Submitted by Erika Demachki (erikademachki@gmail.com) on 2017-02-20T18:00:10Z No. of bitstreams: 2 Dissertação - Mauricio Pessoa Peccin - 2017.pdf: 6973745 bytes, checksum: 46a2128e96cf335b36d5e65133dc0295 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: Dissertação (mestrado em Comunicação) ERRADO Dissertação (Mestrado em Comunicação) CERTO on 2017-02-21T12:31:45Z (GMT) / Submitted by Erika Demachki (erikademachki@gmail.com) on 2017-02-22T17:41:22Z No. of bitstreams: 2 Dissertação - Mauricio Pessoa Peccin - 2017.pdf: 6973745 bytes, checksum: 46a2128e96cf335b36d5e65133dc0295 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2017-02-22T17:42:21Z (GMT) No. of bitstreams: 2 Dissertação - Mauricio Pessoa Peccin - 2017.pdf: 6973745 bytes, checksum: 46a2128e96cf335b36d5e65133dc0295 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-22T17:42:21Z (GMT). No. of bitstreams: 2 Dissertação - Mauricio Pessoa Peccin - 2017.pdf: 6973745 bytes, checksum: 46a2128e96cf335b36d5e65133dc0295 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to reflect on the growing importance that virtuality, as conceptualized by Baudrillard (1990; 1994; 2000), acquires within the cultural context of Postmodernity (LYOTARD, 1984; Bauman, 2007; LIPOVETSKY, 2007), widely understood by its researchers as the age of consumerism. The forms of experience, as conceptualized by Nietzsche (1998; 2000; 2004), that are possible under the scope of the real differ from those of the virtual due to the different nature of physical spaces and spaces of representation, according to Lefebvre (1991). With the advent of information technology, such as the mass media and the internet, since the end of the 19th century and the consequent increase in the presence of virtuality in daily life, the possibilities to experience gain a new dimension that is difficult to observe due to its subjective nature. To overcome this elusive aspect, we have adopted the use of electronic games as a tool of observation. Products of post-modern culture, we take them as cultural assets (GEERTZ, 1973) made of valuable speeches to the striking consumerism that takes place nowadays, as described by Bauman, that are able to enlighten the nature of virtual space with greater clarity than other media for its interactive and responsive nature. We seek to check the theoretical validity of our main hypothesis, that the technologically mediated contact with virtuality, an instance established by different kinds of experiences than that of the real, has resonance in culture, intensifying and accentuating its consumerist aspects because of the reciprocal dynamic between culture and cultural assets. In order to answering this question, we undertake a reflection on postmodern culture and the magnetism exerted by virtuality in its individuals, made evident by the commercial success of electronic games. We believe that its power of influence in this cultural context is connected to what we consider to be the consumerist utopia: to consume all of reality, translated into it simulacrum in the virtual space. / Essa pesquisa tem como objetivo refletir sobre a crescente importância que a virtualidade, como conceituada por Baudrillard (1990; 1994; 2000), adquire no contexto cultural da Pós-Modernidade (LYOTARD, 1984; BAUMAN, 2007; LIPOVETSKY, 2007), majoritariamente compreendido por seus pesquisadores como a era do consumismo. As formas de vivência, conceituada a partir de Nietzsche (1998; 2000; 2004), possíveis no âmbito virtual diferem das possíveis no plano do real devido à natureza diferente dos espaços físico e de representação, segundo Lefebvre (1991). Com o advento das tecnologias de informação, como as mídias de massa e a inter net, desde o final do século XIX e o consequente aumento da presença da virtualidade no cotidiano, as possibilidades de vivência ganham uma dimensão nova difícil de ser observada devido à sua natureza subjetiva. Para superar esse aspecto elusivo, adotamos o uso dos jogos eletrônicos como ferramenta de observação. Produtos da cultura Pós-Moderna, tomamo-nos como bens culturais (GEERTZ, 1973) constituídos por discursos valiosos ao consumismo marcante dessa época, como descrito por Bauman, e aptos a iluminar o espaço virtual/de representação com maior clareza do que outras mídias por seu caráter interativo e responsivo. Buscamos verificar a validade teórica de nessa principal hipótese, a de que o contato tecnologicamente mediado com a virtualidade, uma instância estabelecida por formas de vivência distintas das experimentadas no real, tem ressonância na cultura, acirrando e acentuando seus aspectos consumistas por causa da dinâmica de reciprocidade estabelecida entre cultura e bens culturais. Para responder essa questão, empreendemos uma reflexão acerca da cultura Pós-Moderna e do magnetismo exercido pela virtualidade nos indivíduos que a constituem, evidenciado pelo sucesso comercial dos jogos eletrônicos. Acreditamos que seu poder de influência nesse contexto cultural esteja ligado ao que consideramos a utopia consumista: consumir por inteiro a realidade, traduzida em simulacro no espaço virtual.

O presente trabalho busca refletir sobre uma nova forma de ver e viver o tempo, mais equilibrada e qualitativa, a partir da exposição da ideologia do Movimento Devagar. Além disso, procura investigar sobre as razões e motivações que vem tornando-o atrativo e desejado, mesmo se visto sob o contexto contemporâneo inegavelmente apoiado na velocidade como fator competitivo e diferenciador. Frente a necessidade do Devagar precisar da vivência prática para existir além do plano teórico, busca-se aprofundar duas relações interdependentes e determinantes para sua efetiva realização: a do indivíduo com o trabalho e com o consumo. Finalmente, a partir do viés de uma sociedade em mutação, marcada por paradoxos e oscilações, espera-se levantar possibilidades interpretativas que possam apontar caminhos identitários para o devagar, tão plurais como o próprio contexto. / This paper reflects upon a new way of seeing and experiencing time in a more balanced and qualitative way, based on the exposure of the ideology of the Slow Movement. Besides, it aims to investigate the reasons and motivations that are making slow an attractive and desired option, even when the contemporary context is undeniably supported by speed as a competitive and differentiating factor. As Slow Movement needs practical experience to exist beyond the theoretical level, this paper contemplates two interdependent relationships crucial to its achievement: ones relation with work and consumption. Finally, from a changing societys perspective, characterized by paradoxes and oscillations, this work expects to raise possible interpretations that lead to slow identity traits as plural as the context itself.

Qu'est-ce que la mélodie ? Si cette question délicate a animé de nombreux débats esthétiques du XVIIe siècle au début du XXe siècle, peu de spécialistes se sont aujourd'hui risqués à une étude de la mélodie, appliquée au répertoire contemporain. Parfois considérée comme illégitime, voire archaïque après 1945, la mélodie n'a pourtant que provisoirement disparu de l'espace musical et non sans laisser quelques scories riches de sens. Ce travail tente justement d'éclairer les enjeux et les différentes mutations de la mélodie, synthétisées à travers trois directions poursuivies par les compositeurs : premièrement, les résistances, illustrant la promotion d'un mélos généreux et prépondérant, qu'il soit ou non marqué par le néoclassicisme ; deuxièmement, les ruptures, nourries par le pointillisme sériel, puis par la dissolution du degré dans la masse sonore et par la recherche d'une fusion entre harmonie et timbre, d'où la mélodie ne subsiste que par bribes éparses ; troisièmement, les résurgences, caractérisées après 1960 par un dépassement de la modernité radicale et de ses prescriptions anti-mélodiques, allant parfois jusqu'à la citation ou recherchant une forme de communication nouvelle, pouvant être en lien avec l'expression du sacré. / What is melody? Despite the fact that this subtle question was largely debated upon from 17th to early 20th century from an aesthetic viewpoint, few specialists nowadays dare to study melody in contemporary repertoire. Sometimes regarded as illegitimate or even archaic after 1945, melody has only temporarily vanished from the musical scene, leaving some meaningful residues. This study aims at highlighting what is at stake in the diverse mutations of melody along three directions followed by composers : firstly, resistances exemplifying the promotion of a generous melos, whether it be marked by neoclassicism or not ; secondly, breaks nourished by punctual music, and then by the dissolution of degree in the sound mass and by the quest for a fusion between harmony and timbre, from which melody only survives through scattered fragments ; thirdly, resurgences characterized, after 1960, by an overcoming of radical modernity and its anti-melodic prescriptions, and sometimes taking the form of a quotation or looking for a new way of communication, which can be related to the expression of the sacred.

Ce projet de recherche souhaite démontrer qu’une nouvelle ère s’instaure (la postmodernité) où l’imaginaire initiatique réinvente une nouvelle forme de socialisation. Il s’agit de questionner les pratiques sociales liées à l’imaginaire initiatique (cosplay, japan expo, jeux en ligne), ainsi que l’impact provoqué dans la vie quotidienne des individus. En fait, on se demandera si l’imaginaire initiatique entraîne des changements de comportements, crée des habitus. Ce qu’il est nécessaire de souligner, c’est que l’homme postmoderne accède au domaine du sacré, entreprend une démarche initiatique, à partir de ce qu’il vit dans les mondes fictionnels. Cette manière d’être est tout à fait légitime, et s’apparente sans aucun doute à une nouvelle façon de vivre l’initiation des sociétés archaïques, l’essentiel étant de retrouver un sens magique du monde. Nous serons ainsi amener à interroger la fonction fantastique de l’imaginaire initiatique, c’est-à-dire sa capacité à ordonner symboliquement un sens authentique à l’existence sociale et permettre à l’individu de dépasser l’aspect tragique de la réalité opaque. / This research project would like to show that a new era is established (postmodernity) where initiatic imaginary reinvents a new form of socialization. It’s a matter of questioning social practices related to initiatic imaginary (cosplay, japan expo, plays on line), as well as the impact caused in the everyday life of individuals. In fact, we shall wonder whether the initiatic imaginary involves changes of behaviors, creates habitus. What it is necessary to underline, it is that the postmodern man reaches the field of sacred, takes an initiatic step, from what he lives in the fictional worlds. This way of being is completely legitimate, and is connected without any doubt with a new way of living archaic initiation, the main thing being to find a magic direction of the world. Thus we shall be brought to question fantastic function of initiatic imaginary, that is its capacity symbolically to order an authentic direction to social existence and to allow individual to overtake the tragic aspect of opaque reality.

This dissertation analyses and critically evaluates an aspect of Karl Barth's thought, the understanding of which is important to a broader understanding of Barth, his relationship to other (especially iconoclastic) thinkers, and his relevance for contemporary theology: his understanding and critique of idolatry and the idol. Chapter 2 argues that it was revelation which both drove Barth's idolatry-critique and determined his concepts of idolatry and the idol. It analyses Bath's idolatry-critique as it was levelled against natural theology, and offers an evaluation of the picture of Barth's thought which emerges. Chapter 3 analyses Barth's idolatry-critique in relation to the doctrine of God. Directives which, for Barth, had to be adhered to within the development of the doctrine of God for the avoidance of idolatry, are discussed. Finally, an evaluation and critique of Barth's critique of idolatry within the doctrine of God, and of his own adherence to these directives, is offered. Chapter 4 analyses the relationship of Barth's idolatry-critique to his discussion of religion. It is shown that Barth, in his mature thought, criticised both the essence of religion and certain theological uses of the concept of religion as idolatry. Barth's critique of religion as idolatry is itself subjected to critique, and the question of what bearing his critique of religion as idolatry ought to have for Christian, theological engagement with adherents of other world religions is taken up. Chapter 5 summarises and discusses further some of the findings and implications of this study. It is suggested that Barth's thoroughly christological critique of idolatry (which is not without its own problems), in that it stands in contrast to the less particularistic forms of idolatry-critique set forth by several other modern scholars, raises the question of whether an idolatry-critique like his own might be called for within contemporary theology.

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.

The purpose of this study was to explore a phenomenon known as pexing that is prevalent in South Africa‟s Black youth. The study aimed to explore the nature of pexing in relation to other conspicuous consumption behaviours and understand the drivers for this behaviour. The study interviewed a sample of 10 participants. Findings of the study indicated that pexing is similar to conspicuous consumption but also has aspects that are distinct to it and the researcher proposes a framework and term (destructive conspicuous consumption) for this noted consumption activity. The study also shows that although different to anti-consumption pexing has some anti-consumption behaviours. The study also identifies antecedents that lead to the noted behaviour and these range from a low income environment to adult modelling. Relationships and links between antecedents; coping strategies and the resultant consumption activity (Pexing) was demonstrated. The research then concludes by making recommendation to both government and marketers in light of the findings of this research. The research also highlights some socio-economic considerations of pexing and also suggests other variables to be researched that are key to further understanding of pexing. / Dissertation (MBA)--University of Pretoria, 2012. / Gordon Institute of Business Science (GIBS) / unrestricted

Made available in DSpace on 2017-06-01T18:12:53Z (GMT). No. of bitstreams: 1 sebastiao_hugo_brandao_lima.pdf: 1454826 bytes, checksum: 563ca2b8873b1420e81b94a9fa5a8d22 (MD5) Previous issue date: 2015-01-23 / Partimos nesta pesquisa tentando entender parte do pensamento de Friedrich Nietzsche: sua crítica à Religião cristã, no tocante a seu discurso acerca da morte de Deus , e a recepção da sua filosofia no cenário religioso pós-moderno. Buscamos apresentar o seu discurso da morte de Deus partindo da obra Gaia Ciência, discurso que relaciona-se com a desvalorização do mundo metafísico e a perda de crédito no Deus cristão. A fé em Deus perdeu plausibilidade, instaurando o niilismo. Problematizamos a crítica de Nietzsche a Religião cristã, mas, sobretudo, crítica à cultura de sua época. Ele critica uma sociedade edificada sob o ideário cristão que está amparado em uma moral que, por séculos, foi usada como mecanismo de domínio e manutenção de poder. Nietzsche entende o Cristianismo enquanto negação da vida e/ou Religião da decadência. A crítica de Nietzsche ao Cristianismo tem como alvo o sujeito enquanto agente moral. Todavia, não é necessariamente uma crítica a Jesus, o Cristo, visto que, Nietzsche considerava Paulo o verdadeiro fundador do Cristianismo. Nesta pesquisa analisamos alguns aspectos da Religião na pós-modernidade e a recepção do pensamento de Nietzsche neste cenário. Hoje, com a pós-modernidade, a Religião, ao menos suas representações institucionais, tornou-se coadjuvante no debate sobre temas relevantes, porém, a humanidade prossegue vivendo dimensões religiosas, cada vez mais particulares e subjetivas. Dialogamos no decorrer da pesquisa com vários autores que discorrem sobre a Religião na pósmodernidade de forma positiva e que, de alguma forma, dialogam com Nietzsche. Com a pós-modernidade e seu processo de secularização, a Religião não se encerra, ao contrário, ela ressurge e se difunde. Mesmo não tendo o protagonismo que exercia antes, a Religião continua exercendo papel importante na pós-modernidade, estando presente em todas as áreas do desenvolvimento humano.

The Age of Trump witnessed the visible rise of intense culture wars and polarization in the United States. While culture wars are not new phenomena, the current iteration has digital media acting as new discursive structures and mediating battlegrounds for all sides of the cultural conflict. This project chronicles these online culture wars, demonstrating how within a neoliberal and postmodern socio-cultural condition, the rise of ambivalent, profit-driven digital technologies and platforms structure affect and mediate newly networked neo-reactionary populist (sub)cultural ideologies and discourses. The resulting online ecosystems afforded the digital formations of obscure reactionary subcultures (trolls, antifeminists, the alt-right, etc.) with particular personalized and affectively driven memetic communicative logics. These reactionary affective publics eventually began converging under perceived common ideological and social interests as online actions and reactionary discursive (re)formations and (re)networkings were catalyzed by (sub/cross)cultural conflicts and moments of sentimental activation. This led to the emergence of affectively charged and informally networked reactionary publics which began spilling out into the offline world alongside Trump's ascendancy to the White House. The increasing progressive reactions during the Trump Era also faced limitations in combatting reactionary politics due to structural dynamics of digital media and the larger culture war filtering of politics. The overall macro function of these new online culture wars is the bipartisan obfuscation and undermining of a collectivist and materialist reality and engagement with politics in the favor of a more personalized, symbolic and affective engagement that is indicative of the neoliberalized postmodern era.

In this thesis, the practice of Chaos magick and the practice and mythology of Discordianism are compared to different subversive techniques used in internet culture and specifically in internet trolling. Chaos magick is described from the sigil-making of Austin Osman Spare through the playbacks of William S Burroughs to contemporary practitioners. The Chaos magick practices unveiled in this investigation are compared to practices in internet culture and specifically internet trolling through avariety of different themes, from memes to doxing to the chaos of apophenia.