The 2020 Summer Olympicsand the Paralympic Games were scheduledto take placein Tokyo. This sporting mega-event has affected change in the public and social spheres of the host country, Japan, but with regard to athletes’ gender and sexual orientation Japan’s mainstream media seem still considerably biased. Little has been reported on openly LGBTpro athletes from Japan and their involvement in advocating the Olympic values:diversity, inclusiveness and equality.This thesis investigates howLGBTiconsare portrayed by the media, or more specifically,the national newspapers, LGBTcommunity sources and social media, and withregard to the first it questions whetherthere are differences in the portrayalof Shiho Shimoyamada, the first openly homosexual female soccer athlete fromJapan, between Japanese and English language media.In the attempt to interrelate sports studies, queer studies and media studies, this thesis investigates in the main the representationof Shiho ShimoyamadainAsahi Shimbun, Japan’s second largest newspaper, and inthe English-language newspaperThe Japan Times. It also provides an overview of the athlete’s self-representation on Twitter which relates closely to her LGBT activism.Investigation of the media sources is executed by qualitative and quantitative analysis of data collected within 13 months(January 1, 2019 -February 28,2020). Categorizing tweets bygroups, the findingsdemonstrategaps in media representation ofsociallyimportant activism and presents the social media self-promotion strategies used by the athlete.

The purpose of the present study was to demonstrate behavioral differences between high Machiavellians (MACHS) as described by Christie (1970a) and those exhibiting the aberrant self-promotion pattern proposed by Gustafson and Ritzer (1995). The aberrant self-promoter (ASP) was defined as having a high degree of narcissism, combined with a low need to appear conventionally "nice" along with pronounced antisocial behavior. The Machiavellian was described as one who is capable of manipulating others to obtain some advantage. The situation that was proposed differentiate the two groups is a legislature game which involves bargaining and forming alliances. ASPs and Machiavellians were identified by the same procedures used by Gustafson and Ritzer (1995). In Condition 1, the issues being voted upon were value laden in the sense that they were designed to elicit an affective response. In Condition 2, the issues were value and affect neutral. The experimental subjects were undergraduates enrolled in psychology courses. It was predicted that because Machiavellians are better at separating affect from rational thought than are either ASPs or non-Mach non-ASPs, Machiavellians would perform better than either of the other groups in the value laden issues condition. It was also predicted that participants would rate aberrant self-promoters less favorably than other players on trust, respect, and likability due to the ASPs ineffectiveness in bargaining and forming alliances. Two repeated measures ANOVAs were performed to test the hypotheses. Results supported only the last prediction regarding likability. Reasons for these findings and implications were discussed / Master of Science

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the current context, companies from many s egments try to show themselves sensitive to the problems that affect society as a whole. In the communication area, one can notice the release of media products that highlight the company's social responsibility, through possible traces of self promotion. In the case of media companies, it is known that these always promoted themselves: they don't talk anything without talking about themselves before. Based on these observations, this study aims to verify, through a methodological process based on Greimasia n semiotics, the role developed by a regional station, affiliated to a national, when it enables, in it's productions, the joint between social and promotional. This is possible by examining the discursive strategies of the order of temporalization, themat ization, figurativization, actorialisation and toning, and communicative strategies, external to the text, employed by RBS TV station for this purpose. For this, it was made an approximation of "social" and "promotional" terms, employed by commercial broad casters who want greater sustainability in the market. The body of the analysis is composed by nine videos (socio-institutional actions) of five social campaigns develope d by the company, Rede Brasil Su l de Televisão, in a nine year interval. The choice of the afilliate of Rede Globo de Televisão is justified by the peculiarities of the broadcasters that need to combine confidence and identity with viewers, despite operating with a restricted space for local production and subordinate of the prodution of th e head network / No contexto contemporâneo, empresas de diferentes segmentos tentam se mostrar sensíveis aos problemas que afetam a sociedade como um todo. No âmbito comunicacional, percebe-se a divulgação de produtos midiáticos que evidenciam a responsabilidade social empresarial, através de possíveis traços de autopromocionalidade. Ao se tratar e empresas de comunicação, sabe-se que essas sempre se autopromoveram: não falam de nada, sem antes falar de si. A partir dessas observações, o estudo pretende verificar, através de um processo metodológico fundamentado na semiótica greimasiana, o papel que desenvolve uma emissora regional, afiliada de uma nacional, quando viabiliza, em suas produções, a articulação do social com o promocional. Isso se torna possível a partir do exame das estratégias discursivas da ordem da temporalização, tematização, espacialização, figurativização, actorialização e tonalização, e, das comunicativas, externas ao texto, empregadas pela emissora RBS TV para obter esse fim. Para isso, realiza-se uma aproximação dos termos social e promocional, empregados por emissoras comerciais que almejam maior sustentabilidade no mercado. O corpus de análise envolve nove vídeos (ações socioinstitucionais) de cinco bandeiras sociais desenvolvidas pela empresa gaúcha, a Rede Brasil Sul de Televisão, em um intervalo de tempo de nove anos. A escolha pela afiliada da Rede Globo de Televisão está justificada nas peculiaridades dessas emissoras que precisam aliar confiança e identidade com os telespectadores, mesmo operando com um restrito espaço à produção local e com a subordinação à produção da cabeça de rede.

Au-delà du cadre classique de la production du logement, des projets originaux à l’initiative de citoyens ou impliquant fortement des habitants, se développent sur le territoire européen et notamment français. S‘émancipant de l’offre professionnelle privée ou publique, ces maîtrises d’ouvrages d’usagers produisent un habitat original, tant du point de vue architectural et environnemental, que de l’insertion sociale et au territoire qui l’accueille. Ce type de dynamique n’est pas un phénomène nouveau. En Amérique Latine notamment, des mouvements populaires et coopératifs développent ce type de démarche depuis plusieurs décennies. Insuffisamment étudié, ce phénomène mérite d’être analysé plus précisément, en particulier dans le champ de l’architecture et du point de vue des porteurs de ces projets : les habitants. Cette recherche vise à montrer, par une analyse des différentes typologies d’organisations collectives, adoptées par ces maîtrises d’ouvrage non professionnelles d’habitants, les atouts et les résultats de leur production, du point de vue de : la question « spatiale », qui interroge la notion de l’habitat et de son usage ; la question du « métier » du concepteur, qui interroge le mode de production du projet au travers de la relation architecte – maîtrise d’ouvrage (non professionnelle) ; et enfin la question de « l’insertion spatiale et sociale », qui interroge la dimension urbaine de ces projets et citoyenne de leurs promoteurs. Se basant sur les notions de « droit à l’œuvre » et de « droit à la ville » définies par Henri Lefebvre et de « bien commun » définie par Elinor Ostrom, cette thèse propose un apport de connaissances visant à contribuer à la réponse des professionnels et des politiques publiques, à une demande sociale chaque jour plus présente en matière d’initiatives citoyennes dans la production de l’habitat. / Further to the production of housing within a traditional Framework are curently developed all over europe and specialy in France. Moving away from public or private standar models, the projects inspired by the end users tend to produce very original habitats, in terms of architecture and environment as well as social and territorial insertion. This kind of dynamic is not a new phenomenom. Particulary in Latin America, popular and cooperative movements have developed this type of approach for decades. Insufficiently studied, this phenomenom merits more precise analysis, particulary in the field of architecture and from the point of view of the managers of such projects : the inhabitants. This research aims to demonstrate, through an analysis of different types of collective organizations adopted by these non-professional inhabitants leadership, the benefits and results of their production, in terms of: the "spacial" question, which looks at the concept of habitat and its use ; the issue of "skill" of the designer, who questions the mode of production of the project through the architect relationship - project management (non-occupational) ; and finally the area of "spatial and social inclusion", which looks at the urban dimension of these projects and their "property developers". Based on the concepts of "right to do" and "right to the city" defined by Henri Lefebvre and "common good" defined by Elinor Ostrom, this thesis provides a contribution of knowledge to contribute to the response of professionals and public policy, to a real social demand present every day in terms of citizen initiatives in the production of housing.

En regard de la convention d’originalité propre à l’art contemporain, l’extraordinaire imprécision des critères visant à déterminer la qualité et la légitimité des œuvres d’art et du statut de l’artiste qui les crée nécessite l’intervention d’intermédiaires dont le mandat est de découvrir et de promouvoir de nouveaux talents. Dans ce contexte, les artistes en quête de reconnaissance doivent se plier aux règles et aux conventions établies au préalable par ces intermédiaires puisque leur légitimité dépend de leur validation commune. Cependant, avec l’arrivée d’Instagram et l’investissement massif des artistes visuels qui utilisent la plateforme pour promouvoir leurs œuvres et leurs expositions, un certain discours émerge des mondes de l’art et prétend que, de plus en plus, les artistes s’autonomisent des déterminants de la légitimité et parviennent à contourner les réseaux traditionnels de légitimation des œuvres d’art, et ce, en vendant directement aux publics. La présente recherche a toutefois montré que la réalité est en fait beaucoup plus complexe que cela. L’objectif de ce mémoire consiste donc à mettre à l’épreuve cette hypothèse largement promue dans les mondes de l’art et de mesurer l’impact réel de l’utilisation d’Instagram sur les dynamiques de pouvoir et les rapports à la légitimité. Pour ce faire, 12 artistes visuels qui utilisent Instagram régulièrement dans le cadre de leur pratique artistique ont été interrogés. Dans un premier temps, l’utilisation de l’application par les artistes visuels a été décrite et documentée dans le but d’offrir un premier aperçu de cette nouvelle pratique. Ensuite, l’analyse et la mise en tension de certains processus a permis de dévoiler la complexité des dynamiques qui y sont véritablement à l’œuvre. Les résultats de la recherche montrent que l’utilisation d’Instagram contribue à inscrire les artistes dans des logiques capitalistes néolibérales et dans un esprit de marchandisation du soi du fait d’une nouvelle injonction à la vente de soi et de l’accentuation des concurrences interindividuelles. Cependant, les résultats attestent aussi d’un fort attachement envers des idéaux anticonformistes et anticapitalistes qui restreignent en retour l’investissement des artistes sur la plateforme. La recherche permet donc de documenter et d’analyser les nuances qu’entraînent la rencontre de ces idéologies opposées sur la plateforme. Ce mémoire constitue une première analyse critique de l’utilisation d’Instagram par les artistes visuels contemporains. / Within the convention of originality specific to contemporary art, the criteria used to determine the quality and legitimacy of works of art and the status of the artist are extremely vague. This is why it requires the intervention of intermediaries whose purpose is to discover and promote new talents. In this context, artists who seek recognition must comply with the rules and conventions established beforehand by these intermediaries as their legitimacy depends on their common validation. However, with the arrival of Instagram and the massive increase of visual artists using the platform to promote their works and exhibitions, a discourse is emerging from the art worlds which claims that, more and more, artists are becoming less dependant on the determinants of legitimacy as they are able to bypass the traditional networks of art intermediaries. However, this research has rather shown that the reality is much more complex. Therefore, the purpose of this thesis is to challenge this hypothesis largely circulating in the art worlds and to observe whether the dynamics of power and legitimacy are actually changing. To do so, 12 visual artists who frequently use Instagram as part of their artistic practice were interviewed. First, the thesis describes the use of the application by visual artists in order to offer a first glimpse at this new practice. Then, the analysis and questioning of some processes reveal the complexity of the dynamics that are really at work. The results of this research show that the use of Instagram constraint artists to deal with neoliberal capitalist ideologies. It also contributes to subscribe them into a state of commodification of the self due to the new injunction of self promotion and increased competition between visual artists on the platform. However, the results also attest of a strong attachment to anti-conformist and anti-capitalist ideals which curbs the way artists use the platform. Therefore, the thesis paints a more nuanced portrait resulting from the meeting of the two opposite ideologies on the platform. This thesis constitutes a first critical analysis of the use of Instagram by contemporary visual artists.

The impetus for this study was the question of whether the information, which has been handed down on Czech architects who worked with Le Corbusier is true or not. Working in the studio of one of the leading architects of the 20th century was a crucial formative experience for dozens of architects while also being an attractive entry in their résumés. The doctoral thesis Myth and Reality: The Czech Assistants of Le Corbusier 1924-1937 is based on vast research of primary sources abroad as well as in the Czech Republic. The thesis critically examines the information known in the literature until now. The study aims to look behind the curtain of the formation of the existing historiography of Czech architectural modernism. It proves that architects themselves often entered history by means of their self- promotion skills. Parts of the thesis consist of a verified and critical list of Czech assistants at Le Corbusier's studio in 35 rue de Sèvres in Paris, detailed analysis of how work was conducted in the studio and an analysis of related sources. The work presents 13 Czech architects who worked in the studio of Le Corbusier and Pierre Jeanneret in the period between the two World Wars. The study follows individual forms of dialogue between young architects and Le Corbusier. In some cases, the research of...

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