Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-09-24T14:02:50Z No. of bitstreams: 1 Letícia Franciele Rossa_.pdf: 1939380 bytes, checksum: 5d2497f270ff7b418517264a6611d534 (MD5) / Made available in DSpace on 2018-09-24T14:02:50Z (GMT). No. of bitstreams: 1 Letícia Franciele Rossa_.pdf: 1939380 bytes, checksum: 5d2497f270ff7b418517264a6611d534 (MD5) Previous issue date: 2018-04-05 / Nenhuma / A cultura pop e seus produtos midiáticos provocam sensações e inferências sobre o mundo comum. As celebridades se encaixam neste cenário a partir do momento em que aparecem em performances – e, assim, passam a afetar os sentidos da sociedade. No Brasil, a revista Rolling Stone apresenta a cada mês estes artistas da cultura pop e suas produções – por meio de notícias, listas, entrevistas e colunas opinativas. O espaço de maior evidência destas publicações são suas capas, que mensalmente trazem uma celebridade nacional ou estrangeira, em forma de perfil, para incorporar uma temática nas páginas da revista. Para compreender quais são os valores identitários relativos ao Brasil traçados a partir destes perfis, foram selecionados 12 textos com o protagonismo de celebridades brasileiras – todos aqueles que são capa de Rolling Stone Brasil entre janeiro de 2012 e dezembro de 2015. Para viabilizar esta pesquisa, um estudo cartográfico foi desenvolvido a fim de concretizar a investigação. Após a pesquisa teórica e empírica, se averiguou que cada perfil publicado em Rolling Stone Brasil contribui para a construção de valores identitários relativos à respectiva celebridade entrevistada: a mulher, a atriz, o esportista, o cantor, o negro, e o homossexual. Ou seja, os valores de identidades publicados no conteúdo da revista repercutem na sociedade a partir do momento em que são veiculados. / The pop culture and the media products cause sensations and inferences about the common world. Celebrities fit into this scenario from the moment they appear in performances - and then begin to affect the senses of the society. In Brazil, Rolling Stone presents each month these pop culture artists and their productions - through news, lists, interviews and opinion columns. The most evident space of these publications are their covers, which monthly bring a national or foreign celebrity, in profile format, to incorporate a theme in the pages of the magazine. To understand which are the identity values related to Brazil made from these profiles, 12 texts were selected with the protagonism of Brazilian celebrities - all those who are the cover of Rolling Stone Brazil between January 2012 and December 2015. To do this research, a cartographic study was developed in order to materialize this research. After the theoretical and empirical research, it was verified that each profile published in Rolling Stone Brazil contributes to the construction of identity values related to the celebrity interviewed: the woman, the actress, the sportsman, the singer, the black man, and the homosexual. In other words, the values of identities published in the content of the magazine have repercussions in society from the moment they are transmitted.

Made available in DSpace on 2016-04-26T18:14:10Z (GMT). No. of bitstreams: 1 Lidia Zuin de Moura.pdf: 2168540 bytes, checksum: 23d6920774045a51d86d5d49fcb9ad64 (MD5) Previous issue date: 2014-06-17 / The objective of this research is to investigate and comprehend the discursive strategies employed in the construction of the images by Gottfried Helnwein, an Austrian photographer and hyperrealist painter. His works reunite the theme of Nazism and violence in a grim aesthetics that dialogues with pop culture characters. The research is divided in three parts: 1. The historic and cultural context lived by Helnwein and the relationship of the public with his images; 2. The cultural universes that influenced Helnwein: Baroque and Tenebrism, Jungian shadow, Viennese Actionism, Pop Art, Hyperrealism; 3. The analysis of the series The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993-1998) and The American Paintings (2000-2003), focusing specially on the motives of the child, pop culture, Nazism and religiosity. The theoretical and methodological framework is constituted by the image theories of Vilém Flusser and Aby Warburg, by the concepts of archetypical image of C. G. Jung and pop culture of Daniel Boorstin and Roland Kelts / Esta pesquisa visa investigar e compreender as estratégias discursivas empregadas nas construções das imagens de Gottfried Helnwein, fotógrafo e pintor hiperrealista austríaco. Suas obras unem o tema do nazismo e da violência numa estética soturna que dialoga com personagens da cultura pop. A pesquisa se divide em três eixos: 1. O contexto histórico e cultural vivido por Helnwein e a relação do público com suas imagens; 2. Os universos culturais que exerceram influência sobre Helnwein: Barroco e Tenebrismo, sombra junguiana, Acionismo Vienense, Pop Art, Hiperrealismo; 3. Análise das séries The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993-1998) e The American Paintings (2000-2003), focando-se especialmente nos motivos da criança, da cultura pop, do nazismo e da religiosidade. O quadro teórico e metodológico constitui-se a partir das teorias da imagem de Vilém Flusser e de Aby Warburg, considerando-se também os conceitos de imagem arquetípica de C. G. Jung e de cultura pop para Daniel Boorstin e Roland Kelts

Este trabalho tem como objetivo abordar a presença da cultura pop nipo-brasileira nos meios digitais através de expressões culturais dos fãs brasileiros de mangás e animês (histórias em quadrinhos e animações japonesas, respectivamente), moda e prática cosplay, cujos conteúdos são compartilhados na internet. Desde sua inserção no Brasil, a cultura pop japonesa esteve relacionada às tecnologias de comunicação e às atividades de fãs brasileiros engajados com aquilo que consumiam. A passagem para as mídias digitais provocou mudanças nas configurações socioculturais, em que o indivíduo participa ativamente na rede, desenvolvendo maneiras distintas de uso e apropriações desses ambientes, o que consequentemente expande o campo de atuação dos fãs. Esses são considerados indivíduos que não apenas se contentam com o que recebem (apropriação passiva); mas, de maneira participativa, produzem conteúdos a respeito do universo ficcional de que são entusiastas. Este trabalho teve como processos metodológicos o estudo exploratório fundamentado em pesquisa bibliográfica dos conceitos relacionados aos avanços das tecnologias de informação e comunicação e os espaços emergentes da rede, transmídia, convergência e participação, bem como a conceitualização das expressões da cultura pop nipo-brasileira que figuram como objeto de estudo desta pesquisa. Utilizou-se também de observação do campo para levantamento de casos mais recentes de projeção das atividades do público da cultura pop japonesa no Brasil no cenário digital. Assim, diante deste cenário, considerou-se que, embora problemáticos para o âmbito da Ciência da Informação, os novos processos de comunicação e mediação cultural no cenário digital devem ser repensados, uma vez que são processos essenciais para o exercício das apropriações de expressões culturais de usuários na rede. Trabalhar em favor do acesso, produção, circulação e qualidade dessas expressões traz o sentido de pertencimento de um grupo, chave para a constituição da cultura nipo-brasileira. / The main object of this research is to show the presence of Nipo-Brazilian pop culture in digital media through cultural expressions by the Brazilian fans of manga and anime (Japanese comics and animation, respectively), fashion and cosplay practice that are shared over the internet. Since its insertion in Brazil, Japanese pop culture was related to communication technologies and to the activities of Brazilian fans that were engaged with what they consumed. Digital media produced changes in social configurations, in a way that the individual has an active role on the web, developing different ways of using and appropriating such environments, and that, consequently, expands the fans\' field of action. These are individuals that not only do not feel satisfied with what they receive (passive appropriation); in a participative manner, they produce content based on their favorite fictional universes. As a methodological approach, this work adopted an exploratory method, based on bibliographic research of the concepts related to the advancements of information and communication technologies and the emerging spaces on the web, transmedia, convergence and participation, as well as the conceptualization of Nipo-Brazilian culture\'s expressions that are the subject of this research. An observational method was also adopted to show the most recent occurrences of the prominence of the Nipo-Brazilian pop culture public in the digital scenario. This way, in face of such scenario, we considered that, although they raise problems in the area of Information Sciences, the new communication and cultural mediation processes in the digital scenario must be rethinked, since they are essential processes for the appropriation of web users\' cultural expressions. Working to promote access, production, flow and quality of such expressions brings a sense of belonging to a group, the key to the constitution of Nipo-Brazilian culture.

Essa dissertação consiste na análise das representações das mulheres em videoclipes de música pop com temáticas relacionadas à ficção científica, baseada no substrato teórico da análise do discurso e da semiótica greimasiana. A partir dos videoclipes foram realizadas atividades de divulgação científica voltadas a pré-adolescentes de um Centro para Crianças e Adolescentes, localizado no bairro Jardim Keralux, na cidade de São Paulo. Estas atividades buscaram colocar em evidência a figura da mulher em produtos midiáticos que têm relação com a ciência, utilizando, além do videoclipe, algumas personagens de quadrinhos e séries televisivas, também de ficção científica. As 5 atividades desenvolvidas com os(as) pré-adolescentes priorizaram o lúdico e o diálogo, tendo como metodologia norteadora a pesquisa-ação, processo que liga intimamente teoria à prática. Estão presentes, além da análise dos videoclipes e atividades, discussões teóricas sobre ciência, divulgação científica, mulher e ciência e as relações entre mídia, ciência e tecnologia, que afetam direta e indiretamente as mulheres. As reflexões e as atividades práticas demonstraram a importância do desenvolvimento de uma perspectiva crítica em relação à mídia e à ciência e tecnologia, e que produtos midiáticos podem ser uma boa maneira de introduzir assuntos de interesse, atuando como ferramenta capaz de atrair a atenção das(os) pré-adolescentes. Foi possível perceber que as atividades funcionaram como uma espécie de diagnóstico sobre as(os) pré-adolescentes, como o que pensam sobre as mulheres, sobre a ciência, o bairro em que moram, a escola em que estudam, o que gostam de fazer e como se comportam em grupo, além de aproximá-los(as) do espaço em que se encontra a Escola de Artes, Ciências e Humanidades da Universidade de São Paulo / This dissertation consists in the analysis of women\'s representation in music videos of pop music with themes related to science fiction, based on the theoretical substrate of discourse analysis and Greimas semiotics. From the video clips were carried out activities of scientific dissemination aimed at pre-adolescents of a Center for Children and Adolescents, located in Jardim Keralux, in the city of São Paulo. These activities sought to highlight the figure of women in media products that are related to science, using, in addition to the video clip, some science fiction comic book characters and television series. The 5 activities developed with the pre-adolescents prioritized the playful and the dialogue, having as a guiding methodology the action research, a process that closely links theory and practice. In addition to the analysis of video clips and activities, theoretical discussions on science, scientific dissemination, women and science, and the relationships between media, science and technology, which directly and indirectly affect women, are present. Reflections and practical activities have demonstrated the importance of developing a critical perspective on the media and science and technology, and that media products can be a good way of introducing subjects of interest, acting as a tool capable of attracting the attention of the pre-adolescents. It was possible to perceive that the activities worked as a kind of diagnosis about pre-adolescents, such as what they think about women, about science, the neighborhood in which they live, the school in which they study, what they like to do and how they behave in a group, in addition to approaching them to the School of Arts, Sciences and Humanities of the University of São Paulo

This thesis examines a new genre in Bible publishing: the BibleZine, a combination of the Bible with the formatting and visual elements of a teenage fashion magazine. The first BibleZine, Revolve: The Complete New Testament, appeared in the summer of 2003 and sold all of its 40,000 copies in a matter of months. This success has inspired a new line of Bible products, as several follow-up editions of Revolve and other BibleZines have flooded the marketplace. While the publisher and editors of Revolve claim that their modern creation is meant to inspire young readers to connect with the text of the New Testament, the forceful combining of the two disparate genres has produced an artifact whose form undermines and trivializes biblical content.<p> The significance of the BibleZines message extends beyond its updated magazine format. This thesis uses the theories of Kenneth Burke, George Dillon, Edwin Black, and several other rhetorical critics to reveal and critique the editorial influence found in this updated New Testament. The analysis is divided into three chapters that examine specific elements of the carefully orchestrated BibleZine, from the impact of Revolves prominent magazine-like features to the pseudo-friendships the editors create to influence its young target audience. Revolve does not represent a unique way of interpreting the Bible for a new generation. It may look contemporary in its format, but Revolve masks a materialistic and highly conservative ideology that will negatively influence its young readers in how they approach matters of identity and spirituality. My analysis will reveal the numerous ways the editors of the BibleZine use and manipulate biblical sanction in order to convey a consumeristic ideology.

A reflective essay to accompany the thesis exhibition, the Wanderer, installed in the Gordon Snelgrove Gallery, 2013. An exploration of the questions and concepts informing the process of developing and refining the visual vocabulary of my practice. Images of women, topographical maps, floral imagery and astronomical maps provide the vocabulary of the language and syntax that I am developing to enunciate the interrelationships between the construction of self and lived experience, with concepts of identity, body and gesture, history and place.

This thesis examines a new genre in Bible publishing: the BibleZine, a combination of the Bible with the formatting and visual elements of a teenage fashion magazine. The first BibleZine, Revolve: The Complete New Testament, appeared in the summer of 2003 and sold all of its 40,000 copies in a matter of months. This success has inspired a new line of Bible products, as several follow-up editions of Revolve and other BibleZines have flooded the marketplace. While the publisher and editors of Revolve claim that their modern creation is meant to inspire young readers to connect with the text of the New Testament, the forceful combining of the two disparate genres has produced an artifact whose form undermines and trivializes biblical content.<p> The significance of the BibleZines message extends beyond its updated magazine format. This thesis uses the theories of Kenneth Burke, George Dillon, Edwin Black, and several other rhetorical critics to reveal and critique the editorial influence found in this updated New Testament. The analysis is divided into three chapters that examine specific elements of the carefully orchestrated BibleZine, from the impact of Revolves prominent magazine-like features to the pseudo-friendships the editors create to influence its young target audience. Revolve does not represent a unique way of interpreting the Bible for a new generation. It may look contemporary in its format, but Revolve masks a materialistic and highly conservative ideology that will negatively influence its young readers in how they approach matters of identity and spirituality. My analysis will reveal the numerous ways the editors of the BibleZine use and manipulate biblical sanction in order to convey a consumeristic ideology.

The following study examines the construction of political identities in the cinematic adaptations of Suzanne Collins "The Hunger Games". This is done through the lense of a post-structuralist, discourse-oriented, theoretical framework. Drawing on Chantal Mouffe's and Ernesto Laclau's concept of hegemony as well as Kimberle Crenshaw's theory of intersectionality (amongst others), I used the series main protagonist - Katniss Everdeen - as the focal point of my analysis. Situated in the intersection between class, gender and race, she is a pivotal subject in the hegemonic struggle of the films, having been labelled as a feminist icon. My aims were as follows: Firstly, I wished to establish the hegemonic structures of The Hunger Games. Secondly, I interpreted in what ways Katniss Everdeen related to these, and lastly, I sought to connect my findings to central concepts of school democracy - as I am to become an upper secondary teacher in social studies.       The analysis leaves one ambiguous as to whether Katniss is to be seen as a subversive or conformist figure. If we look at the narrative where she acts as the unifying "Mockingjay" in the struggle against "The Capitol", several subversive acts can be found - especially concerning class. However - the parallell narrative of the love-triangle, the one between Katniss, Peeta and Gale, distorts the picture. The revolutionary subversiveness of Gale is contrasted with the democratic conformity of Peeta. In the end, Katniss chooses the latter. This is to be seen against the horizon that most characters in disadvantaged positions die in their hegemonic resistance. Democracy is thus construed as the safe option, whereas heteronormativity and racism remain largely unchallenged. Regarding the reality of pupils - Katniss can be used to illustrate the limits and possibilities of the intersectional experience, and more so, to demonstrate the precariousness of diverging from the norm.

Bakgrund: Sedan 2004 då H&amp;M samarbetade med Karl Lagerfeld har samarbeten inom modebranschen blivit ett välkänt fenomen som idag är en marknadsföringsstrategi för varumärken i olika segment. Samarbeten genererar ofta positiva aspekter för de inblandade parterna men det finns även risk för nackdelar om samarbetet inte utförs på rätt sätt. Därutöver har modebranschen utvecklats de senaste åren och effekterna av samarbeten inom modebranschen har påverkat denna utveckling i viss utsträckning. Syfte: Studiens syfte är att få en ökad förståelse för hur olika företags lågprisvarumärken och lyxvarumärken inom modebranschen påverkas av ett samarbete i form av en gemensam kollektion. Studien vill även skapa en uppdaterad förståelse för vilka synergieffekter som kan uppstå av dessa samarbeten, hur dessa samarbeten influeras av dagens modebransch, samt hur framtidsutsikten ser ut. Metod: Studien utgår ifrån en kvalitativ forskningsmetod där empiri har samlats genom semistrukturerade intervjuer med sju experter som har kunskaper inom de ämnesområden som berör studien. Empirin har analyserats med hjälp av tidigare studier för fylla de gap som existerar för samarbeten inom modebranschen. Slutsats: Studien konstaterar att samarbeten kan påverka både lågpris- och lyxvarumärkens brand equity och att de positiva effekterna överväger de negativa. Lågprisvarumärken tenderar dock att gynnas mest av ett samarbete. Influenser från bland annat populärkultur och nya typer av konsumenter har fått ett ökat inflytande på både modebranschen och samarbeten inom den. Framtiden bedöms som osäker av experterna. Dock framställs co-branding samtidigt som en lösning på den alltmer komplicerade modemarkanden. / Background: Since 2004 when H&amp;M collaborated with Karl Lagerfeld has co-branding become a well-known phenomenon that now serves as a marketing strategy for clothing brands in different segments. These collaborations often generate positive aspects for the partners who are involved. There are however risks if the collaborations are not executed properly. The fashion industry has evolved in the last years and the consequences of collaborations have affected it to some extent. Purpose: The purpose of this study is to research and create a developed understanding of the effects that may arise when a low-budget brand and a luxurious brand create a clothing collection together. The study also wants to examine potential synergies that a collaboration may generate, how these collaborations are influenced by todays fashion industry, as well as what the future might look like. Methodology: This study applies a qualitative research method where empirical data has been gathered through semi-structured interviews with seven experts who have knowledge about the subject areas that are relevant to the study. The empirical data has been analyzed with the help of previous studies in order to fill the knowledge gaps that exist for collaborations within the fashion industry. Conclusions: The study establishes that collaborations can indeed affect both the low-budget brand and the luxurious brand’s brand equity. It also found that the positive effects outweigh the negative. Low-budget brands however, tend to be more rewarded than luxurious brands in these collaborations. Influences from pop culture and new types of consumers have gained an increased power on both the fashion industry and the collaborations within it. The future is deemed uncertain by the experts but co-branding is however portrayed as a possible solution for the complicated fashion market that exists today.

Esta pesquisa visa trazer à tona uma inusitada reflexão sobre espiritualidade. O pano de fundo para esta reflexão dá-se diante do contexto urbano de qualidade cosmopolita, principalmente. O desejo central desta pesquisa é o de proporcionar um diálogo entre uma representação da realidade, a partir do contexto urbano, através da análise de uma espiritualidade manifesta na sitcom Friends e diante da ótica de Leonardo Boff no tocante a espiritualidade. Assim, se fosse possível esboçar uma visão disto, se propõe alguém diante da TV, assistindo episódios do seriado Friends e com os indicados textos de Boff, nas mãos. Melhor, ainda, alguém sentado junto de Boff, ambos assistindo ao famoso seriado e lançado suas percepções em um amistoso diálogo, cheio de interesse para reconhecer pontos de correlação entre o que pensa, diz e escreve o teólogo e o que descreve a série em áudio, imagem e movimento. Pela abordagem específica da obra de Boff, em Virtudes para um outro mundo possível, se procurará fazer esta inusitada dinâmica. Existe interlocução, entretanto, com diversos autores de tradições distintas, além de pesquisas sobre cultura midiática/televisiva e espiritualidade. A pesquisa lança mão, portanto, de uma suposição de que seja possível encontrar na representação televisiva do cotidiano, possibilidades de compreendê-lo. Aborda-se, de igual forma, alusão de que o pensamento teológico contemporâneo busca respostas sobre uma espiritualidade vivenciada neste ambiente, dito urbano e cosmopolita. Para representar este espaço cosmopolita, elegeu-se a sitcom Friends como manifestação e representação oportuna desta realidade que invade o modo de viver. De outra ponta e na expectativa de um encontro, se elenca perspectivas da obra e do pensamento de Leonardo sobre espiritualidade. Para tanto, inicia-se com definições gerais de espiritualidade e, após, uma definição pertinente para esta pesquisa. Segue-se com uma definição do que seja uma sitcom, além de uma apresentação do seriado Friends. A partir deste ponto, propostas sobre espiritualidade são convencionadas, a saber, espiritualidade implícita (rastros/resquícios da fé sobreviventes não atrelados ou comprometidos a uma tradição), espiritualidade explícita (formalidades e legado religiosos atrelados a uma ou outra tradição de fé), e a espiritualidade manifesta (amizade/comunhão em que elementos como hospitalidade, convivência e comensalidade se apresentam para início e manutenção destas). Diante desta última caracterização de espiritualidade (manifesta), se busca perceber e analisar na sitcom Friends questões como a hospitalidade, a convivência e a comensalidade; e, na sequência, um destaque para quando isto leva a outro nível de comunhão: o casamento. Por fim, uma reflexão e proposta de (re)leitura da conduta, do posicionamento e do relacionamento das nossas comunidades de fé em contextos urbanos, cosmopolitas. / This research seeks to discuss an uncommon reflection about spirituality. The background for this reflection mostly takes place within the cosmopolitan urban context. The main goal of this research is to provide a dialogue between a representation of reality, from the urban context, through the analysis of a spirituality manifested in the sitcom Friends, and through the eyes of Leonardo Boff and his perspective on spirituality. Thus, if it is possible to sketch a vision of this, imagine someone in front of the TV, watching episodes of Friends with the indicated texts Boff in his hands. Better yet, imagine someone sitting next to Boff, both watching the hit series and sharing their perceptions in a friendly dialogue, both devoted to recognizing points of correlation between what the theologian thinks, says, and writes, and what composes the series in audio, image, and movement. This specific approach to Boffs work, Virtues: For Another Possible World, aims to create these unusual dynamics. There is dialogue, however, with several authors from different traditions, in addition to research on media/television culture and spirituality. This research sheds the assumption that you can find possibilities to understand television in its everyday representation. Similarly, it approaches the allusion that contemporary theological thinking seeks answers over a spirituality experienced in an urban and cosmopolitan environment. To represent this cosmopolitan environment, the research elects the sitcom Friends as a timely manifestation and representation of this reality that is ever so relevant to our way of life. At the other end, but with the expectation of a point of correlation, the research lists perspectives of the work and the thoughts of Leonardo in regards to spirituality. To do so, the research starts with general definitions of spirituality, and then a definition relevant for this research. It continues by providing a definition of what a sitcom is beyond the sitcom Friends. From this point on, proposals about spirituality are agreed on, namely implicit spirituality (traces/remnants of faith that survives not dependent on or committed to a tradition), explicit spirituality (religious formalities and legacies tied to ambiguous traditions of faith), and spirituality manifested (friendship/fellowship in elements such as hospitality, conviviality, and commensality present themselves to start and maintain themselves). In this last characterization of spirituality (manifested), the research seeks to understand and analyze, in the sitcom Friends, issues such as hospitality, conviviality, and commensality; and, following, a highlight of when these issues lead to another level of communion: marriage. Finally, a the research engages in a discussion and proposed (re)reading of the conduit, positioning and relationship of our faith communities in urban and cosmopolitan contexts.