This thesis explores how traumatic memories of the Tangshan earthquake have been constructed in literature, documentary works, and films. Through analyzing the narrative construction of the Tangshan earthquake in the form of film and literature, this thesis studies the relationship between state power and individual agency in the representation of this natural disaster. It argues that the cultural representation of this natural disaster reflects a subtle shift: one from the dominant nationalistic narrative to the narrative centering on individuals’ psychological trauma. It suggests the high degree of state control and politicization is what is similar between a natural disaster such as the Tangshan earthquake and other political events. To some extent, the Tangshan earthquake has become a political event to promote the Chinese Communist Party’s (CCP) propaganda. Therefore, this thesis engages existing scholarship on political traumas to research the Tangshan earthquake. It is indicating a subtle shift because it is a slow-changing process and there is no mark to signal a radical departure from the earlier nationalism accounts. There also exists more interlaces and interconnections between the state and individual in the range of sources I have examined. And the overlay of the different narratives reflects the complexity of reality and history.

The subject of this work is to describe czech mountains as a qualitatively different phenomenon from most of the other territory of the Czech Republic. The work is divided into four chapters. The first two chapters outline the theoretical background and methodology. On the basis of this methodology, the other two chapters analyse the landscape of the Bohemian Forest on three levels: natural, cultural and symbolic. The conclusion summarises the findings of field research carried out on the "Vintířova Stezka". Keywords: cultural representation, landscape, mountain ranges, spiritual dimension, cultural ecology

O primeiro livro de Jorge Amado traduzido para o idioma inglês foi publicado nos Estados Unidos em 1945, pela Alfred A. Knopf Publishers, por meio de patrocínio do Departamento de Estado americano, que mantinha um programa de intercâmbio cultural como parte da Política de Boa Vizinhança do presidente Roosevelt. A literatura traduzida era, então, vista como um caminho para compreender o outro. Criou-se, a partir daí, um padrão de comportamento que perdurou por décadas. Érico Veríssimo, Gilberto Freyre, Alfred e Blanche Knopf, Samuel Putnam e Harriet de Onís foram atores importantes nesse cenário. Apesar de seu contínuo posicionamento de esquerda, após desligar-se do Partido Comunista no final da década de 1950, Jorge Amado tornou-se um bestseller norteamericano, como resultado dessa vertente diplomática e do renovado projeto de tradução (e de amizade) de Alfred A. Knopf. Entretanto, outras redes de influência também atuavam sobre a recepção da obra do escritor, fazendo com que ela fosse assimilada de forma própria, metonímica, diferente da que ocorreu em países do leste europeu, por exemplo. Esta pesquisa investigou a relação entre os atores mencionados, tais redes de influência e a representação cultural do Brasil na literatura traduzida de Jorge Amado nos Estados Unidos. / The first book by Jorge Amado in English translation was published in the United States in 1945 by Alfred A. Knopf Publishers, under the auspices of the U.S. State Department, who sponsored a cultural interchange program as part of president Roosevelts the Good Neighbor Policy. Translated literature was seen, at the time, as a way of understanding the other. Érico Veríssimo, Gilberto Freyre, Alfred and Blanche Knopf, Samuel Putnam and Harriet de Onís were actors in this scenario. In spite of his support of the tenets of the political left, after leaving the Communist Party in the late 1950s Jorge Amado became an American bestseller, a result of such diplomatic movement as well as Alfred A. Knops translation project. Nevertheless, other influence networks also affected the authors reception in the United States, which turned out to be quite different from that in the Eastern Europe, for instance. This research investigates the relation between the aforementioned actors, such influence network and Brazils cultural representation in Jorge Amados translated literature in the United States.

O primeiro livro de Jorge Amado traduzido para o idioma inglês foi publicado nos Estados Unidos em 1945, pela Alfred A. Knopf Publishers, por meio de patrocínio do Departamento de Estado americano, que mantinha um programa de intercâmbio cultural como parte da Política de Boa Vizinhança do presidente Roosevelt. A literatura traduzida era, então, vista como um caminho para compreender o outro. Criou-se, a partir daí, um padrão de comportamento que perdurou por décadas. Érico Veríssimo, Gilberto Freyre, Alfred e Blanche Knopf, Samuel Putnam e Harriet de Onís foram atores importantes nesse cenário. Apesar de seu contínuo posicionamento de esquerda, após desligar-se do Partido Comunista no final da década de 1950, Jorge Amado tornou-se um bestseller norteamericano, como resultado dessa vertente diplomática e do renovado projeto de tradução (e de amizade) de Alfred A. Knopf. Entretanto, outras redes de influência também atuavam sobre a recepção da obra do escritor, fazendo com que ela fosse assimilada de forma própria, metonímica, diferente da que ocorreu em países do leste europeu, por exemplo. Esta pesquisa investigou a relação entre os atores mencionados, tais redes de influência e a representação cultural do Brasil na literatura traduzida de Jorge Amado nos Estados Unidos. / The first book by Jorge Amado in English translation was published in the United States in 1945 by Alfred A. Knopf Publishers, under the auspices of the U.S. State Department, who sponsored a cultural interchange program as part of president Roosevelts the Good Neighbor Policy. Translated literature was seen, at the time, as a way of understanding the other. Érico Veríssimo, Gilberto Freyre, Alfred and Blanche Knopf, Samuel Putnam and Harriet de Onís were actors in this scenario. In spite of his support of the tenets of the political left, after leaving the Communist Party in the late 1950s Jorge Amado became an American bestseller, a result of such diplomatic movement as well as Alfred A. Knops translation project. Nevertheless, other influence networks also affected the authors reception in the United States, which turned out to be quite different from that in the Eastern Europe, for instance. This research investigates the relation between the aforementioned actors, such influence network and Brazils cultural representation in Jorge Amados translated literature in the United States.

<p>Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.</p>

Because of the mass tourism industry that exploits sensitive locations all over our planet a new kind of tourism came into focus in the 1980’s. This new form of tourism was named ecotourism, and as the name reveals ecotourism deals with low-impact travel. Today, all sorts of places can be gazed upon in a flick of a switch; all you need is a television set. It is well known that destination marketing successfully uses visual media as a tool to sell trips to potential tourists. Therefore, this essay examines how ecotourism benefits from the great power of the television. The analyzed material contains of six different TV shows, sorted into two groups – travel shows and discussion programs. With the theory of the tourist gaze, semiotics, destination marketing and the experience economy the study resulted in the conclusion that all TV shows are built upon collective cultural representations found in the exotic and the authentic. With the help of the visual language, travel shows can give new meaning to a specific destination expressed in a system of mutual understanding and shared culture.

Submitted by Augusto Júnior da Silva Santos null (augustojr2005@hotmail.com) on 2017-12-07T22:24:44Z No. of bitstreams: 1 Dissertação final Augusto.pdf: 5603741 bytes, checksum: a1b338a0526b45f297bae2e0960c3427 (MD5) / Approved for entry into archive by Minervina Teixeira Lopes null (vina_lopes@bauru.unesp.br) on 2017-12-08T11:40:52Z (GMT) No. of bitstreams: 1 santos_ajs_me_bauru.pdf: 5297558 bytes, checksum: 5a9d0d565d67b7862ec4f344fa9f28c8 (MD5) / Made available in DSpace on 2017-12-08T11:40:52Z (GMT). No. of bitstreams: 1 santos_ajs_me_bauru.pdf: 5297558 bytes, checksum: 5a9d0d565d67b7862ec4f344fa9f28c8 (MD5) Previous issue date: 2017-10-31 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O termo radiodifusão internacional se refere à uma modalidade de veículos de rádio e televisão financiados por Estados-nacionais e direcionados a públicos estrangeiros (PRICE, 2002). A atuação estratégica dessas emissoras pode ser compreendida sob a perspectiva da diplomacia pública. Nesse sentido, afirma-se que elas são utilizadas como instrumentos que buscam, por exemplo, promover a imagem de seus respectivos países patrocinadores e gerar, assim, soft power. Diante desse contexto, esta investigação se debruçou sobre a experiência brasileira em radiodifusão internacional: a TV Brasil Internacional, a qual foi criada em 2010 dentro da Empresa Brasil de Comunicação (EBC). O objetivo principal desta pesquisa foi identificar de que maneira o referido veículo representa os aspectos culturais do Brasil mundo afora. Para tanto, com base no princípio constitucional que determina que a programação de estações de rádio e televisão promovam a cultura nacional e regional do país (artigo 221, II), foi conduzida uma análise de conteúdo das reportagens exibidas pelo telejornal que compõe a grade da TV Brasil Internacional, o Repórter Brasil. Os resultados demonstraram que diversas identidades e realidades culturais do país foram representadas, fato que pode contribuir para a desconstrução de estereótipos sobre o Brasil. No entanto, verificou-se que o canal perdeu sua essência internacional e que ele parece estar caminhando em direção ao seu fim. / The term international broadcasting refers to a category of state-sponsored media directed at foreign audiences (PRICE, 2002). The strategic operation of these broadcasters might be comprehended from the public diplomacy perspective. In this sense, they are used as an instrument in order to promote, for instance, the image of their respective sponsor countries and to fuel soft power. In light of this context, this research focused on the Brazilian experience in international broadcasting: TV Brasil Internacional, which was established in 2010 within Brazil Communication Company (EBC). The main objective of this study was to identify how this TV channel represents the cultural aspects of the country. Thus, it was conducted a content analysis of its news stories in light of the constitutional principal that establishes that radio and TV stations must promote the national and regional culture of the country (article 221, II). The outcomes showed that different cultural identities and realities of Brazil were conveyed, which might contribute to the deconstruction of stereotypes about this country. However, it was also verified that this Brazilian TV channel has lost its international identity as well as it seems to be moving toward its end. / FAPESP: 15/11783-1 / BEPE FAPESP: 16/08531-3

Submitted by RAFAELA VAREDA GOFFREDO null (rafagoffredo@ig.com.br) on 2016-07-28T03:35:57Z No. of bitstreams: 1 Dissertação_Rafaela Goffredo.pdf: 1230315 bytes, checksum: 261f239ce0704e0657e3251e05ae3b48 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-08-03T19:07:37Z (GMT) No. of bitstreams: 1 goffredo_rv_me.pdf: 1230315 bytes, checksum: 261f239ce0704e0657e3251e05ae3b48 (MD5) / Made available in DSpace on 2016-08-03T19:07:37Z (GMT). No. of bitstreams: 1 goffredo_rv_me.pdf: 1230315 bytes, checksum: 261f239ce0704e0657e3251e05ae3b48 (MD5) Previous issue date: 2016-05-31 / O objetivo do trabalho é verificar de que modo, em O mulato, Aluísio Azevedo representa componentes históricos, sociais e culturais – incluindo aqueles relativos à sexualidade e ao corpo – tendo em vista o centro da obra que é apontar as nefastas consequências do preconceito racial e da escravidão. Para tanto, investiga-se a representação da sociedade burguesa no século XIX no Maranhão e, particularmente, em São Luís, em sua articulação com os preceitos do Naturalismo. Como tal representação é construída por meio das categorias narrativas, essas são analisadas separadamente e em seu conjunto, dando-se prioridade à articulação entre história, personagens e espaço, bem como com a instância narrativa (narrador), a focalização e o tratamento do tempo. O embasamento teórico é constituído por três grupos de estudos: a) histórias da literatura sobre o Naturalismo e ensaios críticos sobre Aluísio Azevedo; b) ensaios sobre o corpo de modo geral e textos específicos sobre o corpo no naturalismo brasileiro e c) estudos teóricos da narrativa. Quanto ao primeiro grupo, as principais balizas são: História concisa da literatura brasileira de Alfredo Bosi e Aluísio Azevedo, vida e obra (1857-1913) de Jéan-Yves Mérian. Em relação ao segundo grupo, a base é formada por História do corpo, organizado por Jean-Jacques Courtine, Georges Vigarello e Alain Corbin, Leituras do desejo: o erotismo no romance naturalista brasileiro de Marcelo Bulhões e A metáfora do corpo no romance naturalista de Sonia Brayner. Em relação ao terceiro grupo, tomamos os seguintes textos: "A personagem do romance" de Antonio Candido, Discurso da narrativa de Gérard Genette e Espaço e romance de Antônio Dimas. / The objective of the present work is to see how, in O mulato, Aluísio Azevedo represents historical, social and cultural components - including those related to sexuality and body – having in mind the center of the literary work that is to point out the negative consequences of racial prejudice and of slavery. For this purpose, it is investigated the representation of the bourgeois society in the nineteenth century in Maranhão, and particularly in São Luís, in its articulation with the precepts of the Naturalism. As such representation is constructed through narrative categories, these are analyzed separately and as a whole, giving priority to the relationship between history, characters and space, as well as to the narrative instance (narrator), the focus and the time treatment. The theoretical background consists of three study groups: a) literature stories about Naturalism and critical essays about Aluísio Azevedo; b) essays about the body in general and specific texts about the body in the Brazilian naturalism and c) theoretical studies of the narrative. As for the first group, the main references are: História concisa da literatura brasileira by Alfredo Bosi and Aluísio Azevedo, vida e obra (1857-1913) by Jéan-Yves Mérian. As for the second group, the basis is formed by História do corpo, organized by Jean-Jacques Courtine, Georges Vigarello and Alain Corbin, Leituras do desejo: o erotismo no romance naturalista brasileiro by Marcelo Bulhões and A metáfora do corpo no romance naturalista by Sonia Brayner. As for the third group, it was taken the following texts: "A personagem do romance" by Antonio Candido, Discurso da narrative by Gérard Genette and Espaço e romance by Antonio Dimas.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-16T19:34:03Z No. of bitstreams: 1 raphaelamacielcorrea.pdf: 6362090 bytes, checksum: aa7c3e3ded4ad7850c232c6aab0e5a18 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-17T16:19:00Z (GMT) No. of bitstreams: 1 raphaelamacielcorrea.pdf: 6362090 bytes, checksum: aa7c3e3ded4ad7850c232c6aab0e5a18 (MD5) / Made available in DSpace on 2017-05-17T16:19:00Z (GMT). No. of bitstreams: 1 raphaelamacielcorrea.pdf: 6362090 bytes, checksum: aa7c3e3ded4ad7850c232c6aab0e5a18 (MD5) Previous issue date: 2009-09-18 / No contexto de um mundo em movimento pelo constante avanço das tecnologias de comunicação e transporte, esta pesquisa tem o objetivo de contribuir para a compreensão das representações identitárias em conteúdos da mídia produzidos para fomentar o turismo, sobretudo, os de cunho jornalístico. Com essa finalidade, são analisadas matérias do caderno de Turismo do jornal Estado de Minas que abordam a região mineira e a mineiridade através do projeto turístico Estrada Real, realizado pela Federação das Indústrias do Estado de Minas Gerais (FIEMG) em parceria com o Governo de Minas e considerado, atualmente, o de maior potencial do Brasil pelo Ministério do Turismo. No decorrer deste caminho investigativo, inspirado na proposta metodológica de Laurence Bardin, acerca da análise de conteúdo, são suscitadas reflexões sobre a atividade turística em sua perspectiva comunicacional e intercultural; as possíveis implicações do jornalismo turístico na mediação da viagem e nas dinâmicas, relações e práticas culturais que se estabelecem no lugar divulgado, especialmente entre os turistas e a comunidade local. A construção/difusão de mitos, imaginários e estereótipos de Minas e seus conterrâneos também integra este percurso inferencial que contribui, ainda, para a compreensão da capacidade do referido segmento jornalístico de construir a memória pública ou de representá-la para o público e de seu papel na reordenação das percepções de espaço e tempo; realidades e imagens; lugares e não-lugares; experiências e subjetividades. / In the context of a world in movement by the constant development of transportation and communication technologies, this research aims at contributing to the comprehension of identity representations in media contents produced to foment tourism, especially the ones with journalistic characteristics. With such goal, reports and articles from the Tourism section of Estado de Minas (a newspaper from Minas Gerais, Brazil) that cover the region of Minas and mineirity (neologism referring to being from Minas Gerais, or feeling as a part of the culture of this State) will be analyzed through the Estrada Real project (also known in English as King’s Road Project, or Royal Road/Path Project), which is carried out by the Chamber of Industries from the State of Minas Gerais (FIEMG, acronym in Portuguese) in partnership with the State Government and considered the tourist project with the biggest potential in Brazil by the Ministry of Tourism. Through such investigative process, inspired by the methodological proposal by Laurence Bardin, regarding content analysis, reflexions on the tourist activity and its communicational and intercultural perspectives will be analyzed; the possible implications of tourist journalism in journey mediation and its dynamics, cultural and practice relations that are established in the advertised area, especially between tourists and the local community. The construction/diffusion of myths, imaginariness and stereotypes of Minas and its inhabitants also comprises this inferential path that contributes, also, to the comprehension of the capacity of the mentioned journalistic segment of constructing public memory or representing it to the public and its role in reorganizing the perceptions of time and space; reality and images; places and non-places; experiences and subjectivities.

Representations of the Appalachia region in literature, art and pop culture have historically shifted between hyperbolic, colorful caricatures to grotesque, sensationalized, black and white photography. This wide spectrum of depictions continually resonates within the North American psyche due to its shared commonality of Appalachia as the cultural “other.” This othering frequently leaves audiences with a kind of relief that this warped representation of backwards, rural poverty is not their own progressive, present-day reality. Countless artists have exploited the region in order to show the impoverished side of rural Appalachia and spin a failed capitalistic way of life into a romanticized, intentional “return to the frontier.” While these representations are often littered with evidence of economic and environmental devastation, audiences are not educated, or otherwise are not provided enough context on how to identity such signs. Some writers have gone so far as to repeatedly depict Appalachians as aggressive and violent in their primitivism, attributing this to their genealogy in relation to the landscape. Through analyzing how a selection of insider and outsider works includes or neglects three primary elements crucial to successful cultural representation: compassion, context and complexity, one can begin to broadly define what many Appalachians feel is lacking from their own narrative within pop culture. Something as simple as the angle of a camera can dramatically affect the way a viewer experiences a photograph and its subject. Furthermore, the chosen narrator of a novel can make the difference for a reader between a compassionate portrayal of a region previously unknown to them, and one that enforces the existing stereotype of Appalachia. This dissertation will begin to broach the subject of responsibility in the context of cultural representation, as well as how individual artistic motivations and decisions can have negative, far-reaching consequences for the Appalachian region.