Les médias occupent une place importante au sein des sociétés occidentales, notamment en raison de l’accessibilité des « nouvelles technologies de l’information ». Le marché de la nouvelle en subit des conséquences en ce qui a trait à la création de la nouvelle entourant des phénomènes sociaux ou plutôt, aux yeux des médias, des problèmes sociaux. La présente thèse jette un regard sur le discours médiatique à l’égard de l’une de ces « problématiques sociales », celle des gangs à Montréal. En observant la sélection des faits qui sont rapportés, commentés et interprétés dans la presse, notre recherche montre comment le phénomène des gangs est représenté dans le journal La Presse entre 1980 et 2010. 348 articles ont été analysés durant ces trente années où les gangs sont évoqués. Nous avons pu en dégager trois grands axes. D’abord, la définition du concept de gang n’est pas plus claire dans les médias qu’elle ne l’est dans la littérature scientifique. D’ailleurs, la ligne entre les gangs et les groupes criminels traditionnels n’est pas toujours facile à tracer dans la représentation médiatique. Ensuite, les membres des gangs ne sont pas seulement présentés comme des Autres au sens criminologique, mais généralement comme des ‘Autres étrangers’, les minorités visibles étant implicitement ou explicitement associées à cette problématique sociale tout au long de notre période à l’étude. Finalement, les gangs sont dépeints comme étant plus présents et plus dangereux chaque jour, et ce, dès 1989. Cette dimension alarmiste du discours médiatique sur les gangs semble liée au fait que, très souvent, les journalistes relaient les dires des policiers sans leur ajouter des faits explicatifs, qui auraient favorisé une meilleure compréhension de ce phénomène complexe.

Orientador: Anderson Deo / Banca: Antonio Carlos Mazzeo / Banca: Angélica Lovatto / Resumo: Este trabalho tem o objetivo de recuperar o conceito de autocracia burguesa presente na obra A Revolução Burguesa no Brasil: Ensaio de interpretação sociológica, de Florestan Fernandes, por partimos da hipótese da atualidade do seu conceito para a problematização sobre o caráter da democracia no Brasil. Subjacente a essa hipótese está a de que as potencialidades explicativas das contribuições sobre o caráter autocrático da dominação burguesa nos países de capitalismo dependente são intensificadas com o recrudescimento da crise estrutural do sistema do capital. Para essas reflexões, o trabalho se dedica à análise das categorias centrais para o entendimento da autocracia burguesa segundo Florestan Fernandes. Assim a autocracia burguesa é aqui entendida como a expressão política máxima e síntese das contradições do tipo de capitalismo aqui possível, o capitalismo dependente, que mantém a extrema concentração de riqueza e de poder político presentes desde o período colonial. / Abstract: This work aims to recover the concept of bourgeois autocracy present in the work A Revolução Burguesa no Brasil: ensaio de interpretação sociológica, Florestan Fernandes, for today we start from the assumption of its concept for questioning about the nature of democracy in Brazil. Underlying this hypothesis is that the explanatory potential of contributions on the autocratic character of bourgeois rule in the countries of dependent capitalism are intensified with the intensification of capital's structural crisis of the system. To these reflections, the work is dedicated to the analysis of the main categories for understanding the bourgeois autocracy under Florestan Fernandes. Thus the bourgeois autocracy is understood here as the maximum political expression and synthesis of the contradictions of the type of capitalism here possible, dependent capitalism, which keeps the extreme concentration of wealth and political power present since the colonial period. / Mestre

Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2007. / Submitted by Luis Felipe Souza (luis_felas@globo.com) on 2008-11-11T16:12:54Z No. of bitstreams: 1 Tese_2007_AlbertoCavalcanti.pdf: 1866794 bytes, checksum: 749151eb4f2ec863ef5b902d9e345224 (MD5) / Approved for entry into archive by Georgia Fernandes(georgia@bce.unb.br) on 2009-01-15T13:21:26Z (GMT) No. of bitstreams: 1 Tese_2007_AlbertoCavalcanti.pdf: 1866794 bytes, checksum: 749151eb4f2ec863ef5b902d9e345224 (MD5) / Made available in DSpace on 2009-01-15T13:21:27Z (GMT). No. of bitstreams: 1 Tese_2007_AlbertoCavalcanti.pdf: 1866794 bytes, checksum: 749151eb4f2ec863ef5b902d9e345224 (MD5) / A tese estuda a música popular brasileira do período 1958-68, quando entraram em atividade autores que depois se tornaram intelectuais públicos. Três estilos de canção são considerados: bossa nova, nacional-popular e tropicalista. Para situá-los, são concebidos três tipos paradigmáticos de discurso em face do dilema entre ser nacional e internacional. As perguntas centrais são: como os autores de música popular imaginam o Brasil e sua inserção nessa comunidade imaginada? Como manejam as diferentes possibilidades de posicionamento discursivo-cancional em face de tal comunidade? Também constata-se a permanência do repertório produzido desde a emergência da bossa nova, donde se pergunta se o prestígio musical e o extra-musical estão articulados, e como. O referencial teórico integra as noções de campo e posição, de Pierre Bourdieu, de formação discursiva e contradição intrínseca, de Michel Foucault, de signo ideológico e horizonte apreciativo, de Mikhail Bakhtin e Valentin Volochínov, e de estrutura de sentimento, de Raymond Williams, bem como a de distinção, haurida em Norbert Elias, Edmond Goblot e Bourdieu. Compreende a canção e sua enunciação como tendentes à polissemia e, portanto, a servir de objeto e arma em embates discursivos e estratégias de distinção. A noção de indústria cultural é criticada e preterida em benefício do enfoque dos estudos culturais. Para responder às perguntas, é formulada a noção de matriz cultural, que atenta para a competição e cooperação entre diferentes campos artísticos e intelectuais e respectivos aparatos de produção e ajuda a explicar como uma posição num campo pode ser simbolicamente reforçada pela cooperação entre campos. Conclui-se que a projeção de autores de música popular no espaço social, para lá de seus campos de atuação, tornou-se possível em função da capitalização da posição que eles ocuparam no campo da música popular. O que sustenta a permanência do repertório produzido desde o início do período é a estrutura de sentimento que nelas se expressa, correspondente ao padrão de gosto legitimado pela classe média universitária como parte de sua estratégia de distinção social. As três estéticas lidam com a incorporação de elementos estrangeiros. Primeiro, modernizam; depois, renegociam as noções de nacional e internacional inscritas no repertório que constituem. __________________________________________________________________________________________ ABSTRACT / This is a study on brazilian popular music in the years 1958-68, a time when songwriters who would later become public intellectuals started their careers. Three song styles are considered: bossa nova, national-popular and tropicalist. Three paradigmatic types of discourse are conceived, in order to place song authors’ response to the dilemma of being musically national/international. The main questions are: how do they imagine Brazil to be and how do they conceive their insertion in this imagined community? How do they manage the different positions they could take in their work and public statements in face of their view of Brazil? Another peculiarity about this period is the endurance of the song repertoire produced by those authors and by bossa nova. This leads to the question: are their musical and extra-musical prestige connected with each other? How? The theoretical framework integrates Pierre Bourdieu’s notions of field and position, Michel Foucault’s discoursive formation and intrinsic contradiction, Bakhtin-Volosínov’s ideological sign and evaluative purview, Raymond Williams’ structure of feeling, and finally the concept of distinction, collected from Edmond Goblot, Norbert Elias, and Bourdieu. Songs and song enunciation are took as polysemy inclined artifacts, and so, they serve as discoursive struggling subjects as well as weapons in distinction strategies. Accordingly, the cultural studies approach prevails over the concept of culture industry. To tackle the proposed questions, the notion of cultural matrix is introduced. It takes into account the competition and cooperation among different art and intellectual fields as well as their means of production. This notion helps to explain how a given position in a given field may be empowered by the way different fields cooperate. The study concludes that the symbolic capitalization of some popular song authors, which enabled them to become public intellectuals, was an effect of that empowerment. The reason why a noticeable part of the songs produced in those years became enduring items in the current brazilian popular song repertoire is the structure of feeling that they express, which corresponds to the standards of taste adopted as legitimate by college educated middle class, as part of its social distinction strategy. The sequence of the three song styles first modernizes, then renegotiates the notions of “national” and “international” inscribed in the repertoire that they constitute.

Postgraduate thesis focuses on web series as a derivate of television content penetrating the internet medium..

The subject of my doctoral thesis is the phenomenon of the authenticity of people?s, specifically TV hosts?, public appearances in the media. The chief impetus, and the field of study itself, was my own experience of working at Czech Television for a year and a half and the necessity of placing that experience in the context of my theatre and teaching work.In the interest of preserving the most authentic possible testimony, the text is written in a narrative style with an emphasis on the subjective view of the author. In the introduction I set out the starting points from which I will explore authenticity in front of the television camera, along with the personal and social context of the phenomenon being studied. I describe the "rules of the game", i.e., the structure and concept of the text. Later I focus on the most significant contemporary views of authenticity, from the ideas of Jean-Jacques Rousseau to the theories of the social construction of reality of Peter Berger and Thomas Luckmann. From social scientific theories, I move on to the authenticity of actors on stage and an analysis of the discipline of Acting with the Inner Partner as a specific case of authentic existence in a public situation. In the third chapter I compare the theory and practice of television broadcasting from the perspective of an actor attempting to perform authentically in the role of TV host. In conclusion, I compare my original hypotheses with the conclusions I reached on my journey from the stage to the television camera and set out their potential significance for the study of authorial acting and authorial creativity.

This doctoral thesis is comprised of two main fields of studying. The first one deals with modern digital on-line technologies in relation to the distribution of music and the current situation on the music market, including digital copyright law issues related to intellectual property value. The second area describes social networks (Facebook, YouTube, Myspace and others) with a focus on marketing, promotion, image and PR policy of cultural (music) management and cultural (music) institutions. This thesis provides a detailed specification of all the benefits, challenges, risks and pitfalls arising from the digital age, including several case studies.

The author is focusing on issues of opera in new media in her work. The introduction defines and decribes the concept of new medias. After that, author is especially focusing on presentation of operas which are broadcasted live into Czech cinemas, history of this relatively young phenomenon and its gradual develepment. As a next topic mentioned in the author's work is possibility to watch live broadcasts or records via particular websites of theatres. Finally, the author is describing internet websites, which are dealing with the opera issues, history, content and specifics. The author is summarizing other options how to present opera.At the end of the work, the author is trying to characterize meaning and benefits of the new medias for today's opera and opera audience.

The thesis describes and analyses post-documentary photography with emphasis on contemporary Chinese theory and practice. The traditionally defined documentary function of photography has been challenged on many sides and the technology growth of the new media has caused the structural change of photographic language. Documentary function, the core characteristics of photographic language, is rapidly falling apart in this change. As an imported tool, photography has taken a special road in its growth in China. For well known ideology reasons, the documentary function of photography has displayed some very peculiar changes in its traditional past as well as in globalized China today. This paper will try to analyze various causes that influence the documentary function of photography, compare political and cultural differences and show the post-documentary characteristics of contemporary Chinese photography.

Introdução: A associação entre fissura palatina e otite média encontra-se bem estabelecida na literatura. Diversos autores demonstraram que a palatoplastia determina uma diminuição da prevalência de otite média neste grupo de pacientes. Não existe, entretanto, consenso a respeito do momento ideal para a correção cirúrgica do palato. Objetivo: Determinar se o momento em que é realizada a palatoplastia influencia na prevalência e na gravidade das alterações otoscópicas e audiológicas de 100 portadores de fissura palatina entre seis e 12 anos de idade. Métodos: Estudo transversal. A palatoplastia precoce (antes dos 24 meses) foi realizada em 54 pacientes, e a tardia, em 32. Quatorze pacientes não tinham seus palatos corrigidos no momento da avaliação. Os pacientes realizaram vídeo-otoscopia, audiometria tonal e vocal e impedanciometria. Os achados otoscópicos foram classificados em três grupos: sem alterações significativas, alterações reversíveis e otite média crônica. Os achados otoscópicos foram pontuados de acordo com uma escala de gravidade baseada no seu tratamento otorrinolaringológico atual. Cada orelha recebeu a pontuação da alteração mais grave identificada. Perda auditiva foi definida como média dos limiares de via aérea para as freqüências da área de fala >24 dB. A análise estatística foi realizada através dos testes de qui-quadrado, de Kruskal-Wallis e de Mann-Whitney, sendo considerados como estatisticamente significativos valores de P<0,05. Resultados: A análise qualitativa mostrou uma tendência de menor ocorrência de otite média crônica no grupo submetido à palatoplastia precoce, não atingindo, entretanto, significância estatística (P= 0,063). A análise quantitativa evidenciou um escore otoscópico menor no grupo submetido à palatoplastia precoce (P=0,04). O grupo submetido à palatoplastia precoce colocou significativamente mais tubos de ventilação (P=0,037). O escore otoscópico dos pacientes submetidos à intervenção otológica foi maior do que o daqueles que não realizaram o procedimento (P=0,001). A prevalência de perda auditiva não diferiu de acordo com o momento da palatoplastia. Conclusão: O momento da realização da palatoplastia não parece interferir na prevalência de otite média e de perda auditiva em pacientes com fissura palatina entre seis e 12 anos de idade. Nossos achados sugerem,entretanto, que o fechamento precoce do palato constitui-se numa possível inferência frenadora dos eventos sucessivos que culminarão com a instalação de alterações teciduais irreversíveis na fenda auditiva. / Introduction: The association between cleft palate and otitis media is well documented. It has been demonstrated that the frequency of otitis media decreases following surgical repair of the palate. However, there is no consensus on the ideal age for palatal repair. Objective: To determine the influence of the timing of palatoplasty on the prevalence and severity of ear disease in children between six and 12 years. Methods: In this transversal study, 24 months of age was used as an arbitrary dividing point between early and late palatal closure. Early palatoplasty was performed in 54 patients, late palatoplasty in 32. Fourteen patients have an unrepaired palatal cleft at the time of otorhinolaryngologic evaluation. Detailed otoscopy, pure tone audiogram and timpanometry were performed on each patient. Otoscopic findings were classified in three groups: those without significative abnormalities, those with reversible abnormalities and those with chronic otitis media. Otoscopic findings were scored according to a severity scale based on their otorhinolaringological treatment. Each ear received the score of the more severe alteration observed (Otoscopic Score). Air conduction thresholds for the “speech frequencies” above 24 decibels were considered abnormal. Statistical analysis was performed with Chi-square, Kruskal-Wallis and Mann-Whitney tests. Differences were considered statistically significant if P<0,05. Results: Qualitative analysis found that children who underwent early palatal repair had a 13% prevalence of chronic otitis media, compared with 23% for those who had undergone late palatoplasty, and 25% for those with an unrepaired palate (P=0,063). Quantitative analysis showed that early closure of the palate significantly decreased the patient’s otoscopic score (P=0,04). The early closure group had undergone significantly more operations for ventilation tube insertion (P=0,037). A significantly higher otoscopic score was reported for children with a history of ventilation tube insertion(P=0,001). Finally, the prevalence of hearing loss did not differ according to the timing of palatal repair. Conclusion:. Early palatoplasty probably acts positively on the reduction of inflamatory events of the middle ear.

NASCIMENTO, Francisco Yure Santos do. Sobre a geometria das horoesferas. 2013. 65 f. Dissertação (Mestrado em Matemática) – Centro de Ciências, Universidade Federal do Ceará, Programa de Pós-Graduação em Matemática, Fortaleza, 2013. / Submitted by Erivan Almeida (eneiro@bol.com.br) on 2014-02-17T18:31:50Z No. of bitstreams: 1 2013_dis_fysnascimento.pdf: 788024 bytes, checksum: 0879ada9b20cb23167d2e08c6df6fa6a (MD5) / Approved for entry into archive by Rocilda Sales(rocilda@ufc.br) on 2014-02-18T11:40:39Z (GMT) No. of bitstreams: 1 2013_dis_fysnascimento.pdf: 788024 bytes, checksum: 0879ada9b20cb23167d2e08c6df6fa6a (MD5) / Made available in DSpace on 2014-02-18T11:40:39Z (GMT). No. of bitstreams: 1 2013_dis_fysnascimento.pdf: 788024 bytes, checksum: 0879ada9b20cb23167d2e08c6df6fa6a (MD5) Previous issue date: 2013 / This work is based on the paper On the geometry of horospheres[4]. Our goal is to study geometric conditions which ensure that a complete and orientable hypersurface immersed in a hyperbolic space must be a horosphere. We also present a result that classifies immersed hypersurfaces in hyperbolic space, such that two natural functions attached to the corresponding immersion are linearly dependent. / Esse trabalho é baseado no artigo On the geometry of horospheres [4]. Nosso objetivo é estudar condições geométricas que garantam que uma hipersuperfície completa e orientável imersa no espaço hiperbólico deve ser uma horoesfera. Além disso, apresentamos um resultado que classifica as hipersuperfícies imersas no espaço hiperbólico tais que certas funções auxiliares da imersão correspondente sejam linearmente dependentes.