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Submitted by Deise Lorena Araújo (deiselorena@uepb.edu.br) on 2016-08-22T19:11:09Z No. of bitstreams: 1 PDF - Ligia Coeli Silva Rodrigues.pdf: 1243818 bytes, checksum: c6877bc65d1baeb77fbbb4a798af99ea (MD5) / Approved for entry into archive by Irenilda Medeiros (nildamedeiros@uepb.edu.br) on 2016-09-02T14:28:53Z (GMT) No. of bitstreams: 1 PDF - Ligia Coeli Silva Rodrigues.pdf: 1243818 bytes, checksum: c6877bc65d1baeb77fbbb4a798af99ea (MD5) / Made available in DSpace on 2016-09-02T14:28:53Z (GMT). No. of bitstreams: 1 PDF - Ligia Coeli Silva Rodrigues.pdf: 1243818 bytes, checksum: c6877bc65d1baeb77fbbb4a798af99ea (MD5) Previous issue date: 2012-10-01 / Universidade Estadual da Paraíba / The objective of this research was compare the use of the Gonzo style in the journalists Hunter S. Thompson and Xico Sá. To check the extent to which they use this style as a way to avoid censorship and write critically and unusual, in hybrid form, unveiling details in texts that could not be shown with other resources. For this, observe the circumstances under which Thompson takes this new journalistic style and produces a literary work. Comparing the writers-journalists, as noted Gonzo is successfully applied to both journalistic texts as for literature. Our theoretical basis using comparative and critical journalistic critics, including Thompson himself as the creator of this style. The choice of comparative criticism was motivated with the aim of bringing these writings without reducing them to action to establish social hierarchies, or intellectual power to reach readers, but starting to look a style of his creation (Thompson) up to a likely manifestation (Xico Sá). We realized that the work of Sá is no mere stylistic copy, but it illustrates a way of writing that presents similarities to Gonzo when breaking paradigms in Brazilian journalistic context and brings to light the way of writing that goes beyond barriers in time and is present in contemporary. The 'influence', seen from the perspective of comparative theory, does not reduce the value writer influenced. The comparison allowed us to highlight the features of Gonzo more clearly in both works and thus we conclude that the use of this style is not limited to journalism, can be used in literary works, without compromising their specific characteristics. / O objetivo desta pesquisa foi comparar o uso do estilo Gonzo na escrita dos jornalistas Hunter S. Thompson e Xico Sá. Para averiguar até que ponto eles utilizam esse estilo como via de evitar a censura e escrever de maneira crítica e inusitada, na forma híbrida, desvelando nos textos detalhes que não poderiam ser mostrados com outros recursos. Para isso, observamos as circunstâncias em que Thompson adota este novo estilo jornalístico e produz uma obra literária. Comparando os escritores-jornalistas, notamos como o Gonzo é aplicado com sucesso tanto para os textos jornalísticos quanto para a literatura. Nossa base teórica utiliza críticos comparativos e críticos jornalísticos, incluindo o próprio Thompson como criador desse estilo. A escolha da crítica comparativa foi motivada com o intuito de aproximar essas escritas sem reduzi-las à ação de estabelecer hierarquias sociais, intelectuais ou de poder de alcance aos leitores, mas sim para analisar um estilo partindo da criação dele (Thompson) até a uma provável manifestação (Xico Sá). Percebemos que a obra de Sá não é mera cópia estilística, mas ilustra uma maneira de escrever que apresenta similitudes ao Gonzo, quando quebra paradigmas no contexto jornalístico brasileiro e traz à tona o modo de escrever que ultrapassa barreiras no tempo e se faz presente na contemporaneidade. A ‘influência’, vista sob a ótica da teoria comparada, não reduz o valor de escritor influenciado. A comparação nos permitiu destacar as características do Gonzo com mais clareza em ambas as obras e com isso concluímos que o uso desse estilo não se limita apenas ao jornalismo, podendo ser utilizado em obras literárias, sem comprometer suas características especificas.

[pt] O presente trabalho consiste em uma reflexão sobre a objetividade jornalística, ideia tão cara aos profissionais da área, mas que vem, ao longo dos anos, provocando diversos questionamentos. Nosso objeto de estudo é o Gonzo, estilo iniciado nos Estados Unidos na década de 60, após diversas mudanças dentro do paradigma da objetividade, não só dentro do campo do jornalismo, mas em diversas áreas. Será realizada a análise de trabalhos jornalísticos supostamente gonzo, escritos por um jornalista brasileiro, em uma revista publicada atualmente, a fim de compreender melhor como o legado gonzo pode ser relido e reformulado. / [en] This study proposes a reflection on journalistic objectivity, a rather dear concept to the professionals of that field, but which has been triggering several questions over the years. Our object of study is Gonzo journalism, a style started in the United States in the 1960 s after many changes within the paradigm of objectivity, not only in journalism, but also in other fields. The purpose of this study is to analyze supposedly gonzo articles written by a Brazilian journalist in a currently published magazine, in order to understand how the gonzo legacy can be reinterpreted and reshaped.

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This master essay aims to contextualize my artistic practice and ask questions regarding the artist's position in relation to her work. The essay should be seen as a meta description of my artistic method which I call gonzo painting, an expression I explain and develop further in the essay. This essay is part visual and part written and should be approached more as a piece of art than a piece of academic writing. Pictures sourced from social media are used as a sort of diary and are accompanied by written thoughts. The essay was written during the six months leading up to my graduation show.

An examination of Hunter S. Thompson's writing with the goal of defining gonzo journalism as a distinct entity from New Journalism. This is achieved via a rhetorical analysis of Thompson's writing, highlighting influences from literary figures such as Cervantes, Chaucer, Dos Passos, and Swift. / Master of Arts

The purpose of this article is to establish a textual parallel between Hunter S. Thompson`s Fear and Loathing in Las Vegas and Ernest Hemingway`s Green Hills of Africa. Thompson took Hemingway’s novel as a challenge to write under extreme duress. Thompson twisted many passages from Green Hills to fit his own text. He used bitter irony to translate Hemingway`s text into his own “Gonzo” reportage. Thompson`s friend and traveling companion, Oscar Z. Acosta, is used as an example of how Thompson rewrote Hemingway. Acosta`s Autobiography of a Brown Buffalo is referenced as the nexus of the two novels, making Acosta the primary focus of Thompson`s rewrite. These men, their methods, and their works fit together under Thompson`s pen. Hemingway`s religious, racial, and bestial imagery are included in Thompson`s narrative. However, these images are made ironic and do not plagiarize the original copy.

Confessions of an American Ginseng Addict uses the Lazy Branch Holler in Muhlenberg County, Kentucky as a setting for a creative nonfiction work, which uses history, confession, remembrances, and digressions to tell the story of a man dealing with loss, mental health issues, environmental sustainability, and the power of ginseng. In the style of Desert Solitaire and Fear and Loathing in Las Vegas, the narrative is a discursive work of raw unadulterated gonzo writing.

James Deen and his distinct following of fans has allowed for a discussion of what pornography means to women and teenage girls to be teased out. His fans are vocal, public and unashamed in their fascination with him, dismissing previously held ideologies that porn be a clearly private activity that is shameful to be addressed publicly; especially for women. James Deen’s uniquely unintimidating demeanor, both physically and personally, has made him more forgivable for his mistakes (i.e. rape “joke” Tweets), evidence of an intense desire for women to find porn that they can relate to and positively consume. Despite his shortcomings, James Deen is immensely popular among women and because of this, brings to light my critique of the limited definition of feminist pornography as it stands today in academia. James Deen works against the grain of the porn industry, representing a new type of porn star that lends women their own gaze and further access to genuine pleasure intended for them. When James Deen breaks the common subject-object barrier of mainstream porn by pleasuring women on-screen, he disrupts the visual coding that holds the patriarchal gaze together at its seams, and works to produce female pleasure as a sexual truth. Not only that, but his consciousness around consent further allows women to be able to identify sexual pleasure with roles of submission. This construction of power-knowledge-pleasure to include women, and enthusiastic consent, aligns him with feminist porn aims to primarily focus on women, sexual openness and not shame, and sex positivity and not negativity. Moving beyond the foci of James Deen’s films and his personality, the theory of disidentification is integral to understanding some women’s relationship with him, and how even the more complicated aspects of porn should be considered for inclusion within the definition of feminist porn. To ignore this survival tactic is to silence women’s participation in an already exclusionary industry. To include disidentificatory practices in feminist porn is to take into account the convoluted, nonlinear and illogical ways women and teenage girls are consuming porn. When the definition is opened up to include all porn that “works on and against dominant ideology” (as James Deen’s does), experienced anxieties due to inconsistencies between one’s erotics and politics can be relieved, fantasy is further understood as a real and validated sexual tool, and masochism’s role in porn is logically brought into this dialogue. When fantasy is accepted as a complex and mysterious phenomenon, disenfranchised demographics such as women are given license. Masochism is no longer limited to an absent and repressed tendency that places women in a punished state. James Deen’s masochistic aesthetic threatens patriarchal dogma and offers up something new to the world of pornography. While James Deen does not profess to be a feminist, his porn practices and personality set him apart from the majority of the mainstream porn world and within the feminist porn sphere. In the end, the good that he is doing in providing women and teenage girls an option in an otherwise barren landscape of phallocentric porn should be enough to earn him academic scholarship and inclusion in the realm of feminist pornography.

Made available in DSpace on 2016-03-15T19:46:53Z (GMT). No. of bitstreams: 1 Wilson Kret.pdf: 691525 bytes, checksum: 97dbc3d2b44311f7ae1c0f3053c6cfa8 (MD5) Previous issue date: 2006-12-13 / This thesis attempts to study the Gonzo Journalism in Brazil. The purpose is to analyse the reportage published by Trip magazine, which is an example of this journalistic genre, as well as to explore linguistic and speech procedures. Firstly, the work tries to review shortly, based on specialised bibliography, the linguistics development until the Speech Analysis School. The aim is to offer a brief but necessary base of theory to the reader. The essay presents the concepts and a historic trajectory of the three following speech genre of journalism: Literary Journalism, New Journalism and Gonzo Journalism. The corpus will be analised from the perspectives of genre and textual elements that are typical of Gonzo Journalism. It means to observe thematic and structural components. Hence, the chosen theories are the speech analysis of French School and the genre study proposed by the Russian critic Mikhail Bakhtin (1895-1975). The study's main concern is to study the genre concept in order to categorize the journalistic corpus. The research is focused on Gonzo Journalism, since it analyses two selected news reporting published in 2005 and 2006. However, it was necessary to present the other journalistic genres with the aim of verify their fluid character, contributions and influences. Besides, the work deals with the types of support and the development of the adopted magazine, regarding the international context. Created in 1986, Trip is recognized, in Brazil, due to the space dedicated to Gonzo reportage. It is considered alternative, contemporary and it became an editorial phenomenon between young and influent people. The magazine has today 187 thousand readers. Despite the vast critic works produced in the last years about speech analysis, this thesis supports that this reportage style is undervalued by the academia. Therefore, the major bulk is to contribute to Gonzo Journalism studies, as soon as to reveal its importance, originality and specificity. / A presente dissertação propõe uma reflexão sobre o Jornalismo Gonzo no Brasil. O propósito é analisar reportagens publicadas na revista Trip, representativas desse gênero jornalístico, e explorar procedimentos lingüísticos e discursivos. O trabalho se inicia com um balanço da recepção crítica, que parte do desenvolvimento da lingüística até chegar à análise do discurso. A intenção é oferecer ao leitor uma breve, porém necessária, base teórica. Optou-se por apresentar os conceitos e o percurso histórico de três gêneros do discurso jornalístico: o Jornalismo Literário, o New Journalism e o Jornalismo Gonzo. O corpus será analisado sob as perspectivas de gênero e dos elementos constitutivos do texto do Jornalismo Gonzo. Tal processo implica observar elementos temáticos e estruturais. Dentre os principais referenciais teóricos estão a análise do discurso de linha francesa e o estudo de gêneros proposto pelo pensador russo Mikhail Bakhtin (1895-1975). O conceito de gênero norteia o trabalho e serve de base para a caracterização do corpus jornalístico. Apesar de a pesquisa se deter no Jornalismo Gonzo, por meio da interpretação de duas reportagens publicadas em 2005 e 2006, fez-se necessária a apresentação dos outros dois gêneros, a fim de verificar seu caráter fluido, suas contribuições e apropriações. A pesquisa busca abordar, ainda, a questão do suporte e o processo de desenvolvimento da revista selecionada, sem perder de vista o panorama internacional. Lançada em 1986, a Trip notabilizou-se, no Brasil, por dedicar espaço à reportagem gonzo. Considerada alternativa e contemporânea, tornou-se um fenômeno editorial importante entre o público jovem formador de opinião. Tem atualmente 187 mil leitores. Apesar da vasta fortuna crítica que se formou, nos últimos anos, sobre a análise do discurso, a dissertação parte do pressuposto de que esse estilo de reportagem ainda é considerado um gênero menor pela academia. Nesse sentido, o objetivo final é contribuir para os estudos do Jornalismo Gonzo no Brasil, bem como desvelar sua importância, originalidade e especificidade.