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Dilemas do pós-modernismo na cultura de massa /Lima, Lilian Victorino Félix de. January 2009 (has links)
Orientador: Célia Aparecida Ferreira Tolentino / Banca: Arlenice almeida da Silva / Banca: Paulo Roberto Arruda de Menezes / Resumo: Investigamos três obras cinematográficas da ficção científica produzidas nos Estados Unidos da América: Homem Bicentenário (EUA, 1999), Inteligência Artificial (EUA, 2001) e Eu, Robô (EUA, 2004), todas obras da indústria cultural cujas narrativas num contexto denominado pós-modernista tematizam a relação entre humano e pós-humano. O cinema é o núcleo central do nosso objeto; observaremos os aspectos ideológicos impressos nas diegeses e nos elementos que as compõem (imagens, planos, seqüências, diálogos, montagem), isto é, a sua construção estética e a moral dela resultante. Também observaremos os usos das novas tecnologias e como seu discurso é trabalhado nestas narrativas, com o intuito de apreender as diferenças entre os discursos científicos e aqueles transmitidos ao público espectador da cultura de massa. Tomamos esses filmes devido a sua notoriedade comercial e apelo popular o que lhes conferem maior amplitude na questão dos mecanismos de manipulação, diversão e degradação, reconhecidamente atuantes na cultura de massa e na mídia. Metodologicamente, discutimos os fundamentos sociais do discurso científico nos filmes, captar suas alegorias, a relação do homem com a tecnologia e as saídas para os conflitos no plano diegético e com isso, apontar o que se apresenta como reificação e utopia nessas obras de cultura. / Abstract: We investigated three cinematograph works of scientific fiction producted in the United States of America: Bicentennial Man (USA,1999), Artificial Intelligence, (USA,2001) and I, Robot (USA, 2004), all the cultural industry works whose narratives that are in a context denominated post- modernist systematize the relationship between human and post-human. The cinema is the central nucleus of our object; we observed the ideological aspects that are present in the fictional universe of the cinema and in the elements that compose this fictional universe. (images, plans, sequences, dialogs, montages), what is its esthetic construction and the moral originated from this construction that is contained in the structure of each movie. We also observed the uses of the new technologies and how the discourse of this technologies is worked out in these narratives, aiming the apprehension of the differences between the scientific discourses and those that are transmitted to the spectator public of the mass culture. We chose these movies on account of its commercial notoriety and the popular appeal that give them more amplitude in the matters of the manipulation mechanisms, entertainment and degradation recognized as actives in the mass culture and in the media. Methodologically, we discussed the socials fundaments of the scientific discourses in the movies and we tried to identify through the cinematographic narrator his allegories, the relation of the man with the technology and the solutions to the conflicts presented in the movies. Therefore, we aimed to contribute to an sociological analyses of the presented works. / Mestre
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Habitus e formaÃÃo musical de adolescentes: um estudo com estudantes da escola pÃblicaYure Pereira de Abreu 00 September 2018 (has links)
nÃo hà / Esse trabalho à o resultado de uma pesquisa de natureza qualitativa que teve como objetivo
geral compreender as influÃncias do Habitus Musical, constituÃdo e incorporado, na formaÃÃo
musical de adolescentes estudantes do primeiro ano do ensino mÃdio de uma escola em
Fortaleza/CE. Apesar da mÃsica ser conteÃdo curricular obrigatÃrio do componente curricular
Artes, de acordo com a Lei 13.278/2016, na prÃtica muitos adolescentes ainda nÃo tem acesso
ao conhecimento musical de maneira formal, atravÃs do currÃculo escolar, visto que a lei ainda
nÃo à adequadamente cumprida. Assim, à necessÃrio analisar as trajetÃrias de vida e formaÃÃo
musical desses jovens, uma vez que entender esse processo formativo implica, de certa
maneira, em compreender a cultura musical deles. Como aporte teÃrico, empregaram-se nesse
trabalho os conceitos de Habitus, Campos e Capitais da Praxiologia de Pierre Bourdieu
(2011), a teoria da ReproduÃÃo do Sistema Escolar de Bourdieu e Passeron (2014), da Cultura
de Massas de Edgar Morin (2011) e da IndÃstria Cultural de Adorno e Horkheimer (1985) na
busca de compreender as influÃncias do Habitus Musical, constituÃdo e incorporado, na
formaÃÃo musical de adolescentes estudantes do primeiro ano do ensino mÃdio de uma escola
em Fortaleza/CE; de caracterizar o Habitus Musical, constituÃdo e incorporado, desses
adolescentes; de compreender as influÃncias da FamÃlia, da Escola e da IndÃstria Cultural nas
escolhas e nos acÃmulos dos capitais sociais e culturais para a formaÃÃo do gosto musical; e,
por fim, compreender como o Habitus Musical influencia na formaÃÃo musical destes
adolescentes. Essa investigaÃÃo possui carÃter descritivo e utilizou como estratÃgia de
pesquisa o Estudo de Casos MÃltiplos, tendo como instrumento de coleta de dados a
observaÃÃo do cotidiano de uma turma de estudantes de uma escola pÃblica em Fortaleza-CE,
a aplicaÃÃo de questionÃrios e a realizaÃÃo de entrevistas semi-estruturadas. Como resultado,
foi possÃvel perceber que as poucas vivÃncias em mÃsica, atravÃs do currÃculo formal, dentro
da escola foi um fator preponderante para que as mÃdias, projetos sociais, ONG, igrejas e as
famÃlias ganhassem uma maior importÃncia nesse processo de formaÃÃo. Desta maneira, essas
instÃncias assumem o papel de agÃncias de cÃmbio de capitais, influenciando de forma
decisiva a formaÃÃo musical desses adolescentes.
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Questões de identidade no Hip-Hop norte-americano: um estudo da banda Black Eyed Peas / Issues of identity in American hip-hop: a study of Black Eyed PaesMarcela Marques Fortini 14 June 2011 (has links)
Esta dissertação investiga o processo de formação da identidade, através do trabalho artístico/musical da banda de hip-hop norte-americano: Black Eyed Peas, formada na década de 80, nos Estados Unidos da América. Essa investigação diz respeito às questões de identidades discutidas pela temática do hip-hop, bem como a releitura que esta banda apresenta de elementos tidos como essenciais no gênero em questão. Ainda, visa uma maior compreensão da problemática envolvida na obra artística popular e racial e sua relação com a teoria de massa, para à partir daí, analisar seu potencial de resistência, de criatividade e de protesto. / This research ivestigates the process of meaning meaking/ signifyin(g) in the musical work of a North-american hip-hop band: Black Eyed Peas, founded in the decade of 1980, in the United States of America. This investigation is based on the identity questions discussed by the hip-hop themes, as well as the reelaboration/revisionism that this specific band shows about elements considered essences in the gender studied. Yet, this research intends a better understanding of the matters involved in the popular and racial artistic creation and its relation with the mass theories, in order to analyse its potencial of political resistance, criativity and protest.
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Obra aberta : teoria da vanguarda literaria nas obras teorico-criticas de Umberto Eco / Open work: theory of literary avant-garde in the theoretical works of Umberto EcoBrito Junior, Antonio Barros de 02 October 2006 (has links)
Orientador: Marcio Seligmann-Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-05T21:15:30Z (GMT). No. of bitstreams: 1
BritoJunior_AntonioBarrosde_M.pdf: 1183590 bytes, checksum: 16676ba4bc4f7572761d10c569f1a4ad (MD5)
Previous issue date: 2006 / Resumo: Esta dissertação lida com os conceitos de obra aberta, vanguarda e kitsch, nas obras teórico-críticas do semiólogo italiano Umberto Eco, com o objetivo de observar como o conceito de obra aberta esclarece e fundamenta uma dialética entre norma e invenção, em artes, e entre vanguarda e kistch, no cenário artístico contemporâneo. Na primeira parte, revisamos as bases epistemológicas de Eco, em particular os trabalhos de Luigi Pareyson e dos formalistas russos; em seguida, tratamos dos principais conceitos de sua teoria semiótica, a fim de compreender (a) o conceito de abertura, mediante a dicotomia entre mensagens estéticas e mensagens referenciais; (b) como a abertura promovida pelas mensagens estéticas desafiam os hábitos interpretativos impostos pelo uso repetitivo das mensagens referenciais; e (c) como é possível, a partir disso, construir uma ideologia contestadora. De posse de um modelo estrutural, buscamos compreender como se dá a dialética entre vanguarda e kitsch, analisando as suas respectivas implicações ideológicas face aos argumentos anteriores. Na segunda parte, propusemos uma discussão da poética do Pós-modernismo com base nas reflexões acima, evidenciando a sua possibilidade de difundir, mediante uma linguagem paródica, uma ideologia contestadora, na medida em que ela exibe um elevado grau de abertura. Finalizamos com um breve estudo dos romances de Eco, apontando para uma contradição entre o que ele postula como valor artístico no plano teórico e o que ele produz como ficcionista / Abstract: This dissertation deals with the concepts of open work, avant-garde and kitsch present in the theoretical and critical works of the Italian semiologist Umberto Eco, in order to observe how the concept of open work sheds light upon and founds a dialectic between norm and invention in the field of the arts, and between avant-garde and kitsch in the contemporary artistic scenery. In the first section, we review Eco¿s epistemological basis, in particular the works of Luigi Pareyson and the works of the Russian formalists; afterward, we deal with the main notions within Eco¿s semiotic theory, in order to grasp (a) the concept of openness, by means of the dichotomy between aesthetical messages and referential messages; (b) how the openness fostered by the aesthetical messages challenges the interpretative habits imposed by the repetitive use of the referential messages; and (c) how is it possible, since that, to build a controvert ideology. In possession of a structuralist model, we intend to comprehend how the dialectic between avant-garde and kitsch art sustain itself, by the analysis of their respective ideological implication in face of the preceding argumentation. In the second section of this dissertation, we propose a discussion of the poetics of postmodernism based on the ideas above, trying to evince its possibility to diffuse a controvert ideology by means of the parody, while it shows a high degree of openness. We finalize this dissertation with a short study of Eco¿s novels, when we point to a contradiction between what he postulates as the artistic value in the field of theory and what he actually produces as novel writer / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária
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Análise da preservação do Cururu nas rádios de Piracicaba-SP / Análise da preservação do Cururu nas rádios de Piracicaba-SPRicardo Antonio Ferreira Santana 10 July 2007 (has links)
Esta dissertação trata exatamente da possibilidade de investigar, com os efeitos das mudanças tecnológicas, econômicas e culturais pelas quais o mundo vem passando, a possibilidade dos meios de comunicação, em particular a comunicação radiofônica, de viabilizar o uso de sua potencialidade para difusão dos movimentos de cultura popular, em especial o cururu, repente do interior paulista. Buscou-se também entender a influência dessas mudanças no cururu, pois nota-se que este vem modificando suas características para resistir diante desse desenvolvimento nos meios de comunicação de massa. O estudo em questão aborda a importância da preservação da cultura local nas emissoras de rádio da cidade de Piracicaba, localizada no interior do estado de São Paulo. Em suas considerações finais, o estudo apresenta dados indicadores do quanto as rádios e os cururueiros da cidade respondem a essas questões, e sugere ações para que as emissoras exerçam seu papel junto aos grupos sociais organizadores, de contribuir com a difusão desta manifestação cultural. / This dissertation signs the possibility of investigating - with the effect of the technological, economic and cultural changes in the world and in mass communication, in particular on radio broadcasting - how to use radios potentiality for the diffusion of popular culture movements, in special the tradition of cururu, a kind of country music free style battle from São Paulos countryside. It also search to understand how these changes influenced cururu itself, as it has been modifying its characteristics to resist in face of the development of the mass medias. This study shows the importance of the preservation of the local culture by the radio stations of Piracicaba city, located in the interior of São Paulo State. In its final consideration, the study presents data indicating where the local radio stations and cururueiros (a person who performs the cururu) stands about this matter. It also points out ways mutual cooperation and how the radios stations can play a leading role in the spread of this popular culture.
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In articulo mortis : el retrato fotográfico de difuntos y los inicios de la prensa ilustrada en la Argentina, 1898-1913 / In articulo mortis : the photographic portrait of deceased and the beginnings of the press illustrated in the Argentina, 1898-1913 / In articulo mortis : le portrait photographie post-mortem et le début de la presse illustré à l'Argentine, 1898-1913Guerra, Diego Fernando 20 May 2016 (has links)
Le sujet de la présente thèse est le portrait photographique post-mortem à Buenos Aires et, spécialement, son développement dans le cadre de l'insertion de la photographie dans la presse de masse du début du XXe siècle. En ce sens, l'objectif principal de ce travail est de contribuer à la connaissance des rapports entre mort et représentation visuelle dans le début de la culture de masse. L'analyse d'un corpus hétérogène - des photographies, des peintures, des photogravures, des caricatures, des images aussi journalistiques que publicitaires - essayera donc de rendre compte de quelques problèmes fondamentaux de la présence de l'image et le portrait dans les rites funéraires et les pratiques de deuil modernes. On a aussi le propos de mettre en relief le rôle des pratiques mortuaires dans le processus argentin de modernisation et ses liens avec le développement de la culture visuelle de masse. / The subject of this thesis is the postmortem photographic portrait in Buenos Aires and, especially, its development in the context of the insertion of the photography in the early twentieth century massmedia. In this sense, the main objective of this work is to contribute to the knowledge of the relationship between death and visual representation in the beginning of the mass culture. The analysis of a heterogeneous corpus - the photographs, paintings, photo-engravings, cartoons, journalistic images and advertisings - therefore tries to study some fundamental problems of the presence of the image and the portrait in modern funerary rites and mourning practices. Its intention is also to highlight the role of mortuary practices in the Argentine modernization process and its links with the development of visual mass culture. / El sujeto de la tesis presente es el retrato fotográfico post-mortem a Buenos Aires y, especialmente, su desarrollo en el marco de la inserción de la fotografía en la prensa de masa de principios del siglo XX. En este sentido, el objetivo principal de este trabajo es contribuir al conocimiento de los relaciones entre muerto y representación visual en el principio de la cultura de masa. El análisis de un corpus heterogéneo - fotografías, pinturas, fotograbados, caricaturas, imágenes tan periodísticas como publicitarias - tratará pues de dar cuenta de algunos problemas fundamentales de la presencia de la imagen y el retrato en los ritos funerarios y las prácticas modernas de duelo. Tenemos también la intención de poner de relieve el papel de las prácticas mortuorias en el proceso argentino de modernización y sus lazos con desarrollo de la cultura visual de masa.
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Transferts culturels et vacillements identitaires dans la littérature et les arts de la postmodernité / Cultural transfer and problematic identities in postmodern literature and artsGauzi, Chloé 07 June 2014 (has links)
Longtemps utilisé avec réticence, intensément débattu par les théoriciens, le terme « postmoderne » abonde aujourd'hui, depuis les discours spécialisés jusque dans les sphères de la vie quotidienne, témoignant de la nécessité de penser une notion nouvelle, plus adéquate aux transformations qui ont affecté le monde contemporain. Quelles que soient les différentes perspectives adoptées par les théoriciens pour définir la postmodernité et débrouiller les liens qu'elle entretient avec les notions de postmodernisme, modernité et modernisme, toutes observent le même constat que, depuis la fin de la Seconde Guerre Mondiale, les sociétés occidentales sont le théâtre de profondes mutations culturelles et d'une crise généralisée de l'identité qui elle-même s'accompagne d'une véritable crise épistémologique. Dans un contexte de redéfinition de la notion de culture, dont les Cultural Studies ont mis au jour la nécessité d'étudier toutes les manifestations, qu'elles soient issues de la high culture ou de la pop culture, voire de la mass culture, les fictions contemporaines (littéraires, cinématographiques et audiovisuelles) témoignent, en même temps qu'elles les analysent, des problématiques qui agitent nos sociétés occidentales postmodernes et hypermodernes. Dans cette optique, étudier les diverses manifestations culturelles permet de discerner les différents modèles culturels (« cultural patterns ») qui fondent les identités individuelles et collectives. / Long been used with reluctance, intensively discussed by theorists, the term “postmodern” is now pervasive, from specialized discourses to the very spheres of everyday life, testifying that it is necessary to think a new notion, more appropriate to the changes which have affected the contemporary world. Whatever are the different perspectives adopted by theorists to define postmodernity and to clarify its links to postmodernism, modernity and modernism, they all notice that, since the World War Two, western societies are the stage of deep cultural mutations and of a widespread identity crisis, which is itself accompanied by a genuine epistemological crisis. In a context of redefining the concept of culture, which Cultural Studies showed the necessity to study all the expressions, whether they are from high culture, pop culture, or even mass culture, contemporary fictions (literary, cinematographic, audiovisual) express, in the same time analyzing it, the issues of our western, postmodern and hypermodern, societies. According to that point, studying the various cultural manifestations helps discerning the cultural patterns that ground the individual and collective identities.
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Machinassiah: heavy metal, alienação e crítica na cultura de massa / Machinassiah: heavy metal, alienation and criticism in mass cultureSandra Nakamura 06 November 2009 (has links)
A cultura de massa (midiática) tem sido tradicionalmente considerada pouco criativa, alienada e, portanto, menos relevante do que as formas artísticas clássicas e canônicas. Sua incapacidade de se relacionar com a sociedade de outro modo que não como produto disponível no mercado fariam dela mero sustento da lógica de consumo. Propomos no presente trabalho a observação desta forma de cultura a partir de uma outra perspectiva. Com base em teorias Pós-Coloniais, da Complexidade e do Letramento Crítico, mostramos que a alienação da cultura de massa não lhe é uma característica intrínseca, mas uma construção feita a partir de práticas sociais cotidianas. Sendo uma construção, a alienação pode ser desconstruída, e a cultura pode tornar-se crítica, política, socialmente interessada e interessante. Trabalhamos com esta hipótese analisando o heavy metal, tomado como manifestação cultural (de massa) tradicionalmente identificada com a rebeldia e a contestação cultural e social. Observamos diferentes estratégias de dissidência a que recorrem roqueiros e headbangers, constatando que rupturas mais profundas com o conformismo alienado emergem de sua participação crítica em sua cultura musical, na cultura de massa e na sociedade de consumo. A confirmação de tal constatação foi obtida pela análise (multimodal) de um caso, representado pela banda sueca Pain of Salvation. / Mass culture has been traditionally associated with lack of creativity and alienation, being considered less valuable and interesting than classic and canonic forms of Culture and Art. Its only role in society would be that of a commodity. It would be destined to serve consumption. The aim of our research is to offer a change in the perspective from which we see mass culture. Based on concepts and ideas coming from Postcolonial theories, Social Complexity and Critical Literacy, we can see alienation not as an intrinsic quality of mass culture, but as a construction that is socially produced. Therefore, we work on the hypothesis that, being a construction, alienation can be deconstructed, and culture can be made critical, political, socially interested and interesting. In order to confirm this, heavy metal music, traditionally identified with both cultural and social resistance and disobedience, was taken for analysis. We could, then, observe the different strategies of dissidence adopted by rockers and headbangers, finally concluding that deeper ruptures with alienated conformity emerge from their critical participation in the music culture, in mass culture, and in the consumer society. Final conclusions on this were made after the multimodal analysis of a case, represented by the Swedish band Pain of Salvation.
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La fiction mystériographique : émergence et dissémination d’une poétique en France, en Grèce et en Grande-Bretagne au XIXe siècle / Mysteriography : emergence and dissemination of a poetics in France, Greece and Great BritainKatsanos, Filippos 15 October 2018 (has links)
Suite au succès commercial des Mystères de Paris (1842-1843) d’Eugène Sue, les marchés littéraires de nombreux pays ont été saturés par un nombre incalculable d’ouvrages qui proposaient d’infinies variations sur le titre du romancier français. À partir d’une étude approfondie de la réception du célèbre roman de Sue et de toute la « littérature des mystères » dont il a été à l’origine en France, en Grèce et en Grande-Bretagne, cette thèse s’interroge sur la place qu’il convient d’accorder, dans l’histoire culturelle, à cette « mystériographie » compulsive qui promettait aux lecteurs de leur révéler les secrets non seulement du monde contemporain, mais aussi de l’histoire, de la science, de la politique etc. Tout en questionnant les conclusions d’une critique prolifique sur le phénomène qui en fait un genre spécifique du domaine romanesque paralittéraire, cette thèse plaide pour une approche plus globale. Pur produit d’une culture médiatique vouée à la représentation du monde, la « mystériographie » se présente comme le creuset d’un nouvel imaginaire de la lecture appelé à devenir dominant avec l’entrée progressive des pays européens, à partir des années 1860, dans la culture de masse : mêlant ancrage dans le réel et sensationnalisme outrancier, la « fiction mystériographique » semblait déjà cristalliser les poétiques qui se situaient au cœur des lectures du plus grand nombre. / Following the global commercial success of The Mysteries of Paris (1842-1843) by Eugene Sue, literary markets were submerged by an incalculable number of works that proposed infinite variations on the title of the French novelist. Studying extensively the reception of Sue's famous novel and the mysterimania that it fired in France, Greece and Great Britain, this thesis questions the place that should be given, in cultural history, to the compulsive publication of mysteries promising their readers to unveil the secrets not only of the world that surrounded them, but also of history, science, politics, and so on. While discussing the conclusions of a prolific research that interprets the phenomenon as a specific novelistic genre of popular literature, this study argues for a more global approach. Pure product of Nineteenth-Century media culture dedicated to the representation of the world, “mysteriography” is the crucible of a new social imaginary of reading which was to become dominant with the gradual entry of European countries in the mass culture, from the 1860s and on : blending perfectly realism and sensation, the “mysteriography” crystallized the poetics which shaped the readings of the greatest number.
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The Effects of Mass Culture on the Loman Family : The Frankfurt School Critical Theory Applied to Arthur Miller’s Death of a SalesmanLevin, Henrik January 2021 (has links)
This essay discusses the effects of mass culture on the Loman family in Arthur Miller’s play, Death of a Salesman. The focus is to identify whether conformation to mass culture and alienation have caused the characters to be lonely and to give up what they enjoy and to fall in line with a system where individuality is replaced by totality. The theoretical framework used is the Frankfurt School’s critical theory which further developed Karl Marx’s socialist economic theory by putting an emphasis on the role of media and culture. The Frankfurt School critical theory purports that people in a mass culture society are estranged from themselves and others as large corporations and machines eradicate individual skills. Consumerism and meaningless media control and keep fatigued workers happy in their leisure time and thus distract them from starting a revolution. Advertising and entertainment create heroes to be revered which leads to a society where people strive for success, but this also results in competition and further estrangement. The conclusion is that the behaviour of the Loman family members is a result of conforming to the expectations of a mass culture society. Willy and Biff fail in their professional fields as they are not engaged in the manual work they are qualified for and that would fulfil their true needs. The constant effort to live up to expectations leads to immoralities, lies, contradictions, and loneliness. A false consciousness conveyed through media has indoctrinated a belief that someone who is not successful should be excluded from society. Willy’s escape after his own and his sons’ failures is suicide.
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