O presente trabalho investiga a obra de Pedro Almodóvar Caballero, cineasta espanhol; mostrando que sua principal marca autoral é trabalhar com elementos da Cultura Pop, fundamentalmente a citação, pastiche e a paródia; mesclados com sua experiência pessoal, da infância em La Mancha, e da busca pela liberdade na Madri, de La Movida, do final do franquismo e da transição para a democracia. Usando a teoria da paródia, como fundamentação teórica, demonstram-se como os filmes de Almodóvar dialogam com textos fílmicos os mais variados, incorporando-os à sua narrativa e imprimindo nela uma marca original e internacionalmente reconhecível. Traça-se uma filmografia crítica da recepção de seus filmes, no contexto em que surgiram no cenário da cultura marginal underground dos anos 1970, e seu pleno desenvolvimento e maturidade no circuito comercial, a partir da década de 80. Centrando-se a análise em Todo sobre mi madre, demonstra-se o nível de diálogo estabelecido com a obra de John Cassavetes, Federico Fellini e na retomada de sua própria obra, como fonte de citação, como o diálogo estabelecido entre La flor de mi secreto/Todo sobre mi madre. / This study carries out research into the work of Pedro Almodóvar Caballero. The great spanish director has, like autor mark, working with icons of Pop Culture, essentially quoting and parody; mixing with his own childhood personal experience, in La Mancha, and the freedom conquered within the Madri of La Movida; post-franquism period of transition throw democracy. Based on the parody theory, this work shows like the movies of Almodóvar talk/exchange subjects with others movie images of diferent kind, getting them incorporated on its narrative, providing his movies of an orginal and internacional hallmark. It sets a critical filmografy of how was the reception of his films, within de underground culture they had born, in the ´70, and its total development and maturity on the commercial circuit of the earlier ´80. The central point of the analysis is the movie All about my mother, fixing the level of the dialogue established with John Cassavetes` Opening night and some characters of Federico Fellini, like Cabiria and Gradisca; and so on, the recycle of the own Almodovar`s previous works, like source of quote, like the exchange made between The flower of my secret and All about my mother.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-01-17T18:25:46Z No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-01-23T14:16:33Z (GMT) No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) / Made available in DSpace on 2018-01-23T14:16:33Z (GMT). No. of bitstreams: 1 marcoscaetanoteixeira.pdf: 6702751 bytes, checksum: 0e32e195643676e30b4b3b8a183ba0ff (MD5) Previous issue date: 2017-09-28 / A pesquisa aqui apresentada tem como objetivo a análise do mangá Mushishi, de Yuki Urushibara (1999-2008), no que se refere à tradição e a contemporaneidade enquanto representação de uma história e de um povo. Para chegar a tais objetivos, um levantamento histórico baseado na evolução do Japão pós-guerra e sua conquista mundial através do entretenimento pela cultura pop inicia o pensamento, tendo por base do contexto de contemporaneidade de Agamben (2009) seguido, posteriormente, por uma análise comparativa entre os quadrinhos ocidentais e os mangás japoneses, visando estabelecer uma base que mostre a troca de influências entre ambos, o que também leva a ilustrar as questões referentes ao mercado e aos princípios de aceitação de mídia pelo consumidor. A análise no que se refere aos pontos de identidade e lugar do ser social é feita a partir das teorias de Nietzche (1983-2011) e Rolnik (1993), os quais colocam em questão o ser humano enquanto agente social e ator de seu próprio mundo, bem como a aplicação dos conceitos de catarse e reconhecimento de si de Aristóteles (2008), o que, após aplicado à obra em questão, revela como os mangás, exemplificados por Mushishi, podem se mostrar retratos fiéis de um povo ou de uma época. / The research presented here aims to analyze the manga Mushishi, by Yuki Urushibara (1999-2008), in regard to tradition and contemporaneity as a representation of a history and a people. To reach such goals, a historical survey based on the evolution of postwar Japan and its worldwide conquest through pop culture entertainment initiates thought, based on the contemporaneous context of Agamben (2009) followed later by an analysis comparative analysis between western comics and Japanese manga, in order to establish a basis for the exchange of influences between the two, which also leads to illustrate market issues and the principles of consumer acceptance of media. The analysis regarding the points of identity and place of the social being is made from the theories of Nietzche (1983-2011) and Rolnik (1993), which put in question the human being as social agent and actor of his own world, as well as the application of the concepts of catharsis and self-recognition of Aristotle (2008), which, after applied to the work in question, reveals how the manga, exemplified by Mushishi, can be faithful portraits of a people or a time.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-11-13T17:20:53Z No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-16T09:27:07Z (GMT) No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-16T09:27:07Z (GMT). No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2009-05-25 / Is surprising the challenge of the to question and to have the possibility to answer with music. Of the music to question and other sensibility to answer her. The sound doesn't just belong to the music, the music is not only composed of sounds. The life that sounds receives the care historical of the emotional existence, and this experience receives the musical components as indicators of the intertextual reading. The African diáspora offers the rhythm of the pop music that, for your time, she takes charge of being the habitat of the AfroAmerican memory. The sound memory of the diáspora is interpreted by the rhythmic beat of the pop music, an ethnic beat that is causing black reinventions in the musical performances in global contexts. To approach the pop musical expression as phenomenon of reinvention of the black identity, the memory African cultural scored the black identification in the AfroAmerican musical head offices traveled by the rhythmic transformations of the gospel, blues, jazz, swing, rhythm and blues, soul, freejazz, rock, funk, pop and rap. The social rhythm that accompany those gender it is centralized in the freejazz for the development of the research, from where they follow analyses and comments on the process of construction of the pop beat addressed in a social slope of racial protest and in the musical agency of black domain. The ethnic revival of the decade of 1960 is the scenario for the presented musiciansocial dialogues in way to map responsible relationships for the rhythmic development that consolidated the beat of the pop music as an ethnic beat. The reflection around the pop gender renounces academic precepts and formalist of the European musical tradition to present a possibility of musical analysis where the procedure is given by the content to be received from the object. This way the pop music can be questioned before the suffered social context by the agents of your creation. The followed road is updated by those musical agents, that give us elucidation answers if we look for the music as a resulting art of human negotiations. / Surpreendente o desafio de questionar e ter a possibilidade de responder com música. De a música questionar e outra sensibilidade respondêla. O som não pertence apenas à música, a música não é composta somente de sons. A vida que soa recebe o cuidado histórico da existência emocional, e esta experiência recebe os elementos compositivos musicais como indicadores da leitura intertextual. A diáspora africana oferece o ritmo da música pop que, por sua vez, se encarrega de ser o habitat da memória afroamericana. A memória sonora da diáspora é interpretada pelo beat rítmico da música pop, um ethnic beat que está provocando reinvenções negras nas performances musicais em contextos globais. Para abordar a expressão musical pop como fenômeno de reinvenção da identidade negra, a memória cultural africana instrumentalizou a identificação negra nas matrizes musicais afroamericanas percorridas pelas transformações rítmicas do gospel, blues, jazz, swing, rhythm and blues, soul, freejazz, rock, funk, pop e rap. O ritmo social que acompanha esses gêneros é centralizado no freejazz para o desenvolvimento da pesquisa, de onde partem análises e comentários sobre o processo de construção do beat pop direcionado numa vertente social de protesto racial e na agência musical de domínio negro. O revival étnico da década de 1960 é o cenário para as interlocuções músicosociais apresentadas de modo a mapear relações responsáveis pelo desenvolvimento rítmico que consolidou a batida da música pop como um beat étnico. A reflexão em torno do gênero pop renuncia preceitos acadêmicos e formalistas da tradição musical européia para apresentar uma possibilidade de análise musical onde o procedimento é dado pelo conteúdo a ser recebido do objeto. Desse modo a música pop pode ser questionada diante do contexto social sofrido pelos agentes de sua criação. O caminho seguido é atualizado por esses agentes musicais, que nos dão respostas esclarecedoras se olharmos para a música como uma arte resultante de negociações humanas.

Les assemblages PoP pour « Package on Package » permettent d’augmenter fortement la densité d’intégration des circuits et systèmes microélectroniques, par superposition de plusieurs éléments semi-conducteurs actifs. Les interconnexions internes de ces systèmes sont alors soumises à des contraintes jamais atteintes. Nous avons pu identifier, caractériser, modéliser et simuler les mécanismes de défaillance potentiels propres à ces assemblages, et leur évolution : • Les gauchissements dans la phase d’assemblage du « PoP » et ses contraintes thermomécaniques sont plus importants que ceux de chacun des composants individuels. Un modèle analytique original a été construit et mis en ligne afin d’évaluer a priori ce gauchissement. • Les comportements hygroscopiques et hygromécaniques sont simulés et mesurés par une approche originale. L’assemblage « PoP » absorbe plus d’humidité que la somme des deux composants individuels, mais son gauchissement hygromécanique et ses contraintes hygromécaniques sont moins élevées. • Deux types d’essais de vieillissement accéléré sont réalisés pour étudier la fiabilité du « PoP » assemblé sur circuit imprimé : des cycles thermiques et des tests sous fort courant et température élevée. Dans ces deux types d’essais, l’assemblage d’un composant « top » sur un autre composant « bottom » pour former un PoP augmente les risques de défaillances. • L’évolution de la microstructure selon le type de vieillissement est comparée par des analyses physiques et physico-chimiques. Les fissures sont toujours situées dans l’interface substrat/billes, qui correspond aux zones critiques prédites par les simulations. / The assemblies PoP (Package on Package) can greatly increase the integration density of microelectronic circuits and systems, by vertically combining discrete semiconductor elements. The interconnections of these systems suffer the stresses never reached before. We were able to identify, characterize, model and simulate the potential failure mechanisms of these assemblies and their evolution: • The warpage in the assembly phase and thermomechanical stress of "PoP" are more serious than the individual components. An original analytical model has been built and put online for pre-estimating this warpage. • The hygroscopic and hygromechanical behaviors are simulated and measured by an original method. The assembly "PoP" absorbs more moisture than the sum of the individual components, but its hygromechanical warpage and stress are smaller. • Two types of accelerated aging tests are performed to study the reliability of "PoP" at the board level: the thermal cycling and the testing under current and temperature. In both types of tests, assembly a component "top" on another component "bottom" to form a “PoP” increases the risk of failure. • The microstructure evolution depending on the type of aging is compared by the physical and physico-chemical analysis. The cracks are always located in the interface substrate/balls, which corresponds to the critical areas predicted by the simulations.

It seems that online retail is erasing the presence of physical stores, referred to as the retail apocalypse. Consumers’ desire to experience brands is increasing whilst sensory experiences in the online retail environment are limited. It is increasingly important for brands to be attainable through physical interaction for consumers to stay loyal, a fundament for the experience economy. Therefore, the pop up phenomenon could be considered an approach to blur the line between physical and online stores. The aim of this research is to create an understanding of how the pop up phenomenon is experienced by phygital companies in Sweden, exploring their use of multisensory marketing through pop ups and the effect it has on the brand. A qualitative and exploratory approach with semi-structured and asynchronous interviews including nine managers from the pop up industry was conducted. The data collected was analysed through a thematic approach and compared to existing literature. From the findings, two pop up purposes were identified: (1) pop ups with a long-term marketing purpose to enhance the brand, and (2) pop ups with a short-term selling purpose. Further, the empirical findings of this study suggest that the usage of multisensory experiences was recurrently found to be done unintentionally by the firms, indicating a lack of knowledge of its impact on customer behaviour in the long-term. From combining literature and findings a model was created explaining how firms can use the pop up phenomenon to successfully enhance the company’s brand. This research provides insights of managers’ personal experiences of the phenomenon and explores how pop ups can be a useful tool for a company's brand.

Diploma thesis The history of music journalism from the year 1963 until now examines the development of domestic music journalism from the year 1963 to the present in three crucial periods. The first period starts by the year 1963 because at this time the first professional music magazine Melodie in the Czechoslovak socialism republic developed. The second period that I study in my thesis was the 1990s, right after the Velvet Revolution, when many new music magazines were established, led by the magazine Rock & Pop. The third period I study in my thesis are the times after the year 2000 which are characterized by the development of online music journalism and by diminishing role of printed music magazines. In the theoretical part, I briefly describe every period by key historical characteristics and I also describe theirs dominant music magazines. In the last section, where I focus on the present time and the world of Internet, I focus also on the online music journalism as a new crucial field of the 21 century which fundamentally changed the work of music journalists. In the analytical part, I choose important music journalists for each period whose work is linked to the period, and with whom I conducted the interviews. The research method is qualitative research conducted in the form of semi-structured...

Uppsatsen utreder populärmusikens ställning i den svenska kulturpolitiken med fokus på musikarrangörer. Bakgrunden består delvis i grundandet av riksförbundet Svensk Live och deras publikationer "Vi fortsätter spela pop (men vi håller på att dö)" och "Maktens Musik" som menar att delar av populärmusiken inte kan överleva eller utvecklas utan stöd. Stödet menar man att populärmusiken oftare nekas än andra genrer med en längre historia av att organisera sig och beviljas statliga stöd. Bakgrunden redogör även för musikvetenskaplig forskning och diskussioner kring begreppet "populärmusik" samt en historisk överblick av modern svensk kulturpolitik med musikarrangörer i fokus och ett redogörande för dagsläget utifrån rapporter från Myndighet för Kulturanalys och Kulturrådet. Populärmusik definieras utifrån Svensk Lives definition att begreppet innefattar all musik som inte är jazz eller konst-, folk- och världsmusik. Undersökningen görs genom en närläsning av hur sökande populärmusik-arrangörer motiverar sin rätt till medel i bidragsansökningar från 2007 och 2017 till Musikverket, Kulturrådet och Stockholms Kulturförvaltning. 2007 och 2017 jämförs för att notera eventuella skillnader då det tidigare kulturpolitiska målet om att motverka kommersialismens negativa verkningar togs bort 2009 och bildandet av Svensk Live 2017. För att komplettera och skapa underlag för diskussion undersöks även ansökningar från genrer som tillhör konstmusiken och jazzen. Även genrefördelningen undersöks genom att ta fram statistik över fördelning och hur den förändrats under samma tidsperiod. Resultatet av undersökningen visar att genrefördelningen skiljer sig mellan institutionerna, samt att populärmusikens del generellt sett har ökat i takt med ett ökat söktryck men att den generellt sett fortfarande får mindre än en majoritet av övriga genrer. Undersökningen visar att argumentationen från populärmusiken har förändrats mellan 2007 och 2017 samt att den skiljer sig från övriga genrer genom att generellt sett motivera med fler utommusikaliska aspekter och värden samt ett större behov att hävda icke-kommersialism. 2017 riktar man även kritik mot bidragsgivarna och visar i flera exempel på inflytande från Svensk Lives publikationer och opinionsdrivning som bland annat menar att "s k pop ska ses som kultur". Utifrån resultatet görs en analys och diskussion grundad i Pierre Bourdieus teorier om fält samt kulturproduktionsfältet två värdepoler där den ekonomiska setts som negativ och kulturella positiv. Begreppen populär- och konstmusik diskuteras med fokus på dess historiska konnotationer betydelse för ansökningarna samt hur begreppen ställs på tvären när ett ökat söktryck tyder på att en del av populärmusiken inte längre är tillräckligt kommersiell för att överleva utan stöd. Paralleller dras till hur jazzen gick från populärmusikalisk genre till konstmusikalisk status när den tappade sin popularitet och hur samma utveckling just nu håller på att ske med delar av den undersökta populärmusiken.

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<p>Tema ovog rada jeste poezija britanske popularne kulture dvadesetog veka, odnosno, stihovi pop i rok pesama britanskih muzičkih autora. Polazna teza disertacije jeste to da se tekstovi popularnih pesama mogu smatrati poezijom, te da se uobičajene metode koje se koriste pri analizi tradicionalnog pesničkog stvarala&scaron;tva mogu upotrebiti i kada je reč o pop i rok tekstu.<br />Iako se popularna muzika odavno posmatra kao bitan činilac u kulturi dvadesetog i dvadeset prvog veka, i kao takva jeste predmet brojnih kritičkih studija, primećuje se iznenađujuća činjenica da se te studije uglavnom bave njenom kulturolo&scaron;ko-sociolo&scaron;kom ulogom, zbog čega je i istražuju upravo iz tog ugla. Za razliku od njih, ovaj rad se usredsređuje na pesničke elemente popularne muzike (poetika), i to tako &scaron;to ih tumači kao i svaki drugi književni tekst (hermeneutika). Ponekad se ovoj analizi dodaje i muzikolo&scaron;ka, jer se značenje popularnih pesama stvara kombinacijom tekstualnog i muzičkog aspekta.<br />U odabiru bendova koji su postavljeni u sredi&scaron;te analize od velike koristi bila je teorija Kira Kitlija (Keir Keightley) o romantičarkoj i modernističkoj autentičnosti popularne muzike. S obzirom na to da su studije popularne muzike uglavnom posvećene romantičarsko autentičnim stvaraocima, predmet istraživanja ove disertacije jesu tri modernističko autentične grupe, a to su Bitlsi (The Beatles), Kvin (Queen) i Mjuz (Muse). Njihovi tekstovi su tematski podeljeni u četiri grupe: pesme o ljubavi, narativne pesme, pesme o unutra&scaron;njem svetu i pesme o spolja&scaron;njem svetu; i analizirani su u skladu sa takvom podelom.<br />Nakon izvr&scaron;ene analize, izveden je zaključak da se tekstovi rok i pop pesama uistinu mogu smatrati poezijom, čak i kada stihovni element neke pesme služi pre svega kao pratnja muzičkom. Na ovaj način, utvrđeno je da pop i rok poeziji i te kako pripada mesto u &scaron;irokoj i raznorodnoj oblasti pesničkog stvarala&scaron;tva.</p> / <p>The topic of this research was the poetry of 20th century British popular culture, i.e., the lyrics of pop and rock songs written by British authors. The basic thesis of the dissertation was the idea that popular music lyrics can be considered to be poetry, and that the usual methods used to analyse traditional poetry can thus also be used in the analysis of pop and rock lyrics.<br />Even though popular music has long been considered a valuable factor in the 20th and 21st century culture, therefore being the topic of numerous critical studies, most of these studies have, surprisingly, been focused almost exclusively on the culturological and sociological importance of popular music and have thus approached it accordingly. This research is instead focused on its poetical elements (poetics), interpreting them as it would any other kind of literary text (hermeneutics). Sometimes, musicological element is also added to the analysis, given that the meaning of popular songs is created by the combination of both text and music.<br />Keir Keightley&rsquo;s theory of Romantic and Modernist authenticity in music has been greatly helpful in choosing the bands on which the research was to focus. Since popular music studies mostly deal with Romantic authenticity, three bands which display Modernist<br />vii<br />authenticity &ndash; The Beatles, Queen, and Muse &ndash; were here chosen as subjects instead. Their lyrics were divided into four thematic groups: songs about love, narrative songs, songs about the inner world, and songs about the outer world; they were analysed according to these thematic focuses.<br />After the analysis was done, the following conclusion was drawn: pop and rock lyrics can indeed be considered poetry, even when the textual element is only secondary to the musical one. It has thus been proved that pop and rock texts should be regarded as part of the vast and varied area of poetry in general</p>

Le grand projet à l’origine de la réalisation de cette thèse est de proposer une nouvelle manière de comprendre la nature instable et décloisonnée du pop art, ce courant pictural presque sorti de l’histoire de l’art pour s’ériger en signe diffus de la culture populaire.Les enjeux plus conceptuels, qu’il dissimule derrière une imagerie devenue familière, sont pourtant d’une importance capitale pour la reconfiguration de la définition contemporaine de l’œuvre d’art. Toujours entre surface et profondeur, l’image pop se développe insidieusement.Le concept de « coïncidence des opposés », hérité d’une tradition théologico-philosophique dont Nicolas De Cues est le dépositaire le plus illustre, nous servira d’outil opératoire pour tenter de comprendre les implications sémantiques liées à la nature glissante de cet espace artistique aux contours flous. L’instabilité de ses frontières s’exprime d’abord par la proximité entre « art » et « non-art ». Elle s’illustre ensuite et surtout par le développement d’une multitude de microstructures internes reproduisant le même schéma conceptuel de « coïncidence des opposés ». Nous utiliserons alors, pour faciliter notre approche philosophique le concept d’ « ambivalences instables ».Trois grands moments jalonneront notre enquête. Ils seront synthétisés par les trois notions suivantes : « le paradoxe de la destruction créatrice », « la littéralité anti-littérale », et « la désacralisation hyper-sacralisée ». / The aim of this PhD project is to propose a new way of understanding the profoundly unstable and essentially decompartmentalized nature of pop art, this pictorial stream which is almost going beyond the scope of art history to elevate itself to be a vague symbol of popular culture.However, its familiar image hides more conceptual matters of dispute which are of crucial importance when it comes to reconfiguring the contemporary definition of a work of art. Always between surface and depth, pop imagery is developing insidiously.The “coincidence of opposites” concept, inherited from a theological-philosophical tradition, with Nicolas De Cues as its most famous depositary, will be used as an operating tool in our attempt to understand the semantic implications bound to the changing nature of this artistic space, the limits of which are still clearly blurry. This fuzziness of its frontiers appears first and foremost through the proximity between “art” and “non-art”, and then, most of all, through the development of a multitude of internal microstructures mimicking the pattern of the “coincidence of opposites” concept. In order to facilitate the philosophical flexibility of our approach, we will therefore use the concept of “unstable ambivalences”. Three milestones mark our investigation. They are summarized by the three following notions: “the creative destruction paradox”,”anti-literal literalism” and ”hyper-sacralized desecration”.