Made available in DSpace on 2016-10-13T14:10:40Z (GMT). No. of bitstreams: 1 Renata Furtado Massetti.pdf: 5955037 bytes, checksum: 5bc9a0f50fe7fd1fda00be890faf40db (MD5) Previous issue date: 2012-03-30 / This research becomes from a context of the digital age and the society of consumption, under an analytical look, based in the theoretical framework of the Cultural Materialism of Raymond Williams and of the Theory of the Mediation de Jesus Martín-Barbero, who understands the culture as process and the material base as space for constitution of the culture. We discuss the cultural forms acquired by audiovisual narratives emerging from this context, in relation to cultural practices exercised from materiality, considering aspects of technicality, textuality, aesthetics, and production form of these cultural content. And we take the digital age, under the concept of the network society, about the ideas of the prosumer emergence, about the experimentation and about the transformation of materiality; and of the consumption society, under the proposed renewal of symbolic logic, the dynamics of construction of narrative identities, the sense of belonging, and the aestheticization of everyday life. Our clipping of examples are artistic videos, experimental videos and advertising videos, added of peripheral materials as profiles of the creators, description of the narratives and readings of the selected videos, which demonstrate the ascension of the textuality of everyday life and the experimentation, and show the palimpsest, the relation language-materiality, practices bricolage, and the relation production-consumption-identity. / Esta pesquisa parte de um contexto da era digital e da sociedade de consumo, sob um olhar analítico, baseado no referencial teórico do Materialismo Cultural de Raymond Williams e da Teoria das Mediações de Jésus Martín-Barbero, que entende a cultura enquanto processo e a base material enquanto espaço para constituição da cultura. Discutimos as formas culturais adquiridas pelas narrativas audiovisuais emergentes deste contexto, em relação às práticas culturais exercidas a partir da materialidade, considerando aspectos sobre a tecnicidade, a textualidade, a estética, e as formas de produção desses conteúdos culturais. E tomamos a era digital, sob o conceito de sociedade em rede, das ideias da emergência do prossumidor, da experimentação e transformação na materialidade; e da sociedade de consumo, sob as propostas da lógicas da renovação simbólica, das dinâmicas das construções de identidades narrativas, do sentido de pertencimento e da estetização do cotidiano. Nosso recorte de exemplos são vídeos artísticos, experimentais e publicitários, somados de materiais periféricos como perfis dos criadores, descrição das narrativas e releituras dos vídeos principais selecionados, que demonstram a ascensão do textualidade do cotidiano, e da experimentação, evidenciam o palimpsesto, a relação linguagem-materialidade, as práticas de bricolagem, e a relação consumo-produção-identidade.

<p>This dissertation examines space as a privileged yet <italic>repressed</italic> site of cultural production in a global America, in response to ongoing attempts to reconfigure American literary and cultural studies through the lens of globalization, postnationality, worlding, and planetarity, and to build conversations between literature, the arts, and space. Drawing its inspiration from Henri Lefebvre's work on the production of social space and Fredric Jameson's theory of postmodern global culture, this project studies globalization with a particular emphasis on its unique spatial apparatus, which through geographical expansion and contraction and worldwide connection and disconnection produces hitherto unprecedented social spaces, including most notably the global city, virtual space, transnational diasporas, postmodern architecture, and the "non-places" of shopping malls, airports, and highways. I discuss how these global social spaces radically alter our experience of the lifeworld (<italic>Lebenswelt</italic>) and transform our representational practices, by analyzing innovative contemporary cultural forms such as literary theory (Jameson, Derrida, Adorno, and Deleuze), deconstructive architecture (Peter Eisenman), video art (Nam June Paik), diasporic writing (Theresa Hak Kyung Cha), postmodern detective fiction (Paul Auster), the cyberpunk novel (William Gibson).</p> <p>While I thus mediate global spatial production and cultural production, I argue that the predominant focus on deterritorialization, disjuncture, and postspatiality in much of contemporary discourse on globalization oftentimes diverts our attention from the complex mechanism whereby the spatial world system of globalization brings the entire globe into its all-encompassing and totalizing force field. I formulate the concept of a <italic>spatial unconscious</italic> in order to address the salient, though repressed, presence of the totalizing spatial logic of global capitalism that underlies contemporary cultural production. In so doing, I demonstrate that diverse contemporary literary and cultural forms have their conditions of possibility the newly emergent global spatial network of cultural flows and exchanges; and that those literary and cultural forms function as symbolic acts or registering apparatuses that reflect, remap, and reimagine the multifaceted and even contradictory spatial configurations of the world today. By bringing a transnational and interdisciplinary perspective to American literary studies, this study seeks to shift our critical attention from a putatively unitary and homogeneous national literature towards manifold cultural loci crisscrossed by dynamic interplays and fluid interchanges amongst multiple axes and nodal points on the globe.</p> / Dissertation