacional de Museus, criada no ano de 2003, e as ações de gestão dos espaços museais dos Campos Gerais diante da discussão em torno da função social dos museus. Os museus que participam da pesquisa foram definidos a partir do critério de instituição pública, ou seja, administrados pelo poder público. Sendo assim, sete instituições compõem o objeto desta análise, os quais correspondem aos seguintes municípios: Castro, Jaguariaíva, Palmeira, Piraí do Sul, Ponta Grossa, Telêmaco Borba e Tibagi. Para responder os objetivos elencados acima foram realizadas visitas aos referidos museus, entrevistas com os gestores ou responsáveis pelos espaços, além de pesquisa e análise dos documentos produzidos pelos órgãos nacionais e internacionais vinculados a museus ou à museologia. Questiona-se a posição que os espaços museais, bem como seus gestores, ocupam dentro da lógica social de um campo cultural e a disposição de um habitus próprio, construindo um diálogo epistemológico com Pierre Bourdieu. O texto é composto por três capítulos, os quais abordam, respectivamente, os seguintes assuntos: a historicidade dos museus e a institucionalização dos mesmos, as políticas públicas nacionais e estaduais e a análise e sistematização dos dados levantados sobre os museus pesquisados.

O observatório cultural é um dispositivo de informação, típico da sociedade contemporânea, que se apropria de metodologias e teorias interdisciplinares para acompanhar e compreender o campo cultural. Os observatórios culturais surgem, no Brasil, no final da década de 1980 e se desenvolvem especialmente a partir da segunda metade da década 1990, atingindo o maior número de instituições nos anos 2000. Primeiramente associados aos estudos das políticas culturais, em universidades, passam a dedicar esforços a questões culturais específicas dos setores criativos, dos movimentos sociais e dos meios de comunicação, sendo incorporados por diferentes esferas: pública, privada, terceiro setor e sociedade civil. A partir da pesquisa dos conteúdos dos sites de 15 observatórios brasileiros, são analisados os contextos, as motivações e as circunstâncias de criação, assim como as formas de atuação, práticas e atividades desses órgãos. Quanto aos propósitos, eles podem ser classificados como de monitoramento ou \"fiscais\", de reflexão ou think tank, conforme a literatura, e \"de apropriação\", a partir da contribuição desta pesquisa. Em geral, predomina a produção de conteúdos analíticos; a edição de livros, revistas, artigos, textos, publicações digitais e audiovisuais; a coleta de informações em \"bancos de dados\" e a promoção de atividades de difusão: palestras, oficinas, cursos rápidos, encontros. Entre os pontos de vulnerabilidade na atuação, devido aos recursos de que dispõem, encontram-se: o trabalho em rede, a comunicação com os diferentes públicos, a produção de indicadores culturais e o compartilhamento de conteúdos e metodologias. A contribuição principal dos observatórios se identifica, sobretudo, pela criação de uma \"cultura\" das práticas de pesquisa e observação e pelo reconhecimento de sua importância para a ação política. No caso brasileiro, a apropriação desse tipo de dispositivo de informação por setores da sociedade civil e pelos movimentos sociais significa um propósito novo ou uma ampliação da ação política dos grupos. / Cultural observatories are apparatuses of information, typical of contemporary society, that absorb interdisciplinary methodology and theory to follow and comprehend the field of culture. Cultural observatories emerged in Brazil in the late 1980s, but developed themselves more assertively throughout the late 1990s and reached an increased number of institutions in the new millenium. Initially associated to the study of cultural policies in universities, they went on to analyze specific cultural issues related to creative sectors, social movements and media and are now being incorporated to public, private and third sectors and to the civil society. Their contexts, motivations, circumstances of creation as well as operation manner, practices and activities were analyzed based on the online content of 15 different Brazilian observatories. As for their purposes, they can be classified as monitoring or \"inspectors\", reflexive or think tanks or as \"appropriation\", as defined by this research. In general, the production of analytical content is their predominant activity, which includes: literature, magazines, scientific articles and texts, digital and audio-visual publishing, the gathering of information in data banks and the promotion of disseminating activities like lectures, workshops, quick courses and congresses. The observatories\' vulnerabilities, due to their scarce resources, include: work through networking, communication with a diverse audience, the production of cultural indicators and the sharing of content and methodology. The main contribution of these observatories is their participation in creating a \"culture\" of observation and research practices as well as recognition of their importance to political action. In the case of Brazil, the appropriation of this kind of information apparatus by sectors of civil society and by social movements reveals a new or amplified purpose of political activity among these groups.

Disertační práce Filmové festivaly ve vztahu k okrajovým částem kinematografie 2016 PhDr. Andrea Slováková Abstrakt Disertační práce Filmové festivaly ve vztahu k okrajovým částem kinematografie se soustředí na prezentaci především experimentálních filmů na filmových festivalech. Práce analyzuje především specializované přehlídky experimentálního filmu, uvádí historický exkurz do prezentace filmové avantgardy ve vztahu k fenoménu filmových festivalů. Metodologicky však vychází z přístupu interdisciplinárně propůjčeného z politických věd, diskurzivního nového institucionalismu, který adaptuje do pole festivalových studií. Zkoumá, jak se diskurzivní moc uvnitř festivalové organizace utváří a posiluje, a také k čemu slouží. Zavádí koncepty zastřené a průzračné diskurzivní vrstvy, mezi nimiž je argumentační vrstva, která mnohdy obsahuje i argumentační fikce. Část diskurzivního působení, resp. moci festivalové organizace slouží k jejímu ovlivňování kulturního pole, značná část však slouží zachování samotné organizace. Zkoumá, které části organizace jsou klíčovými uzly ve smyslu produkce diskurzivní moci. Na diskurzivní moc festivalů prezentujících experimentální film se dívá z hlediska procesů a struktury uvnitř organizace.

O observatório cultural é um dispositivo de informação, típico da sociedade contemporânea, que se apropria de metodologias e teorias interdisciplinares para acompanhar e compreender o campo cultural. Os observatórios culturais surgem, no Brasil, no final da década de 1980 e se desenvolvem especialmente a partir da segunda metade da década 1990, atingindo o maior número de instituições nos anos 2000. Primeiramente associados aos estudos das políticas culturais, em universidades, passam a dedicar esforços a questões culturais específicas dos setores criativos, dos movimentos sociais e dos meios de comunicação, sendo incorporados por diferentes esferas: pública, privada, terceiro setor e sociedade civil. A partir da pesquisa dos conteúdos dos sites de 15 observatórios brasileiros, são analisados os contextos, as motivações e as circunstâncias de criação, assim como as formas de atuação, práticas e atividades desses órgãos. Quanto aos propósitos, eles podem ser classificados como de monitoramento ou \"fiscais\", de reflexão ou think tank, conforme a literatura, e \"de apropriação\", a partir da contribuição desta pesquisa. Em geral, predomina a produção de conteúdos analíticos; a edição de livros, revistas, artigos, textos, publicações digitais e audiovisuais; a coleta de informações em \"bancos de dados\" e a promoção de atividades de difusão: palestras, oficinas, cursos rápidos, encontros. Entre os pontos de vulnerabilidade na atuação, devido aos recursos de que dispõem, encontram-se: o trabalho em rede, a comunicação com os diferentes públicos, a produção de indicadores culturais e o compartilhamento de conteúdos e metodologias. A contribuição principal dos observatórios se identifica, sobretudo, pela criação de uma \"cultura\" das práticas de pesquisa e observação e pelo reconhecimento de sua importância para a ação política. No caso brasileiro, a apropriação desse tipo de dispositivo de informação por setores da sociedade civil e pelos movimentos sociais significa um propósito novo ou uma ampliação da ação política dos grupos. / Cultural observatories are apparatuses of information, typical of contemporary society, that absorb interdisciplinary methodology and theory to follow and comprehend the field of culture. Cultural observatories emerged in Brazil in the late 1980s, but developed themselves more assertively throughout the late 1990s and reached an increased number of institutions in the new millenium. Initially associated to the study of cultural policies in universities, they went on to analyze specific cultural issues related to creative sectors, social movements and media and are now being incorporated to public, private and third sectors and to the civil society. Their contexts, motivations, circumstances of creation as well as operation manner, practices and activities were analyzed based on the online content of 15 different Brazilian observatories. As for their purposes, they can be classified as monitoring or \"inspectors\", reflexive or think tanks or as \"appropriation\", as defined by this research. In general, the production of analytical content is their predominant activity, which includes: literature, magazines, scientific articles and texts, digital and audio-visual publishing, the gathering of information in data banks and the promotion of disseminating activities like lectures, workshops, quick courses and congresses. The observatories\' vulnerabilities, due to their scarce resources, include: work through networking, communication with a diverse audience, the production of cultural indicators and the sharing of content and methodology. The main contribution of these observatories is their participation in creating a \"culture\" of observation and research practices as well as recognition of their importance to political action. In the case of Brazil, the appropriation of this kind of information apparatus by sectors of civil society and by social movements reveals a new or amplified purpose of political activity among these groups.

This essay studies the strategic practices of art students, in terms of establishing positions as legitimate artists, within the Swedish higher educational system. Through interviews with six art students, the study explores the opportunities, limitations and definitions of value that agents with different capital compositions experience within the artistic educational field. Through qualitative interviews and cultural analysis, the essay shows examples of how the studied individuals navigate their perceived positions within the artistic field, and with what means they attempt to establish their wanted positions within that field. The study shows that by applying the theoretical framework created by sociologist Pierre Bourdieu, the experiences of the studied individuals relate to a greater system of power distribution, which seemingly governs over means of influence within the artistic field. This system can be found reproduced through educational institutions, such as the Swedish art schools in question. Antagonistic attempts of re-forming this institutionally governed field seem only to be coming from individuals with positions of power in general society, which points to a power structure that obstructs any pretensions on the artistic field coming from agents outside of the artistic or social elite. This essay thereby encourages further study of the arguable freedom attributed to artistic practitioners, in light of the potential creative boundaries established through institutional power.