Magister Artium - MA / Advertising and media imagery shape attitudes about race and ethnicity, which means that advertising media play an influential part in constructing the frame through which individuals perceive racial differences and negotiate norms and ideas around ethnicity. Physical signifiers such as skin colour and hair are not only considered to be the most important facets in global beauty culture but are also seen as two principal phenotypes for racial classification (Mercer, 1987). These two attributes are also deeply situated within Black Feminist Discourse Studies and are therefore, culturally and socially significant (Erasmus, 1997; Hunter, 2002). As Dyer (1997:539) states: “every decision about a person’s worth is based on what they look like, what they speak, and where they came from.” Hence, body and hair politics point to power struggles which stem from historical discourses. As part of a capitalist environment, magazines such as True Love are also perceived as cultural commodities which occupy an important role in creating, transmitting and disseminating cultural meaning and in this regard, advertised texts are rich in cultural meaning and embedded with hidden ideologies. As a vehicle of social communication, True Love professes to be a mouth piece and a representative of the liberal, modern Black South African woman and portrays itself as a guiding companion and expert on womanhood (Laden, 2001). In this capacity, the magazine also creates and transmits messages about ideal feminine beauty. Following a multi-semiotic approach, by incorporating multimodality and social semiotics as proposed by Kress and Van Leeuwen (2006), Van Leeuwen (2006; 2008) and O’Halloran (2011, in press), beauty advertisements are scrutinized in terms of the different semiotic principles which afford for different meaning-making opportunities and interpretation. Critical discourse analysis suggested by Fairclough (1992) and Wodak (1995) renders a supportive function to this social semiotic multimodal framework, in order to critically explore how the notion of ideal feminine beauty is constructed in True Love and to establish how inter-semiotic relations are created, reinforced and function to sustain hegemonic ideas in present-day beauty advertisements. The findings suggest that socio-cultural meanings attached to phenotypic traits such as skin and hair remain significant in contemporary society as a result of the repeated themes in media, especially advertising. Moreover, the consequential emphasis on beauty culture and the omnipresence of idealised imagery in mainstream media are responsible for composing and sustaining the belief that Whiteness is the only valid prototype of beauty. The whitewashing of Black models show how idealised preferences in media prevail. Advertisements display how the message of White superiority and supremacy is constructed visually and verbally, ultimately producing an overall ‘visual language of Whiteness’ which leads to devaluing and erasing forms of Black identity, while enhancing forms of White representation. This paper exposes existing dominant cultural narratives in the True Love advertising discourse that simultaneously produce and inflate an idealised Eurocentric version of feminine beauty. The hegemonic standard of feminine beauty dictates that women conform to a specific ideal which involves engaging in practices such as skin lightening, hair straightening or wearing weaves. This dissertation concludes that digital alteration techniques and photographic manipulation are predominantly used in mass media to portray advertised images resembling ideals closer, which means that it effectively enhances rather than detracts from the norm. Thus, White women look Whiter, thinner, richer and blonder. Caucasian models in advertised texts all have light hair and are seldom portrayed with dark hair. Light-skinned Black women portray Western mediated standards through physical appearances which seem to emulate those of their White counterparts, which Hunter (2011) describes as the ‘illusion of inclusion’. Although this marketing strategy operates under the premise of fostering ethnic diversity and to include women from all racial backgrounds, it reinforces the belief that Anglo-Saxon beauty norms are the only valorised signifiers of idealised beauty. Essentially, having a light skin colour is associated with sophistication, social mobility, success and the resulting financial and economic well-being. Based on this, the magazine appears to promote and celebrate feminine beauty based on a Eurocentric ideal.

Cette thèse porte sur comment les publics de théâtre sont représentés au sein du discours des politiques culturelles tant en France qu’au Chili. Ceci est mis en rapport aux figures des publics destinataires des sites internet (y compris les réseaux sociaux numériques) de quatre théâtres publics de référence qui déclarent avoir une programmation dite « contemporaine » et « classique ». La question principale est d’identifier comment ces représentations circulent dans ces dispositifs. L’hypothèse centrale souligne le fait qu’il y a un rapport entre les conditions sociales et symboliques des discours des politiques culturelles qui s’actualisent dans les écris d’écran (Bonaccorsi, 2013) par des signes langagiers, visuels et numériques. L’approche théorique et méthodologique est principalement sémiodiscursive toujours à l’égard des nouvelles catégories émergentes des nouveaux corpus provenant d’internet (Rouquette, 2009). Cette recherche a permis de conclure que les politiques culturelles des deux pays tiennent un discours sur l’accès pour « tous » à la culture, « tous » étant, d’une part, la figure d’un « public plus citoyen » et d’autre part la figure d’un « public plus consommateur ». D’ailleurs les sites internet compris dans l’étude, même s’ils partagent une scène englobante et générique, actualisent (par des signes langagiers, visuels et numériques) différemment leur scénographie (Maingueneau, 2013) en fonction de l’éthos (Charaudeau, 2009) de chaque théâtre. Pourtant, les figures d’un « public national » et « potentiel acheteur » circulent comme traces des discours des politiques culturelles parmi les sites et au sein de réseaux sociaux où en plus, on observe une prise de parole profane (Pasquier, 2009), c’est-à-dire, des spectateurs. / The subject of this thesis concerns how the audience of theatre is represented within the discourse of cultural policies in France and Chile. This is related to the audience of internet websites (including social networks) of four public theatres of reference who report to have both a « contemporary » and « classical » program. The main question is to identify how these representations are transmitted amongst these devices. The principal hypothesis underlines the fact that there is link a between the social and symbolic conditions of the discourses of cultural policies which appear in « les écrits d’écran » (Bonaccorsi, 2013) through linguistic, visual and digital signs. The theoretical and methodological approach is primarily semiotic-discursive with regard to new categories emerging from Internet-based corpus (Rouquette, 2009).This research led to the conclusion that the cultural policies of these two countries have a discourse on access to culture for « everybody »; « everybody » being, on one hand, a « more citizenly audience » and, on the other hand, a « more consumer audience ». Moreover, the internet websites in this study update their scenography differently (through linguistic, visual and digital signs), even if they share a generic and global scene (Maingueneau, 2013), all of which is dependent on the ethos (Charaudeau, 2009) of each theatre. However, the « national audience » and the « potential buyer » appear as traces of the discourses of cultural policies among websites and social networks where, we can additionally observe a profane speech (Pasquier, 2009), namely, from the audience.

Made available in DSpace on 2016-03-15T19:30:59Z (GMT). No. of bitstreams: 1 Marco Antonio Fernandes Cardoso.pdf: 2343098 bytes, checksum: 014e0f030b71d4416f7e51bdebee12d7 (MD5) Previous issue date: 2013-05-06 / Fundo Mackenzie de Pesquisa / The literature on organizational identity, from various perspectives, deals with additive business processes such as mergers, acquisitions or cooperative enterprises among companies. However, the inverse, subtractive process, where a company emerges from the original company, has not received much attention in the literature with respect to the creation of the new company s identity. This thesis aims to understand the construction of the organizational identity of a spin-off outsourced company. A qualitative, exploratory and longitudinal study was performed on the basis of a case study. The research consisted of 13 in-depth interviews with the key actors involved from the start of the spin-off process, along with the current managers, including non-participant observation in meetings and events, as well as broad documental analysis. The transcribed interview texts and secondary data were analyzed on the narrative and discursive levels, both in terms of syntax and of semantics under textual semiotics. The central and distinctive identity characteristic, present on the fundamental level of the discourses belonging to the studied case, was found to be reliability. This attribute, which was consolidated along the spin-off company s historical path, in an integrated manner among its members and groups, refers to the identity category of the fundamental level of the semiotic square revealed during the research. The inexorable influence of the original company s organizational culture on the construction of the new company s identity was also observed, at least in the initial phase; this process was identified as an organizational culture spin-off. However, through semiotic analysis of the texts in the study s corpus it was possible to identify other aspects of organizational identity, relative to otherness and its contradictions, which were of an unstable, tensional and ambiguous nature but were nonetheless relevant to understanding the way organizations create their identities. / A literatura de identidade organizacional, à luz de diversas perspectivas, aborda os processos aditivos empresariais como fusões, aquisições ou atividades cooperadas entre empresas. No entanto, o processo subtrativo, inverso, onde uma empresa se constitui emergindo da organização mãe tem sido pouco estudado na literatura quanto à construção da identidade dessa nova empresa. Esta tese tem por objetivo compreender a construção da identidade organizacional de uma empresa terceirizada do tipo spin off. Realizou-se uma pesquisa qualitativa, exploratória, de natureza longitudinal, fundamentada num estudo de caso. A pesquisa compreendeu 13 entrevistas em profundidade com os atores-chave envolvidos desde o início do processo do spin off, bem como atuais gestores, incluindo a observação não participante em reuniões e eventos, além de ampla análise documental. Os textos transcritos das entrevistas e os dados secundários foram analisados nos níveis narrativo e discursivo, tanto pela sintaxe como pela semântica da Teoria da Semiótica do texto. Identificou-se a característica central e distintiva identitátia, presente no nível fundamental dos discursos do caso estudado, como sendo a confiabilidade. Esse atributo que se consolidou no percurso histórico da empresa spin off, de forma integrada entre os seus membros e grupos, refere-se a categoria identidade do nível fundamental do quadrado semiótico revelado na pesquisa. Constatou-se também a inexorável influência da cultura organizacional da empresa-mãe na construção identitária da nova empresa, ao menos em sua fase inicial, identificada como um spin off da cultura organizacional. Entretanto, a realização da análise semiótica nos textos do corpus da pesquisa, possibilitou identificar outros aspectos da identidade organizacional, relativos a alteridade e seus contraditórios, estes, de natureza instável, tensional e ambígua, porém relevantes à compreensão da construção da identidade das organizações.

Syftet med denna uppsats är att analysera två för Sverige betydelsefulla kulturpolitiska styrdokument, för att analysera hur relationen mellan kultur och ekonomi gestaltas i respektive diskurs. Genom att jämföra 1970-talets med det tidiga 2000-talets kulturpolitik, med de kulturella och ekonomiska begreppens historiska utveckling från senmedeltiden och framåt, förklaras det spända förhållandet mellan kultur och ekonomi. De idéer och teorier som utgör grunden för de kulturpolitiska diskurserna kommer att analyseras genom att använda den hermeneutiska metoden, innehållsanalys och semiotisk diskursanalys, där olika strategier för kulturell och ekonomisk planering utgör idealtyper för uppsatsens undersökning. Samtidigt som kultur och ekonomi har en delad historisk utveckling i samband med det moderna samhällets uppkomst, blir det tydligt att det rör sig om två motsatta synsätt där antingen kulturen eller ekonomin ges prioritet i kulturpolitiken, där den ena blir ett ändamål för att uppnå den andra. / The purpose of this essay is to analyze two key documents in relation to Swedish culture policies, and to analyze how the relationship between culture and economy manifest in their respective discourses. By comparing the 1970’s to the early 2000’s cultural policies, with the cultural and economic terms and historical development from the late middle ages forward, theories and ideas from which the tense relationship between culture and economics will be explained. Also, by using the method of hermeneutics, content analysis and semiotic discourse analysis with the ideal types of different strategies for culture and economic, the ideas which formed the basics of the policies discourses will be shown. While showing that culture and economy has a shared historical development in conjunction with the development of modern society, the result showed two opposite points of view in which either culture or economics is considered a priority which leads to achieving the other.

Den här studien undersöker hur webbplatsen kan användas i syfte att förmedla en varumärkesidentitet hos företag inom kultursektorn. Fotografiska, en privat konsthall för samtida fotokonst, belägen i Stockholm, publicerar på sin webbplats texter om varje utställning som konsthallen arrangerar. Undersökningen utgår från antagandet att såväl den omgivande kontexten som innehållet i texterna bidrar till att skapa en varumärkesidentitet. Genom en multimodal och narrativ diskursanalys av webbplatsen och utställningstexterna analyserar jag hur denna identitet realiseras i samspelet mellan semiotiska och narrativa resurser och vilken bild den förmedlar av Fotografiska till betraktaren. Resultatet visar, enligt min tolkning, att Fotografiska använder webbplatsen i identitetsskapande syfte genom porträtteringen av fotokonsten och dess centrala aktörer som bärare av ett antal socioestetiska kärnvärden; minimalism, intellektualitet, exklusivitet, tradition och kunnighet. / This study examines how websites can be used for corporate branding purposes of institutions in the cultural field. It is based on my analytical findings on the website of Fotografiska, a gallery for contemporary fine art photography in central Stockholm. The thesis is based on the claim that both the surrounding context and the content of the exhibition texts plays a crucial role in the creation of a corporate brand for art galleries. Therefore my intention here is to show how Fotografiska all together use semiotic and narrative resources on their website in order to brand themselves. Supported by the findings from my sociosemiotic discourse analysis I argue that the extensive portraying of fine art photography and its key figures, maintains a few artistic core values that are characteristic for the branding of Fotografiska. Those are minimalism, intellectuality, exclusiveness, tradition and expertise.