The purpose of this study was to answer questions about affect intensity and self-perceived arousal differences in aberrant self-promoters (ASPs) and in individuals high and low in affect intensity (AI). Participants in the study completed a task asking them to respond as quickly and accurately as possible to letter strings presented for 200ms on a computer screen. They completed the task once with letter strings that formed words with an emotional valance and a second time with neutral-valence words. After each task, participants made self-reports of Energy and Tense dimensions of arousal as measured by the Activation-Deactivation Adjective Checklist. As first formulated, the study examined 4 groups of n̲ = 30 (ASPs, non-ASP controls, high-AIs, and low-AIs). Results showed that, as hypothesized, ASPs scored significantly lower than high-AIs on the Affect Intensity Measure (AIM). Other hypotheses were not supported by analyses of the original four groups. However, because about 1/3 of the ASPs exhibited high AIM scores, ASPs were divided into primary and secondary types: (a) those who scored low and (b) those who scored high on the AIM. Subsequent post hoc analyses, based on the hypotheses that had not been supported initially, were conducted on five groups of n̲ = 7. The study found that low-AI ASPs reported significantly lower arousability levels than high-AIs. Results also showed that controls, high-AIs, and low-AIs all reacted significantly more slowly to emotional words than to neutral words. Low-AI ASPs failed to demonstrate this response-time slowing, indicating that, like psychopaths, ASPs may process positive, negative, and neutral stimuli similarly. Additional results indicated that low-AI ASPs decreased both energetic and tension arousal levels after the emotional word task, compared to the neutral word task, whereas high-AIs reported corresponding increases in these types of arousal. These findings support Larsen and Diener's (1987) theory regarding arousal differences in high- and low-AIs. Implications of these findings are discussed in terms of a weak Behavioral Inhibition System (Gray, 1987). / Ph. D.

A sample of aberrant self-promoters (ASPs) was identified through their pattern of answers on a 179-item questionnaire. A group of comparison participants who did not exhibit the ASP pattern was also identified. The participants viewed a videotape of a lecture and rated the lecturer's performance. Half of the participants were told that they were required to provide face-to-face feedback to the lecturer (the accountability condition); the other half were not given these instructions (non-accountability condition). Also, half of the participants were told that there may be an opportunity for them to appear on a training video for graduate student instructors (opportunity for personal recognition condition); the other half were not told of this opportunity (no opportunity condition). This study attempted to identify the roles of aberrant self-promotion, accountability, and opportunity for personal recognition in rater accuracy and rater leniency. / Master of Science

Esta pesquisa tem como objetivo compreender as estratégias de produção de funk e seu consumo por jovens mulheres de classe popular da cidade de Porto Alegre. Para isso, nos aproximamos da perspectiva dos Estudos Culturais britânicos e latino-americanos, sobretudo a partir do pensamento de Martín-Barbero, bem como tensionamos nossas discussões a partir das teorias sobre cena musical, classe, gênero e geração. Nos filiamos à metodologia qualitativa de pesquisa, realizando entrevistas, observações em bailes funk, pesquisa documental e pesquisa bibliográfica. Como unidade de estudo, contemplamos cinco MCs, três produtores e oito consumidoras de funk (funkeiras) da cidade de Porto Alegre. A fim de apresentar o contexto da cena funk, realizamos uma retomada histórica da cena no Brasil e especificamente em Porto Alegre, bem como traçamos o panorama midiático da cena na mídia massiva entre 2000 e 2015. Em relação aos resultados, identificamos que as estratégias de produção são materializadas através da construção de uma autopromoção midiática no rádio e no ambiente online através de postagens nas redes sociais digitais. Estas postagens podem se relacionar a uma clara estratégia de autopromoção, bem como podem dizer respeito a ocasiões descoladas da cena funk, retratando momentos aleatórios de seu cotidiano. No que diz respeito ao consumo, é visto que as práticas navegam entre dois meios: rádio e internet. Porém os usos efetivados nas plataformas digitais favorecem uma ampla gama de oportunidades para o consumo, contribuindo para a ocorrência de múltiplas lógicas de usos em relação ao consumo de funk. Tanto na produção, quanto no consumo, as relações de gênero ganham ênfase por um posicionamento de inspiração feminista por parte das informantes, ainda que a adesão ao movimento político seja algo evitado ou repreendido por algumas delas. / This research aims to comprehend the strategies of production of funk music and its consumption by young women from Porto Alegre’s popular class. In order to reach such aim, we have approached the British and Latin-American Cultural Studies perspective, mostly through Martin-Barbero’s thought, and our discussions were also based on the theories about music scene, class, gender and generation. We made use of the qualitative methodology research through interviews, observations on baile funk, documental research and bibliographic research. As a study unit, we take into consideration five MCs, three producers and funk music eight consumers (also known in Brazil as funkeiras). In order to present the context of the funk scene, we have traced a historical outline of the scene in Brazil and specifically in Porto Alegre, as well as we have delineated a media overview of the scene on the mass media between 2000 and 2015. Regarding the results, we identify that the strategies of production are materialized through the building of a media self-promotion on the radio and on the online environment through posts on social networks. These posts can relate to a clear self-promotion strategy, as well as they can be about situations unrelated to the funk scene, portraying random moments of their everyday life. On the subject of consumption, it can be seen that the practices navigate between two medias: radio and internet. However, the uses performed on digital platforms favour a wide range of opportunities to the consumption, contributing to the occurrence of multiple logics of use in relation to the consumption of funk. In both production and consumption, the relations of gender are emphasized through a positioning of feminist inspiration, although the adhesion to the political movement is something avoided or reproached by some of them.

L’objectif de cette recherche est une étude globale de l’œuvre et de la pensée de l’humaniste milanais Ortensio Lando (1506 env.- 1553 env.). Cet auteur, redécouvert par la critique dans les années 70, notamment grâce aux recherches menées par les américains Conor Fahy et Paul Grendler, connaît aujourd’hui un intérêt renouvelé en raison du caractère paradoxal et ambigu de sa production. Mais, si son ouvrage le plus célèbre, les Paradossi (1543), est désormais bien connu par les spécialistes, la plus grande partie de ses écrits reste encore méconnue. Nous prendrons par conséquent en considération tout le corpus de Lando, qui compte au moins une vingtaine d’ouvrages, pour mener une étude complète de son œuvre.Nous porterons aussi une attention particulière à la vie d’Ortensio Lando qui reste encore en grande partie obscure. Nous reprendrons les quelques documents de l’époque qui nous donnent des informations utiles et les différentes théories sur la biographie de Lando, notamment l’hypothèse qu’il était dans sa jeunesse un moine augustin qui aurait par la suite abandonné son ordre pour fuir en France.L’analyse des œuvres permet de dégager trois axes principaux :1) L’autopromotion.Lando employait différents pseudonymes. À notre avis, cet usage était dicté seulement en partie par la nécessité de cacher son identité d’auteur hétérodoxe. L’utilisation de pseudonymes et de jeux linguistiques faisait aussi partie d’une stratégie réfléchie d’autopromotion dont nous analyserons les techniques rhétoriques. Lando était conscient des nouveaux enjeux de l’industrie typographique et démontre qu’il sait les utiliser à sa faveur pour se construire une image de lettré irrégulier et excentrique.2) Le paradoxe.Les Paradossi sont considérés comme la première œuvre du genre paradoxal en langue vulgaire, genre qui connaîtra un énorme succès pendant tout le XVIe siècle. La critique a déjà reconstruit la façon dont l’humanisme a récupéré cette tradition d’origine antique, notamment à travers Lucien de Samosate, elle en a isolé les thématiques principales comme celle "asinienne" et la critique du savoir. Jusqu’à présent, peu d’attention a été accordée aux autres textes paradoxaux de Lando et il manque encore une interprétation satisfaisante des raisons qui se cachent derrière cette stratégie stylistique. Les théories qui considèrent Ortensio Lando comme un antihumaniste, anticicéronien et antiérasmien ne sont pas complètement convaincantes et nous développerons une autre thèse pour expliquer l’emploi du paradoxe : l’ambiguïté du message ne représente ni un refus sceptique de toute position, ni une prise de position contre l’héritage humaniste mais le rejet de toute forme de dogmatisme intellectuel.3) Les formes de réécriture.Si Lando ne peut pas être considéré comme antihumaniste, il est certain que nous nous trouvons dans une période de crise et de changement des modèles littéraires. La problématique sera donc d’analyser quels sont les rapports de Lando avec la culture classique dont il reprend et parodie les genres, et avec la culture humaniste qui bien que critiquée reste au centre de ses œuvres. Nous nous concentrerons aussi sur les raisons qui se cachent derrière l’emploi de longues catalogues d’exemples érudits, tirés surtout de l’Officina de Jean Tixier, en proposant de lier cette pratique à une parodie des dérives de la récupération du savoir classique, se fondant sur les mêmes prémisses de littérature paradoxale. / The aim of this study is to analyse the work and thought of Italian humanist Ortensio Lando (c. 1506 – c. 1553). This writer has been rediscovered by critics in the 1970s, mostly thanks to Fay’s and Grendler’s studies, and today many researchers are interested by paradox and ambiguity in his works. But, except for the Paradossi, his literary production remains mostly unknown. For this reason we considered the whole Lando’s corpus, about 27 works, in order to propose a monographic study of this writer.We also focused on Ortensio Lando’s biography, of which we have only few documents, and on the theory that he was an Augustinian monk who committed apostasy and fled to France.The analysis of Lando’s works has permitted to define three research axes:1) Self-promotionLando used different pseudonyms. We assume that this strategy was not only a way to cover his identity, but also a self-promotion stratagem of which we analysed the rhetorical function. Lando knew how to exploit printing innovations and he showed how they could be used to build his eccentric writer’s image.2) ParadoxThe Paradossi are considered as the first vernacular paradoxical work, a successful literary genre in 16th century. Literary criticism reconstructed the way paradoxical tradition was reworked by Humanism, especially through Lucian of Samosata, and has defined its main issues, like the “donkey’s praise” and the critical of learning. But so far, little consideration has been given to others paradoxical Lando’s works and there’s still no satisfying interpretation of the reason behind this strategy. Several assumptions considered Lando as an anti-humanist, anti-Ciceronian and anti-Erasmian writer, but we believe that paradox doesn’t carries a sceptical rejection of any opinion or a criticism against Humanistic heritage; paradox is rather a denunciation of intellectual dogmatism.3) RewritingEven if Lando cannot be considered as an anti-humanist, he clearly lived in times of intellectual crisis and paradigmatic shift in literary models. We will analyse the relationship between Lando and classical culture by parody and imitation, and the relationship between the writer and humanistic culture that remains, despite criticism, the focus of his work. We will also focus on the reasons behind the long and erudite catalogues that Lando copies, especially from Ravisius’s Officina, by proposing to link this practice to the parody of uncritical classical imitation, as in the case of paradoxical literature.

A model was created in order to assist classical musicians, especially pianists, with the process of creating their own musical niches in order to achieve public recognition, build an audience following and experience financial gain. This blueprint involved creating six arrangements for the piano four-hand medium that were then self-recorded, self-marketed and self-distributed. This essay introduces the repertoire used for this project, five Argentinean tangos by Eduardo Arolas and a habanera by Sebastian Yradier and it also examines the criteria by which they were chosen. A discussion of the arrangements follows, focusing on the compositional techniques that were used. Next, the essay presents the methods employed to self-record, self-market and self-distribute the compilation as well as additional means available to independent musicians pursuing a similar endeavor. The discussion focuses on techniques that pertain to musicians who do not have the support of a record label or a music publisher. The conclusion of this study is that there are a number of accessible methods that independent musicians can employ in order to self-record, self-market and self-distribute their music. However, the level of success of such endeavors depends on the musicians' ability to create a high quality musical product, constantly interact with new audiences and employ various promotional methods. A recommendation for further study is enclosed.

Šio darbo objektas – šiuolaikinių lietuvių rašytojų (Marcelijaus Martinaičio, Zitos Čepaitės, Jurgos Ivanauskaitės, Vytauto V. Landsbergio, Sigito Parulskio) populiarinimo ir populiarinimosi strategijos. Norint atskleisti populiarinimo(si) procesus, rašytojo vardas tyrinėjamas kaip prekės ženklas.Nagrinėjant rašytojo vardą kaip prekės ženklą, remtasi Wally Olinso keturių vektorių apibrėžtimi iš knygos „Prekės ženklas“ (2006), kur pristatomos darnaus prekės ženklo dedamosios dalys – produktas, aplinka, elgesys ir komunikacija. Kadangi Olinsas tik apibendrintai pristato prekės ženklo ypatumus ir nesiūlo prekės ženklo tyrimų būdų, tinkančių šio darbo objektui, pasitelkiama naratologo Gerardo Genette parateksto („Paratexts: Thresholds of Interpretation“, 2001) teorija, kurioje preciziškai išanalizuojamas kiekvienas knygos elementas. Peritekstų analizė (tai, kas knygos viduje – formatas, viršeliai, turinys etc.) padėjo ištirti kūrybinio produkto (knygos) įvaizdį; epitekstų analizė (tai, kas knygos išorėje – reklama, vieši autoriaus pasirodymai, kritika; neliteratūriniai rašytojo produktai etc.) padėjo įvardinti rašytojo kaip prekės ženklo kuriamą įvaizdį. Tyrimo medžiaga – verbali (bulvarinė spauda, kultūriniai leidiniai, interneto svetainės etc.) ir vizuali (televizija ir kitos masinės komunikacijos priemonės). / The theme of this work – promotion and self promotion strategies between contemporary Lithuanian writers (Marcelius Martinaitis, Zita Cepaite, Jurga Ivanauskaite, Vytautas V. Landbergis, Sigitas Parulskis). On purpose to reveal the processes of (self)promotion, the name of the writer is studied as a brand. When studying the name of the writer as a brand, I make reference to the definition of four vectors from the Wally Olins book “On brand” (2003), where he introduces the component parts of a well–proportioned brand – product, environment, behavior and communication. Olins only roughly introduces pecularities of brand and doesn’t suggest exploratory methods of brand, which could be helpful to the theme of this work, that’s why the narratology theory of Gerard Genette about paratext („Paratexts: Thresholds of Interpretation“, 2001) was invoked, it helps to analyse with precision each element of a book. Analysis of peritexts (everything in the book – format, cover, content etc.) helped to study the image of an creative product (book); analysis of epitexts (everything about the book – publicity, public appearances of an author, interview, critique, unliterary products of a writer etc.) helped to detect the image which writer as a brand creates. The material of study is verbal (gutter– press, cultural publications, web pages etc.) and visual (television and the other mass means of communication).

Esta pesquisa tem como objetivo compreender as estratégias de produção de funk e seu consumo por jovens mulheres de classe popular da cidade de Porto Alegre. Para isso, nos aproximamos da perspectiva dos Estudos Culturais britânicos e latino-americanos, sobretudo a partir do pensamento de Martín-Barbero, bem como tensionamos nossas discussões a partir das teorias sobre cena musical, classe, gênero e geração. Nos filiamos à metodologia qualitativa de pesquisa, realizando entrevistas, observações em bailes funk, pesquisa documental e pesquisa bibliográfica. Como unidade de estudo, contemplamos cinco MCs, três produtores e oito consumidoras de funk (funkeiras) da cidade de Porto Alegre. A fim de apresentar o contexto da cena funk, realizamos uma retomada histórica da cena no Brasil e especificamente em Porto Alegre, bem como traçamos o panorama midiático da cena na mídia massiva entre 2000 e 2015. Em relação aos resultados, identificamos que as estratégias de produção são materializadas através da construção de uma autopromoção midiática no rádio e no ambiente online através de postagens nas redes sociais digitais. Estas postagens podem se relacionar a uma clara estratégia de autopromoção, bem como podem dizer respeito a ocasiões descoladas da cena funk, retratando momentos aleatórios de seu cotidiano. No que diz respeito ao consumo, é visto que as práticas navegam entre dois meios: rádio e internet. Porém os usos efetivados nas plataformas digitais favorecem uma ampla gama de oportunidades para o consumo, contribuindo para a ocorrência de múltiplas lógicas de usos em relação ao consumo de funk. Tanto na produção, quanto no consumo, as relações de gênero ganham ênfase por um posicionamento de inspiração feminista por parte das informantes, ainda que a adesão ao movimento político seja algo evitado ou repreendido por algumas delas. / This research aims to comprehend the strategies of production of funk music and its consumption by young women from Porto Alegre’s popular class. In order to reach such aim, we have approached the British and Latin-American Cultural Studies perspective, mostly through Martin-Barbero’s thought, and our discussions were also based on the theories about music scene, class, gender and generation. We made use of the qualitative methodology research through interviews, observations on baile funk, documental research and bibliographic research. As a study unit, we take into consideration five MCs, three producers and funk music eight consumers (also known in Brazil as funkeiras). In order to present the context of the funk scene, we have traced a historical outline of the scene in Brazil and specifically in Porto Alegre, as well as we have delineated a media overview of the scene on the mass media between 2000 and 2015. Regarding the results, we identify that the strategies of production are materialized through the building of a media self-promotion on the radio and on the online environment through posts on social networks. These posts can relate to a clear self-promotion strategy, as well as they can be about situations unrelated to the funk scene, portraying random moments of their everyday life. On the subject of consumption, it can be seen that the practices navigate between two medias: radio and internet. However, the uses performed on digital platforms favour a wide range of opportunities to the consumption, contributing to the occurrence of multiple logics of use in relation to the consumption of funk. In both production and consumption, the relations of gender are emphasized through a positioning of feminist inspiration, although the adhesion to the political movement is something avoided or reproached by some of them.

Esta pesquisa tem como objetivo compreender as estratégias de produção de funk e seu consumo por jovens mulheres de classe popular da cidade de Porto Alegre. Para isso, nos aproximamos da perspectiva dos Estudos Culturais britânicos e latino-americanos, sobretudo a partir do pensamento de Martín-Barbero, bem como tensionamos nossas discussões a partir das teorias sobre cena musical, classe, gênero e geração. Nos filiamos à metodologia qualitativa de pesquisa, realizando entrevistas, observações em bailes funk, pesquisa documental e pesquisa bibliográfica. Como unidade de estudo, contemplamos cinco MCs, três produtores e oito consumidoras de funk (funkeiras) da cidade de Porto Alegre. A fim de apresentar o contexto da cena funk, realizamos uma retomada histórica da cena no Brasil e especificamente em Porto Alegre, bem como traçamos o panorama midiático da cena na mídia massiva entre 2000 e 2015. Em relação aos resultados, identificamos que as estratégias de produção são materializadas através da construção de uma autopromoção midiática no rádio e no ambiente online através de postagens nas redes sociais digitais. Estas postagens podem se relacionar a uma clara estratégia de autopromoção, bem como podem dizer respeito a ocasiões descoladas da cena funk, retratando momentos aleatórios de seu cotidiano. No que diz respeito ao consumo, é visto que as práticas navegam entre dois meios: rádio e internet. Porém os usos efetivados nas plataformas digitais favorecem uma ampla gama de oportunidades para o consumo, contribuindo para a ocorrência de múltiplas lógicas de usos em relação ao consumo de funk. Tanto na produção, quanto no consumo, as relações de gênero ganham ênfase por um posicionamento de inspiração feminista por parte das informantes, ainda que a adesão ao movimento político seja algo evitado ou repreendido por algumas delas. / This research aims to comprehend the strategies of production of funk music and its consumption by young women from Porto Alegre’s popular class. In order to reach such aim, we have approached the British and Latin-American Cultural Studies perspective, mostly through Martin-Barbero’s thought, and our discussions were also based on the theories about music scene, class, gender and generation. We made use of the qualitative methodology research through interviews, observations on baile funk, documental research and bibliographic research. As a study unit, we take into consideration five MCs, three producers and funk music eight consumers (also known in Brazil as funkeiras). In order to present the context of the funk scene, we have traced a historical outline of the scene in Brazil and specifically in Porto Alegre, as well as we have delineated a media overview of the scene on the mass media between 2000 and 2015. Regarding the results, we identify that the strategies of production are materialized through the building of a media self-promotion on the radio and on the online environment through posts on social networks. These posts can relate to a clear self-promotion strategy, as well as they can be about situations unrelated to the funk scene, portraying random moments of their everyday life. On the subject of consumption, it can be seen that the practices navigate between two medias: radio and internet. However, the uses performed on digital platforms favour a wide range of opportunities to the consumption, contributing to the occurrence of multiple logics of use in relation to the consumption of funk. In both production and consumption, the relations of gender are emphasized through a positioning of feminist inspiration, although the adhesion to the political movement is something avoided or reproached by some of them.

Sociala medier har utvecklats till den moderna tidens platsbank och har skapat en spridning av annonseringsplatser. I två studier undersöktes arbetssökandes upplevelse av denna utveckling. Studie 1 bestod av 30 kvalitativa enkäter som resulterade i följande teman: (1) relationer, (2) ovetande och (3) lättillgänglighet. Studie 2 bestod av 11 djupintervjuer som resulterade i de tre ovannämnda tema samt (4) aktivering, (5) sociala medier speglar personlighet och (6) marknadsföring. Båda studierna visade att individen upplever att denna förändring har skapat nya möjligheter och påfrestningar för den arbetssökande. Resultatet i de två studierna beskriver sociala mediers påverkan på hur och var individer söker arbeten, samt känslan av att deras privatliv och personliga egenskaper har en större inverkan på individens anställningsbarhet. Resultaten kan ligga till grund för vidare studier om arbetssökande och sociala medier.

Sociala medier har utvecklats till den moderna tidens platsbank ochhar skapat en spridning av annonseringsplatser. I två studierundersöktes arbetssökandes upplevelse av denna utveckling. Studie 1bestod av 30 kvalitativa enkäter som resulterade i följande teman: (1)relationer, (2) ovetande och (3) lättillgänglighet. Studie 2 bestod av 11djupintervjuer som resulterade i de tre ovannämnda tema samt (4)aktivering, (5) sociala medier speglar personlighet och (6)marknadsföring. Båda studierna visade att individen upplever attdenna förändring har skapat nya möjligheter och påfrestningar för denarbetssökande. Resultatet i de två studierna beskriver sociala medierspåverkan på hur och var individer söker arbeten, samt känslan av attderas privatliv och personliga egenskaper har en större inverkan påindividens anställningsbarhet. Resultaten kan ligga till grund förvidare studier om arbetssökande och sociala medier.