The primary objective of this Diploma thesis is the introduction of a theory called the Hero's Journey by Joseph Campbell and the Heroine's Journey by Maureen Murdock and a consequential attempt to apply obtained theoretical findings of these theories on hero myths on the Harry Potter series by J. K. Rowling and the Hunger Games trilogy by Suzanne Collins. The secondary objective of this thesis is the analysis of archetype occurrence in the above mentioned literary works. The second part of the thesis focuses on hero myths application on two selected film adaptations of comic books from the Marvel studios and a Disney fairy tale.

Submitted by LAÍS MARIA FERMINO DE SOUZA (laismfs@msn.com) on 2018-05-18T02:31:02Z No. of bitstreams: 1 Dissertação de Mestrado_Laís Fermino_RepositórioUnesp.pdf: 1663475 bytes, checksum: a89dc8cd6af8d5d6ddbcffe8e7fd90bc (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-18T13:44:28Z (GMT) No. of bitstreams: 1 souza_lmf_me_bauru.pdf: 1410706 bytes, checksum: 673a6ebca03b1e048c253fd8c5d4ca5b (MD5) / Made available in DSpace on 2018-05-18T13:44:28Z (GMT). No. of bitstreams: 1 souza_lmf_me_bauru.pdf: 1410706 bytes, checksum: 673a6ebca03b1e048c253fd8c5d4ca5b (MD5) Previous issue date: 2018-03-19 / A Marvel utiliza o crossover, elemento característico da narrativa complexa, em seu universo transmídia e articula suas personagens em grandes arcos narrativos. Para atingir um maior número de consumidores, o Universo Cinematográfico Marvel (UCM) compõe-se de filmes, séries para a televisão e Netflix e webisodes. Nesse sentido, o objetivo geral da pesquisa é observar como a marca Marvel amplia seu universo ficcional por meio das séries e pela utilização de elementos crossovers. Estabeleceu-se, então, a seguinte pergunta de pesquisa: como a articulação dos elementos crossover consolida e expande o Universo Marvel? Iniciou-se o estudo por meio da revisão bibliográfica, junto aos autores Andrea Semprini, Henry Jenkins, Carlos Scolari e Jason Mittel. Determinou-se como objeto de pesquisa as séries “Demolidor”, “Jessica Jones”, “Luke Cage” e “Punho de Ferro” e como metodologia da pesquisa o estudo de caso de Robert K. Yin. Para estruturar o trabalho e analisar as obras escolhidas, foram utilizados os conceitos de “causalidade, tempo, e espaço”, desenvolvidos por David Bordwell e Kristin Thompson. Para a melhor assimilação dos resultados, os conceitos dos autores foram adaptados nas categorias “personagem, ação e espaço”, as quais possibilitam estabelecer o “elemento crossover". Realizou-se a desconstrução de 65 (sesenta e cinco) episódios, contendo, cada uma das obras analisadas, 13 (treze) episódios. Observou-se durante o estudo a possibilidade de se estabelecer diferentes tipos de elementos crossovers. A fim de distingui-los, foram criadas quatro categorias: crossover de personagem, crossover de espaço, crossover de ação e crossover de objeto. As categorias descritas acima foram subdivididas em elementos crossovers internos, ou sejá, encontradas dentro das quatro séries realizadas para a Netflix; elementos crossovers externos, referentes às obras do Universo Cinematográfico Marvel para cinema, televisão, curta-metragem e webisodes; e elementos crossovers internos e externos, os quais englobam tanto as séries Netflix como as obras do Universo Cinematográfico Marvel. Como resultado da desconstrução dos 65 (sessenta e cinco) episódios, foram encontrados 215 (duzentos e quinze) elementos crossovers. Considera-se que esses elementos, apontados na desconstrução das produções, integram personagens, espaços e ações de diferentes narrativas e propiciam imersão, o denominado drill dentro do Universo Marvel. Desse modo, o consumidor dos produtos Marvel para a Netflix está apto a detectar as áreas de intersecção e ampliar, de modo exponencial, a compreensão do universo ficcional. Com tudo, a Marvel torna-se exemplo de convergência entre narrativas ao ousar e fazer uso ferrenho da tecnologia e de estratégias audovisuais a seu favor. Essa postura da empresa não só fideliza e cativa públcos, como também lança a marca como uma potência mercadológica no ramo do entretenimento. / Marvel uses the crossover, characteristic element of the complex narrative, in it’s transmidia universe and articulates it’s characters in wide narratives arcs. To reach a larger number of consumers, the Marvel Cinematographic Universe (MCU) consists of movies, television and Netflix series and webisodes. In this sense, the overall objective of the study is to observe how the Marvel brand expands its fictional universe through the Netflix series and the use of crossover elements. The following research question was then established: how does the articulation of the crossover elements consolidate and expand the Marvel Universe? The study was initiated by the authors Andrea Semprini, Henry Jenkins, Carlos Scolari and Jason Mittel. The "Daredevil", "Jessica Jones", "Luke Cage" and "Iron Fist" series were determined as the research object and as a research methodology the case study of Robert K. Yin. In order to structure the work and analyze the chosen objects, the concepts of "causality, time and space" developed by David Bordwell and Kristin Thompson were used. For the better assimilation of the results, the concepts of the authors were adapted in the categories "character, action and space", which made possible the establishment of the "crossover element." Sixty-five episodes were deconstructed, each containing one of the series analyzed, 13 (thirteen) episodes.To examine the crossover in the series, we started with the definition "character crossover" pointed out in the studies of Guerrero-Pico and Scolari.Throughout the analysis, it was possible to establish different types of crossovers, in addition to the already established "character crossover". Thus, in order to distinguish them, were added to the study three more categories: space crossover, action crossover and object crossover. The classical and created categories, described above, were subdivided into internal crossover elements, that is, found within the four series realized for Netflix; external crossovers elements, referring to the works of the Marvel Cinematographic Universe for cinema, television, short film and webisodes; and internal and external crossover elements, which encompass both the Netflix series and the works of the Marvel Cinematographic Universe.At the end of the study, the crossover matrix category was added to classify the crossover elements of greater relevance in the narrative, that is, that appear three or more times within the same analyzed episode. As a result of the deconstruction of the 65 (sixty-five) episodes, we found 215 (two hundred and fifteen) crossover elements, sum of the crossover and crossover matrices found in the five series analyzed. It is considered that these elements, pointed out in the deconstruction of the productions, integrate characters, spaces and actions of different narratives and provide immersion, drill, within the Marvel Cinematographic Universe. In this way, the consumer of Marvel products for Netflix is able to detect the areas of intersection and magnify, in an exponential way, the understanding of the fictional universe. With everything, Marvel becomes an example of convergence between narratives when daring and making use of technology and audiovisual strategies in their favor. This position of the company not only engage loyalty and captive public, but also launches the brand as a marketing power in the entertainment business.

No description available.

Syftet med denna studie är att undersöka hur produktionsbolaget Marvel framställer sina karaktärer på filmaffischer ur ett genusperspektiv. Detta eftersom att Marvel fått kritik för hur de porträtterar kvinnliga superhjältar. Syftet är också att genom egna gestaltningar undersöka superhjältarnas utformning. För att uppnå detta har studien använts sig av en kvalitativ metod och med teorier som hermeneutik, semiotik och genus. Analysen har valt ut fem stycken filmaffischer från Marvel för att undersöka hur män och kvinnor porträtterades på affischerna och hur maktförhållanden yttrar sig på affischerna. Resultatet av undersökningen är att männen ofta porträtteras som starka, målinriktade och handlingskraftiga och kvinnorna antingen framstår som svaga och passiva eller att de objektifieras. Studien innehåller även en egen gestaltning där superhjältars utformning undersöks i illustrationer.

With shows such as Big Bang Theory and the increased mainstreaming of San Diego Comic-con, now more than ever before, it is acceptable to be a “nerd”. The question now becomes what efforts are being made to appeal to fans of color in traditional “nerd” activities, specifically comic books (this can include television shows and movies based on comic book characters), anime, and science fiction. Throughout the decades, there have been various attempts to have a discourse about the lack of diversity in nerd culture, both among its creators and characters from various properties considered beloved to nerds. Only, at the time of this writing, in recent years does there seem to be an increase among fans of color discussing these issues in the world at large, and not just in their own social group(s). This research will discover how minority fans feel about representation, or lack thereof, in the three above fandom. It will examine how minority fans feel about specific instants involving race and ethnicity in fandom from the past year. What I have discovered is that, issues of race are not discussed among the majority of fans and creators. Occasionally, when such issues are discussed there is an amount of hostility from white fans.

This thesis explains the connection between comics and public reactions in two separate eras of conservatism. Comic books were targeted by critics in the 1950s because their content challenged conservative norms. In 1954, a U.S. Senate subcommittee hearing on Juvenile Delinquency tried to determine if comic books were having a harmful impact on children. The senators were concerned that comic books objectified women, taught children to engage in violence, promoted bigotry, and perhaps even encouraged homosexuality. The concerns caused outrage that was encouraged by the press. As a result, comic books adopted a form of self-censorship through the Comic Code Authority. The censorship combined with challenges from other media collapsed the comic book market until the next decade. Between 1978 through 1993, the United States entered a second period of conservatism. During this period, comic books reflected far more sensational content than that which had caused the public to react so strongly in 1954. And yet this time, there was almost no public outrage directed at comics. The purpose of this study is to find out why sensational content did not result in the same degree of public outrage that had occurred in 1954. This thesis starts with an overview of the controversies about comics in the 1950s era. Then, in the remainder of the thesis, comic books produced between 1978 and 1993 by the most popular mainstream comic book company, Marvel Comics, focusing on Daredevil, The Amazing Spider-Man, The Fantastic Four, Ghost Rider, and the X-Men. The thesis also draws extensively on fan mail from the Stan Lee Archives in Laramie, Wyoming, and in the comic books themselves. Comparing comic books and the period’s changing media landscape, I show that comic books were deemed subversive and a source of scandalously sensational material out of step with much popular culture in the 1950s, but blended so well into the media landscape of the 1970s and 80s that they were safe from public outrage. Therefore, even though comic books became more violent and engaged in escalating levels of sexual objectification of female characters, fans approved of the new tone.

Esta dissertação tem por objetivo explicitar e problematizar os conceitos de Álvaro Vieira Pinto, em específico os de “maravilhamento” e “embasbacamento” encontrados em sua obra “Conceito de tecnologia”, a partir de uma análise dos dados resultantes de pesquisa com uma turma de alunos e seus professores da graduação tecnológica da Fatepa (Faculdade de Tecnologia Porto Alegre), utilizando tablets ao longo do segundo semestre do curso de Graduação Tecnológica de Gestão de Recursos Humanos. Segue-se com a observação da participação, seguida de entrevistas com cinco alunos usuários de tablets e conversas no ambiente acadêmico acerca dos usos do equipamento em sala de aula. Assim, respeitando seus momentos históricos, percorre-se o caminho em busca de respostas, na tentativa de verificar a contemporaneidade destes conceitos. Para auxiliar nesta caminhada, utilizam-se, entre outros, como apoio teórico, os autores Paulo Freire, Gaudêncio Frigotto e Álvaro Vieira Pinto. Os dados coletados foram interpretados segundo os princípios da dialética, utilizando a técnica da triangulação. Os resultados da pesquisa explicitaram que os sujeitos pesquisados maravilham-se e se embasbacam com os equipamentos de engenho tecnológico; entretanto, foi evidenciado o potencial criativo e solidário no processo de ensino aprendizado pelos sujeitos e o importante papel do educador como fio condutor nas práticas pedagógicas, buscando um despertar na utilização das tecnologias de comunicação e informação (TIC’s) e possibilitando a integração qualitativa na educação. Ao se verificar a apropriação do conhecimento nos tablets pelos alunos, e suas visíveis transformações, obtiveram-se algumas pistas possíveis para a continuação desse caminhar. / This paper aims to describe and discuss the concepts of Alvaro Vieira Pinto, in special the "marvel" and "astonishment" ones found in his book "Technology Concept", from an analysis of data obtained from research with a group of students of technological graduation of Fatepa (Faculdade de Tecnologia Porto Alegre) using tablets, during the second half of Human Resource Management Technology Graduate course and their teachers. It describes the viewing participation followed by interviews with five students users of tablets and conversations in academia about this equipment uses in the classroom. Thus, respecting its historical moments, it is seeking answers in an attempt to verify the contemporaneity of these concepts. To support this journey, it is employed, among others, as theoretical support, the authors Paulo Freire, Gaudêncio Frigotto and Alvaro Vieira Pinto. The collected data were interpreted according to the principles of dialectical using the technique of triangulation. The search results made explicit that the research subjects marvel and astonish with technological equipment. However it was evidenced the creative and supportive potential in the teaching learning process by the students and the important role of the teacher as a guide in pedagogical practices seeking an awakening in the use of information and communication technologies (ICT) and enabling the qualitative integration in education. To verify the appropriation of knowledge in tablets by students and their visible transformation, one can achieve some possible clues to the continuity of this journey.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Robson Amaral (robsonamaral@bce.unb.br) on 2018-05-04T20:52:31Z No. of bitstreams: 1 2017_AnneCarolinedeSouzaQuiangalaJoão.pdf: 21740660 bytes, checksum: e015ce15001066179d60a690a86f246f (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-06-06T20:01:01Z (GMT) No. of bitstreams: 1 2017_AnneCarolinedeSouzaQuiangalaJoão.pdf: 21740660 bytes, checksum: e015ce15001066179d60a690a86f246f (MD5) / Made available in DSpace on 2018-06-06T20:01:01Z (GMT). No. of bitstreams: 1 2017_AnneCarolinedeSouzaQuiangalaJoão.pdf: 21740660 bytes, checksum: e015ce15001066179d60a690a86f246f (MD5) Previous issue date: 2018-06-06 / Tempestade dos X-Men não é a única Heroína Negra nas histórias em quadrinhos mainstream (HQM), é sim a mais lembrada junto aos times das grandes editoras estadunidenses Marvel e DC desde a Era de Bronze (1970). Dado seu apelo às massas, as HQM têm grande força na construção e manutenção do imaginário hegemônico, que é embasado nas fantasias coloniais de supremacia masculina e branca (KILOMBA, 2010). Nesse sentido, HQM consistem em dispositivos da tecnologia de gênero descritos por Laurentis (1994), pois veiculam discursos essencialistas que prescrevem uma classificação universal que associa sexo biológico, performatividade, desejo e orientação sexual (BUTLER, 2003). Aliando essa concepção à perspectiva intersecional dos Feminismos Negros (COLLINS, 2000) nós temos a representação das Heroínas Negras como tecnologia de gênero racializada. Interessa, portanto, analisar a construção das Heroínas Negras produzidas pela editora Marvel a fim de compreender e desnaturalizar os modelos e ênfases que esse dispositivo tem empreendido conforme o contexto histórico e as conquistas políticas. Para isso, adotaremos uma heroína adequada ao modelo predominante em cada época a fim de explorar as narrativas gráficas em que elas estão inseridas à luz dum aporte teórico Feminista Negro (DAVIS, 2016 [1982]; COLLINS, 2000; KILOMBA, 2010). Isso possibilitará uma contraleitura (RUSS, 1995) que leve em conta a complexidade vivida por mulheres Negras. Cabe ressaltar que são categorizadas como Negras aquelas personagens que apresentam traços diacríticos (GOMES, 2006) que indicam um campo de experiências coloniais compartilhadas historicamente (e não como essência biológica estável). Em suma, objetivamos desnaturalizar o discurso sobre mulheres Negras que é observado na representação social (JODELET, 2002) e refletido nas mídias de massa como estratégias de manutenção do status quo masculino, branco e ocidental. Concluiremos a análise com uma discussão sobre a importância de oferecer leituras desde as margens que possam transformar as protagonistas não apenas em símbolo, mas em lócus de descolonização das nossas mentes e imaginações. / Storm, from X-Men is not the only Black Heroine in mainstream comics, but she actually is the most remembered among the teams of big American publishing houses, Marvel e DC from the Silver Age (1970). Given its appeal to the masses, comics have great strength in the construction and maintenance of hegemonic imaginary, which is based in colonial phantasies of male and white supremacy (KILOMBA, 2010). So, comics consist in technology devices as descripted by Laurentis (1994), as they convey essentialist discourses which prescribe an universal classification which associates biological sex, performativity, desire and sexual orientation (BUTLER, 2003). Allying this conception to the intersectional perspective of the Black Feminisms (COLLINS, 2000) we find the representation of Black Heroines as a racialized gendered technology. It is interesting, thus, to analyze the construction of Black heroines produced by Marvel aiming to understand and de naturalize the models and the emphasis this dispositive have enterprise according to historical context and political achievements. In order to do so, we will adopt a heroine adequate to the predominant model in each epoch to explore the graphic narratives in which they are inserted in the light of a theoretical approach from the Black Feminism (DAVIS, 2013 [1982]; COLLINS, 2000; KILOMBA, 2010). This will enable a counter reading (RUSS, 1995) which takes into account the complexity lived by Black women. We point out, also, that we consider as Black those characters which present diacritic features (GOMES, 2006) which indicate a field of historically shared colonial experiences (and not a stable biological essence). That is, we aim to denaturalize the discourse about Black which is observed in social representation (JODELET, 2002) and reflect on mass media as strategies of maintenance of the male, Western and white status quo. We conclude our analysis discussing the importance of the offer of reading material which, from the margins, can transform these protagonists not just in symbols but also in locus of decolonization of our minds and imaginations.

El objetivo de esta investigación es determinar cómo en la novela EDLLB de Marvel Moreno, la representación de la construcción de género femenino, a través de una protagonista que se transforma en un “colectivo”, permite generar múltiples formas de resistencia al problema de la dominación sexo-genérica que privilegia lo masculino. Desde esta propuesta de lectura, el concepto sexo-género y su elaboración resultan centrales al momento de desarrollar un análisis relativo a la construcción de subjetividades, por lo que es imprescindible acotar las categorías específicas desde las que aquí se trabaja.

Esta dissertação tem por objetivo explicitar e problematizar os conceitos de Álvaro Vieira Pinto, em específico os de “maravilhamento” e “embasbacamento” encontrados em sua obra “Conceito de tecnologia”, a partir de uma análise dos dados resultantes de pesquisa com uma turma de alunos e seus professores da graduação tecnológica da Fatepa (Faculdade de Tecnologia Porto Alegre), utilizando tablets ao longo do segundo semestre do curso de Graduação Tecnológica de Gestão de Recursos Humanos. Segue-se com a observação da participação, seguida de entrevistas com cinco alunos usuários de tablets e conversas no ambiente acadêmico acerca dos usos do equipamento em sala de aula. Assim, respeitando seus momentos históricos, percorre-se o caminho em busca de respostas, na tentativa de verificar a contemporaneidade destes conceitos. Para auxiliar nesta caminhada, utilizam-se, entre outros, como apoio teórico, os autores Paulo Freire, Gaudêncio Frigotto e Álvaro Vieira Pinto. Os dados coletados foram interpretados segundo os princípios da dialética, utilizando a técnica da triangulação. Os resultados da pesquisa explicitaram que os sujeitos pesquisados maravilham-se e se embasbacam com os equipamentos de engenho tecnológico; entretanto, foi evidenciado o potencial criativo e solidário no processo de ensino aprendizado pelos sujeitos e o importante papel do educador como fio condutor nas práticas pedagógicas, buscando um despertar na utilização das tecnologias de comunicação e informação (TIC’s) e possibilitando a integração qualitativa na educação. Ao se verificar a apropriação do conhecimento nos tablets pelos alunos, e suas visíveis transformações, obtiveram-se algumas pistas possíveis para a continuação desse caminhar. / This paper aims to describe and discuss the concepts of Alvaro Vieira Pinto, in special the "marvel" and "astonishment" ones found in his book "Technology Concept", from an analysis of data obtained from research with a group of students of technological graduation of Fatepa (Faculdade de Tecnologia Porto Alegre) using tablets, during the second half of Human Resource Management Technology Graduate course and their teachers. It describes the viewing participation followed by interviews with five students users of tablets and conversations in academia about this equipment uses in the classroom. Thus, respecting its historical moments, it is seeking answers in an attempt to verify the contemporaneity of these concepts. To support this journey, it is employed, among others, as theoretical support, the authors Paulo Freire, Gaudêncio Frigotto and Alvaro Vieira Pinto. The collected data were interpreted according to the principles of dialectical using the technique of triangulation. The search results made explicit that the research subjects marvel and astonish with technological equipment. However it was evidenced the creative and supportive potential in the teaching learning process by the students and the important role of the teacher as a guide in pedagogical practices seeking an awakening in the use of information and communication technologies (ICT) and enabling the qualitative integration in education. To verify the appropriation of knowledge in tablets by students and their visible transformation, one can achieve some possible clues to the continuity of this journey.