The influence of the Roman Republic and Empire is visible everywhere in the contemporary United States government. Some even propose a “democratic legacy” that the United States has inherited from the Roman Republic, a legacy that dooms modern America to a similar “decline and fall.” These arguments reached their apex in journalism surrounding the 2016 presidential election. A comparison between American Presidents and Roman Emperors proves that these assertions are false, employing case studies in each society’s democracy, interactions with deliberative bodies, public image management, and demagoguery. The distinctness of Roman and American social and political culture in each of these areas suggests a fundamental incongruity between the political figures of the two cultures. Even apparent commonalities can be misleading, as there are significant structural or cultural discrepancies that prevent scholars from drawing conclusions about Presidents using the Roman Imperial example. The argument of this thesis is therefore historiographical in nature: The findings this thesis contains suggest that modern scholars should not read history, specifically Roman history, to predict or justify present political circumstances. The comparisons made between Emperors and Presidents instead serve to prove the distinctness of contemporary American political culture as well as ancient Roman political culture. Acknowledgement of the uniqueness of both of these societies allows scholars to better understand both Presidents and Emperors within their own context. This separation will also lead to more directed, better informed study in the field of Roman history and in the field of modern American governmental policy.

Made available in DSpace on 2016-04-27T19:30:04Z (GMT). No. of bitstreams: 1 Marta Helena Rosa da Silva.pdf: 349891 bytes, checksum: 3fc3959afa58f1c2129db27a33b3d8e2 (MD5) Previous issue date: 2010-10-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research focuses on the life of black women who do domestic work professionally in the recent history of the city of Uberlândia. They told their life history in an interview whose field of dialogue is the building of, and the changes in, black people s public image in the local press. This dissertation has three chapters. The first chapter deals with the representation of black people in Correio de Uberlandia newspaper, whose stories and articles have made possible to notice changes in representations, debates on the racial discrimination and prejudice, transformations, ambiguities, and tensions in the conveying of Uberlândia s black men s and women s public image. They also allowed reflecting on the progress of national and local struggle against discrimination and on the social movements actions from 1980 onwards. The second chapter focuses on the life history of black women who do domestic work professionally in Uberlândia in a period of changes in ethnic and racial relations; according to the account of some these women, schooling has played a central role in their experience of searching for better life conditions and perspectives. At last, based on their life accounts and on movement leaders accounts, the third chapter analyzes perceptions and experiences related to the racial prejudice and discrimination in the current state of affairs in Uberlândia / Esta pesquisa analisa a trajetória de mulheres negras empregadas domésticas na história recente da cidade de Uberlândia (MG) e suas percepções sobre discriminação e preconceito. A trajetória das entrevistadas tem como campo de diálogo a construção e transformação das imagens públicas do negro na imprensa escrita local. A dissertação resultante da pesquisa se articula em três capítulos. O primeiro capítulo enfoca como o negro foi representado historicamente na imprensa de Uberlândia; a leitura de textos noticiosos e de opinião publicados no jornal Correio de Uberlândia permitiu perceber mudança nas representações, disputas em torno da discriminação e do preconceito, transformações, ambiguidades e tensões na veiculação da imagem pública de homens e mulheres negros de Uberlândia; também possibilitou refletir sobre o avanço das lutas nacionais e locais contra discriminação e sobre a atuação de movimentos sociais a partir dos anos de 1980. O segundo capítulo aborda a trajetória de vida e experiências de mulheres negras empregadas domésticas em Uberlândia nesse período de transformação das relações étnico-raciais; segundo o relato de várias entrevistadas, em meio a suas experiências em busca de melhores condições e perspectivas de vida, a escolarização assumiu importância central. Enfim, com base no relato dessas mulheres e de líderes dos movimentos, o terceiro capítulo analisa percepções e experiências sobre o preconceito e a discriminação na conjuntura atual da cidade

Esta pesquisa trata das maneiras pelas quais a imagem pública do artista popular gaúcho Vitor Mateus Teixeira, conhecido como Teixeirinha – que morreu em 1985, depois de uma longa carreira de sucesso no Brasil e no exterior na música e no cinema – é construída, percebida e colocada em circulação. Através de uma etnografia das manifestações de seus fãs no cemitério da Santa Casa, das correspondências dos fãs, dos discursos da imprensa escrita e televisiva sobre o artista, e dos projetos de vários agentes dedicados à gestão de sua imagem pública, especialmente aqueles conduzidos por sua família, representada pela Fundação Vítor Mateus Teixeira, eu tento mostrar como a imagem de um ídolo popular pode se tornar um objeto de disputas. Além disso, argumento que a trajetória de um “herói” do povo pode, através de um viés antropológico, ser tomada como uma espécie de lente através da qual se pode colocar em evidência muitas dimensões do imaginário e da memória coletiva da sociedade brasileira. / This research is about the ways through which the public image of gaucho popular artist Vitor Mateus Teixeira, known as Teixeirinha – who passed away in 1985, after a long successful career in Brazil and abroad in the music and cinema business – is built, acknowledged and placed into circulation nowadays. Through an ethnography of his fans’ manifestations at the Santa Casa cemetery, of fan mail, of the discourse from the press about the artist, and the projects of the various agents dedicated to the management of his current image, especially the ones conducted by his family, represented by the Vitor Mateus Teixeira Foundation, and the press from Rio Grande do Sul, I try to show how this image of a popular idol can become a disputed object. Besides that, I argument that the trajectory of a popular "hero" can, through an anthropological bias, be taken as a type of lens, which is able to place in evidence many dimensions of the imaginary and of the collective memory of the Brazilian society.

Esta pesquisa trata das maneiras pelas quais a imagem pública do artista popular gaúcho Vitor Mateus Teixeira, conhecido como Teixeirinha – que morreu em 1985, depois de uma longa carreira de sucesso no Brasil e no exterior na música e no cinema – é construída, percebida e colocada em circulação. Através de uma etnografia das manifestações de seus fãs no cemitério da Santa Casa, das correspondências dos fãs, dos discursos da imprensa escrita e televisiva sobre o artista, e dos projetos de vários agentes dedicados à gestão de sua imagem pública, especialmente aqueles conduzidos por sua família, representada pela Fundação Vítor Mateus Teixeira, eu tento mostrar como a imagem de um ídolo popular pode se tornar um objeto de disputas. Além disso, argumento que a trajetória de um “herói” do povo pode, através de um viés antropológico, ser tomada como uma espécie de lente através da qual se pode colocar em evidência muitas dimensões do imaginário e da memória coletiva da sociedade brasileira. / This research is about the ways through which the public image of gaucho popular artist Vitor Mateus Teixeira, known as Teixeirinha – who passed away in 1985, after a long successful career in Brazil and abroad in the music and cinema business – is built, acknowledged and placed into circulation nowadays. Through an ethnography of his fans’ manifestations at the Santa Casa cemetery, of fan mail, of the discourse from the press about the artist, and the projects of the various agents dedicated to the management of his current image, especially the ones conducted by his family, represented by the Vitor Mateus Teixeira Foundation, and the press from Rio Grande do Sul, I try to show how this image of a popular idol can become a disputed object. Besides that, I argument that the trajectory of a popular "hero" can, through an anthropological bias, be taken as a type of lens, which is able to place in evidence many dimensions of the imaginary and of the collective memory of the Brazilian society.

Esta pesquisa trata das maneiras pelas quais a imagem pública do artista popular gaúcho Vitor Mateus Teixeira, conhecido como Teixeirinha – que morreu em 1985, depois de uma longa carreira de sucesso no Brasil e no exterior na música e no cinema – é construída, percebida e colocada em circulação. Através de uma etnografia das manifestações de seus fãs no cemitério da Santa Casa, das correspondências dos fãs, dos discursos da imprensa escrita e televisiva sobre o artista, e dos projetos de vários agentes dedicados à gestão de sua imagem pública, especialmente aqueles conduzidos por sua família, representada pela Fundação Vítor Mateus Teixeira, eu tento mostrar como a imagem de um ídolo popular pode se tornar um objeto de disputas. Além disso, argumento que a trajetória de um “herói” do povo pode, através de um viés antropológico, ser tomada como uma espécie de lente através da qual se pode colocar em evidência muitas dimensões do imaginário e da memória coletiva da sociedade brasileira. / This research is about the ways through which the public image of gaucho popular artist Vitor Mateus Teixeira, known as Teixeirinha – who passed away in 1985, after a long successful career in Brazil and abroad in the music and cinema business – is built, acknowledged and placed into circulation nowadays. Through an ethnography of his fans’ manifestations at the Santa Casa cemetery, of fan mail, of the discourse from the press about the artist, and the projects of the various agents dedicated to the management of his current image, especially the ones conducted by his family, represented by the Vitor Mateus Teixeira Foundation, and the press from Rio Grande do Sul, I try to show how this image of a popular idol can become a disputed object. Besides that, I argument that the trajectory of a popular "hero" can, through an anthropological bias, be taken as a type of lens, which is able to place in evidence many dimensions of the imaginary and of the collective memory of the Brazilian society.

Made available in DSpace on 2014-12-17T14:19:43Z (GMT). No. of bitstreams: 1 SebastiaoFF.pdf: 448629 bytes, checksum: 4ac6abf16ea8a1b338a59557d2bea8df (MD5) Previous issue date: 2006-05-12 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Contemporary politics have assumed new configurations both in the way they are carried out and in the content publicized. Nevertheless, some practices are unchanged since antiquity. But the advent of the media and its circumstantial molding of current society have forced politics to make some changes to adapt both to mass media and to the new social practices in liberal democracy. Given that fact, this study tried to demonstrate how power has become personalized in Campina Grande, Para?ba, Brazil, by a politician named C?ssio Cunha Lima. Through the communications media and popular manifestations, he has been trying to create a symbiosis between Micarande a Carnival party (not held in the traditional Mardi Gras week) and his own public image, elaborating a process that identifies him with that event. In that way, he hopes to appropriate the festival and project his political image by using the party as na electoral currency in his publicity campaigns / A pol?tica contempor?nea tem assumido novas configura??es tanto nas suas formas de exerc?cio como no conte?do exposto publicamente. No entanto, algumas pr?ticas continuam imut?veis desde a antiguidade. Por?m, o advento dos meios de comunica??o e sua circunstancial moldagem na sociedade atual obrigou ? pol?tica algumas modifica??es necess?rias ? adequa??o tanto dos meios massivos quanto ?s novas pr?ticas de sociabilidade na democr?tica liberal. Diante disso, o estudo aqui apresentado procura demonstrar a personaliza??o do poder, em Campina Grande (PB), pelo agente pol?tico C?ssio Cunha Lima que, atrav?s dos meios de comunica??o e de uma manifesta??o popular, busca uma simbiose entre a festa Micarande, carnaval fora de ?poca e a sua imagem p?blica pol?tica, elaborando um processo de identifica??o pessoal com o evento citado. Objetiva, com tal fato, a apropria??o do festejo e a proje??o da sua imagem pol?tica, usando-a como moeda eleitoral e pol?tica nas suas campanhas publicit?rias

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-08-10T12:44:53Z No. of bitstreams: 2 Dissertação - Paulo Alexandre Faria Campos - 2017.pdf: 2376289 bytes, checksum: fc7436e95fee1dd4f591d95431729066 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-08-10T12:45:06Z (GMT) No. of bitstreams: 2 Dissertação - Paulo Alexandre Faria Campos - 2017.pdf: 2376289 bytes, checksum: fc7436e95fee1dd4f591d95431729066 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-08-10T12:45:06Z (GMT). No. of bitstreams: 2 Dissertação - Paulo Alexandre Faria Campos - 2017.pdf: 2376289 bytes, checksum: fc7436e95fee1dd4f591d95431729066 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-07-14 / This work begins by acknowledging, anchored in a few authors, that the way society is mediatized is the result of a process born from mankind’s need of interaction, from it’s origin, which is the human condition, the constitution of “self”, and that, combined to the incessant wave of new technologies creates and continues to create many layers of communication networks. It also recognizes that said networks will built the visibility spaces constructed by society, and disputed by historic actors, that generates symbolic production. As a central objective, this work aims to investigate if there were changes to the production of meaning on the part of the electorate starting with the television propaganda during the 2016’s Mayor elections in Goiânia and if they could be better understood, as a communicational event, under the light of Braga’s (2011) interactional devices, and concludes by proposing an activation element in communicational processes attached to said devices. In depth interviews, in two groups before and after the HGPE programs, were used as a qualitative research tool investigating the candidates, Mayor and municipal management’s public image and the changes occurred in the process. / Este trabalho começa por reconhecer, ancorado em alguns autores, que a forma de midiatização da sociedade resulta de um processo que nasce das necessidades de interação do homem, desde o seu surgimento, que é da condição humana, de formação do “eu”, e que, combinada à onda incessante de novas tecnologias, fez e faz surgir redes comunicacionais de várias ordens. Também reconhece que tais redes vão constituir os espaços de visibilidade construídos em sociedade, disputados pelos sujeitos históricos, que geram produção simbólica. Como objetivo central, este trabalho visa investigar se houve transformações de produção de sentido por parte do eleitor a partir dos programas eleitorais da televisão, na eleição para prefeito de Goiânia em 2016, e se elas podem ser melhor compreendidas, como um episódio comunicacional, à luz do conceito de dispositivo interacional, de Braga (2011), e termina por propor a indicação de um elemento de ativação de processos comunicacionais vinculados a tais dispositivos. Como ferramenta de pesquisa qualitativa foram utilizadas entrevistas em profundidade para investigar a imagem pública dos candidatos, do prefeito e da gestão municipal, em dois grupos, antes e depois dos programas do HGPE, verificando as alterações ocorridas.

Abstract Rosa Liksom is one of the most internationally recognized contemporary Finnish authors and leading Finnish postmodernists. Indeed, the postmodernist aesthetics of her works have received most of the academic attention: features such as irony, dark humor, intertextuality, and parody have been convincingly studied. Liksom’s singular public image has been connected to these aesthetics, but although her cosmopolitanism is often mentioned, her postmodern nonconformity has usually been read in a local and a national context. Liksom’s engagement with modernity has been only implicitly and insufficiently explicated. This dissertation focuses on Liksom’s works and public image in the broader historical context of the modern project in its 20th century legacy. The study of Liksom’s engagement with the utopianism of the modern project is paramount to a deeper understanding of the politico-ethical underpinnings of Liksom’s works and image. To examine Liksom’s retrospection of the modern project, this dissertation makes use of a broad range of theoretical approaches, which can be collectively summarized as contextual close reading. The central theoretical framework is Fredric Jameson’s theory of postmodernism. Other important theories are Linda Hutcehon’s theories of postmodernism and irony, Svetlana Boym’s typology of nostalgia, as well as Krishan Kumar’s theory of utopia. This study elucidates the complexity of Liksom’s engagement with the modern project and bestows new importance on the positive, constructive elements of Liksom’s works that have hitherto gained less attention. Liksom’s works try to salvage something from the history of the modern project instead of merely lingering in the negative attempt to deconstruct historical truths and dismantle the very possibility of such truths. Below the irony and criticism of utopianism in Liksom’s artistic ethos runs a mournful undercurrent that broods over the lack of agency and political choices we seem to face in our present historical condition, and a nostalgia that reflects upon the lost utopian potentialities of the past. Liksom’s works suggest this process of mourning may result in a tentative prospect of communion between people and cultures based on an understanding of their shared situatedness in a postmodern, uncertain world. / Tiivistelmä Rosa Liksom on kansainvälisesti tunnetuimpia suomalaisia nykykirjailijoita ja keskeisiä postmodernisteja. Akateeminen kiinnostus onkin keskittynyt ensisijaisesti hänen teostensa postmoderniin estetiikkaan: teosten ironiaa, musta huumoria, intertekstuaalisuutta ja parodiaa on tutkittu ansiokkaasti. Liksomin ainutlaatuinen taiteilijakuva on kytketty tähän estetiikkaan, mutta vaikka hänen kosmopoliittisuutensa usein mainitaankin, hänen postmodernia epäsovinnaisuuttaan on yleensä tulkittu lokaalissa ja kansallisessa viitekehyksessä. Toistaiseksi Liksomin suhdetta modernin ajan ihanteisiin on pohdittu vain välillisesti ja riittämättömästi. Tässä väitöskirjassa Liksomin teoksia ja julkisuuskuvaa käsitellään laajemmassa viitekehyksessä, nimittäin modernin projektin ja sen 1900-luvun perinnön kontekstissa. Ymmärtääksemme Liksomin teosten ja julkisuuskuvan poliittis-eettisiä perustuksia syvällisemmin on välttämätöntä tarkastella hänen suhdettaan moderniin utooppisuuteen. Tässä väitöskirjassa selvitetään monipuolisen teoreettisen välineistön avulla, kuinka Liksom retrospektiivisesti tarkastelee modernin projektia. Teoreettista lähestymistapaa voidaan kutsua kontekstuaaliseksi lähiluvuksi. Keskeinen teoreettinen viitekehys on Fredric Jamesonin postmodernismin teoria. Muita keskeisiä teorioita ovat Linda Hutcheonin teoria postmodernismista ja ironiasta, Svetlana Boymin nostalgian typologia, sekä Krishan Kumarin ja utopia-teoria. Liksomin taiteellisen eetoksen ironisuuden ja utopiakritiikin alla kulkee surumielinen pohjavire, joka pohtii nykyisessä historiallisessa tilanteessa kohtamaamme toimijuuden ja poliittisten vaihtoehtojen puutetta, ja nostalginen pohjavire, joka mietiskelee menetettyjä utooppisia mahdollisuuksia. Liksomin teoksiset antavat ymmärtää, että tämän suruprosessin tuloksena voi olla mahdollisuus löytää ihmisten ja kulttuurien välinen yhteys, joka perustuu ymmärrykseen siitä, että me kaikki paikannumme postmoderniin, epävarmaan maailmaan.

Esta investigación tiene como objeto evaluar el uso de los elementos emblemáticos de las últimas tres gestiones de la Municipalidad de Lima, esto se planteó para saber de qué manera los elementos visuales o piezas gráficas establecidas por la identidad gráfica de la municipalidad en los últimos diez años han representado de manera emblemática a la ciudad. El presente estudio corresponde a la categoría de enfoque cualitativo debido a que se realizó un análisis comparativo de la identidad gráfica de cada una de las tres últimas gestiones de la Municipalidad de Lima desde el 2011 a nivel visual, considerando el logosímbolo, los colores corporativos, el eslogan y la tipografía usadas en piezas gráficas que se expone hacia el público. A partir de ello se identificó aspectos visuales que mantienen a Lima bajo una representación propia. Así mismo, se realizó una entrevista a un historiador de Lima, el cual ofrece una vista más enfocada a contextos sociales e históricos en los cuales aquellos elementos son importantes y representativos para identificar a la ciudad de Lima. Entre los principales hallazgos se encontró que cada una de las gestiones mantiene entre sus paletas cromáticas los colores emblemáticos con mayor o menor protagonismo. Así mismo, se identificó que existen algunas identidades gráficas que ofrecen, dentro de su imagen, vinculaciones políticas con los gobernantes que fueron elegidos. Por otro lado, se observó que existe una gestión que presentó un manual de identidad inconsistente y que al observar alguna de sus piezas durante esos años, se identificó que no fue respetada la información brindada por el manual desde un comienzo. Por último, se logró concluir que las identidades gráficas aún buscan ofrecer rasgos históricos de la ciudad dentro de sus colores y la permanente utilización del escudo; sin embargo, su representación dentro de las identidades graficas de querer presentar a la ciudad como una marca actual. También se llega la conclusión que los vínculos políticos, de las cuales algunas gestiones aún poseen consideración, afectan de alguna manera a la imagen pública al ser visible para sus ciudadanos, pues pueden ser vistos como una marca dependiente de los alcaldes o como la identidad que posee una entidad que tiene como objetivo ser representante visual para la comuna limeña. / This research aims to evaluate the use of the emblematic elements of the last three administrations of the Municipality of Lima, this was raised to know how the visual elements or graphic pieces established by the graphic identity of the municipality in the last ten years they have represented the city in an emblematic way. The present study corresponding to the category of qualitative approach due to the fact that a comparative analysis of the graphic identity of each of the three last administrations of the Municipality of Lima since 2011 was carried out at a visual level, considering the logo symbol, the corporate colors, the slogan and the typography used in graphic pieces that is exposed to the public. From this, visual aspects were identified that keep Lima under its own representation. Likewise, an interview was conducted with a Lima historian, which offers a more focused view of social and historical contexts in which those elements are important and representative to identify the city of Lima. Among the main findings, it was found that each of the efforts maintains the emblematic colors with greater or lesser prominence among its color palettes. Likewise, it was identified that there are some graphic identities that offer, within their image, political ties with the rulers who were elected. On the other hand, it was identified that there is a management that presented an inconsistent identity manual and that when observing some of its pieces during those years, it was identified that the information provided by the manual was not respected from the beginning. Finally, it was possible to conclude that graphic identities still seek to offer historical features of the city within its colors and the permanent use of the shield; however, its representation within the graphic identities of wanting to present the city as a current brand. It also comes to the conclusion that political ties, of which some efforts still have consideration, somehow send the public image to be visible to its citizens, since they can be seen as a brand dependent on the mayors or as the identity that owns an entity that aims to be a visual representative for the Lima commune. / Trabajo de investigación

The purpose of this study is to determine the public image of industrial arts education in Dallas, Texas. Information sought is obtained from interview schedules using random sampling techniques. The results of the study indicate that the public is not generally informed about industrial arts education. It is recommended that the public be informed as to the difference between industrial arts and vocational education. It is also recommended that more girls be introduced to industrial arts. It is further recommended that the world of construction and world of manufacturing be expanded.