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Cette recherche dresse le portrait d’un nouveau genre sur le Web, la websérie. Il s’agit d’analyser la websérie québécoise afin d’en comprendre les influences, particulièrement les influences télévisuelles. Dans le premier chapitre, les théories de l’intermédialité, de la remédiation et de la convergence sont abordées afin de bien comprendre les différents types d’échanges entre les médias d’aujourd’hui. Dans le second chapitre, une vue d’ensemble, en ce qui a trait à l’histoire de la websérie au Québec, est donnée. Ensuite, quatre caractéristiques principales de la télévision sont analysées : le contexte de réception, la programmation, l’esthétique et la sérialité. Il est ensuite démontré que ces caractéristiques sont également présentes dans la websérie et il est expliqué de quelle manière elles le sont. Finalement, dans le dernier chapitre, des analyses de webséries sont faites afin d’exemplifier les différents liens entre les émissions de télévision et la websérie. / This research seeks to illustrate a new genre present on the Web, the webseries. Its goal is to analyse Quebec webseries in order to understand its influences, particularly those of television. In the first chapter, theories of intermediality, remediation and convergence are explained to clarify the actual context of exchanges between media. In the second chapter, a quick historical panorama of quebec webseries is set. Then, four caracteristics of television are explained: watching context, schedule, aesthetics and seriality. In addition, this work demonstrates that those four caracteristics are present in the webseries and it explains how they are developped. Finally, in the last chapter, we analyse webseries to exemplify different existing links between TV shows and webseries.

A diploma thesis deals with sexuality as a storylining element in Czech soap operas. The sample contains long-running relational series that were broadcasted by television stations in October-November 2013. Specifically, there were series Cesty domů 2, Gympl s (r)učením omezeným, Ulice and Ordinace v růžové zahradě 2. There were used quantitative content analysis to detection the frequency of sexuality and qualitative narrative analysis to explore the context and way for create the plot. The categories of behavior and conversation containing elements of sexuality were analyzed in the study. During the preparation of the categories, I was inspired by research "How much sex is there in soap operas on British TV?" that was realized by Rami Al - Sayed and Barrie Gunter in 2012. I analyzed the elements of sexuality that create the storyline during the research. I examined the particular scenes where did appear the correlation of story to the previous and following events and debates . I focused on the explicit and implicit exposure of sexuality in the series. If there was an aspect of sexuality without storylining function I tried to find the reason for the occurrence in the series. The theoretical establishment of the topic deals with issues of narrative and discourse of sexuality. There are presented...

This thesis examines contemporary street art and its exhibition in galleries and museums in connection with Walter Benjamin's concepts of aura and authenticity in the postmodern period. Street art is posited as a marginal art evolving out of the tradition of 1970's New York graffiti that can be made to function as a type of anti-spectacle within the spectacle of the mainstream. Situationist theory and concepts within the agenda of Unitary Urbanism (psychogeography, the dérive, and détournement) are used to evaluate contemporary street art as anti-spectacle. Photography, as a primary method of documenting street art, is considered as a mechanically reproduced medium bringing into play discourses of repetition and originality, which are in turn related back to Benjamin's concepts of aura and authenticity. Andy Warhol, his Pop Art iconography, and practice of seriality are also considered as an influence on contemporary street art's imagery and underlying practice. Warhol's promotion of an "art star" persona is also related to such contemporary street art "stars" as Banksy and Mr. Brainwash.

Made available in DSpace on 2016-04-26T18:15:30Z (GMT). No. of bitstreams: 1 Robson Kumode Wodevotzky.pdf: 14017719 bytes, checksum: 0f588be0bb91a6611a254f8bd06861b8 (MD5) Previous issue date: 2015-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to analyze the sociocultural environment of the webseries, fictional serial audiovisuals produced specifically for the web, in the cybercultural context. The platform Youtube and the audiovisual content of the channels Porta dos Fundos and canal8KA compose the corpus of this research and are among the proposition released from the second decade of the XXI century to build a viewing habit of fictional audiovisual products on the web through serialily. The consumption and production of videos and series on the web provides specific characteristics of this environment, such as the rivalry with other attention catalyzers fighting for space on the same window, the use of interactive tools, and the facilitation in the criation and circulation of audiovisuals. The goal is to identify the sociocultural reverberations that have emerged in this environment: how the interactors behave regarding webseries and vice versa, once that in an environmental thinking the social movements impact the products and so does the opposite. The hypothesis is that the webseries environment, through the strategies of acceleration, interaction and ritualisation by repetition brings the interactor user, simultaneously receiver and viewer to a time and space suspension with the temporal acceleration and the obliteration of the world by excessive images, interactive or not. Methodologically, we will analyse the corpus, investigating the available tools and used languages that potentially impact the sociocultural relations in this environment. The theoricalmethodological funtamental basis of this research consists in the works of Norval Baitello and Villém Flusser about image and cultural environments, Umberto Eco about seriality and narrative, Arlindo Machado about audiovisual history and its consumption and Eugênio Trivinho about cyberculture / audiovisuais ficcionais seriados produzidos especificamente para a web, no contexto cibercultural. A plataforma Youtube e os produtos audiovisuais dos canais Porta dos Fundos e canal8KA constituem o corpus da presente pesquisa e estão entre as propostas lançadas a partir da segunda década do século XXI para construir um hábito de visualização de produtos audiovisuais ficcionais na web através da serialidade. O consumo e a produção de vídeos e séries no ambiente web traz características específicas do meio, como a rivalidade com outros catalisadores de atenção disputando espaço na mesma janela, o uso de ferramentas interativas e a facilitação na criação e circulação de audiovisuais. O objetivo é identificar as reverberações socioculturais surgidas neste ambiente: como se comportam os interatores com relação às webséries e vice-versa, uma vez que num pensamento ambiental os movimentos sociais impactam nos produtos e o contrário também. A hipótese trabalhada é de que o ambiente das webséries, através de estratégias de aceleração, interação e ritualização pela repetição, leva o interator usuário, receptor e espectador simultaneamente - a uma suspensão espaço-temporal, com a aceleração temporal e a obliteração do mundo pelo excesso de imagens, interativas ou não. Metodologicamente, analisaremos o corpus numa investigação das ferramentas disponíveis e linguagens utilizadas que potencialmente impactam nas relações socioculturais desse ambiente. A base teórico-metodológica fundamental da pesquisa consiste nas obras de Norval Baitello e Vilém Flusser sobre imagem e ambientes culturais, em Umberto Eco sobre serialidade e narrativa, em Arlindo Machado sobre histórico e consumo audiovisual e em Eugênio Trivinho sobre cibercultura

The PhD thesis Seriality in Czech and Slovak Comics Narration. Genres - Models - Worlds intends to deepen our understanding of the historically most prevalent serial form (as in "form of organization") of comics' texts, which phenomenon is here described and further studied building upon the material base of the Czechoslovak comics of the 20th century. At the same time, this seriality is considered here as both the topic of research and its main analytical tool, since the thesis aims to advance our knowledge of history of local comics, as well as to propose seriality-related theoretical tools and concepts. On the historical and interpretative level, the Czechoslovak tradition of comics is conceptualized through its dominant publication-presentation types (comics being presented in the periodicals context) of episodic segments with their strictly limited space/page allowance, with focus on formats and models of periodicity, as well as on genre and composition related topics. Further chapters are dedicated to specific sub-categories of comics narratives (either format-based - comic strip, or genre-oriented - funny animal comics). These not only give an appropriate historical overview of the individual topics, but also serve as the prerequisites for consideration of general, arguably even...

[pt] O folhetim se constituiu a partir de outros elementos além do melodrama e possui suas próprias características. Levando em conta tal especificidade, o objetivo da tese é investigar a retomada do folhetim pelo cinema contemporâneo com ênfase no tema da vingança. Isso porque, entre tantas páginas folhetinescas, a página da vingança extrapolou o universo literário e passou a fazer parte de uma memória ficcional mais ampla, na qual O Conde de Monte Cristo, de Alexandre Dumas, ocupa uma posição central. Desde que foi lançada no século XIX, a saga vingativa de Edmond Dantès vem sendo retomada seja por meio da ironia, da crítica, da paródia, da pilhagem narrativa, da reverência ou da adesão em diversos produtos da cultura de massa e em diferentes suportes. Dada essa importância do romance de Dumas, o presente trabalho faz do Monte Cristo um lugar teórico para analisar a vingança como uma máquina de narrar por meio da qual os cineastas discutem questões da contemporaneidade. Como corpus para análise foram selecionados os filmes Kill Bill – Volumes 1 e 2 (2003/2004), de Quentin Tarantino, Old Boy (2003), de Chan Wook Park, e A pele que habito (2011), de Pedro Almodóvar, produções nas quais o tema da vingança traz à tona questões sobre gênero narrativo, serialidade e tecnologia. / [en] The feuilleton has other elements besides the melodrama and has its own characteristics. The aim of the thesis is to investigate the resumption of the feuilleton by contemporary cinema with an emphasis on the theme of revenge. Among so many pages in the feuilleton, the revenge page went beyond the literary universe and became part of a fictional memory. Since it was released in the 19th century, The Count of Monte Cristo has been taken up again through irony, criticism or parody in diverse products of mass culture and in different media. Due to the importance of Dumas novel, the present work makes Monte Cristo a theoretical place to analyze revenge as a narrative machine through which filmmakers discuss contemporary issues. As corpus for analysis, the selected films were Kill Bill – Volume 1 and Volume 2 (2003/2004), by Quentin Tarantino, Old Boy (2003), by Chan Wook Park, and The skin I live in (2011), by Pedro Almodóvar. In these films, the theme of revenge brings up issues of narrative genre, seriality and technology.

Can we consider Plutarch's Parallel Lives a historical work? Can we read them as a unitary series? These are the initial questions that this thesis poses and that are investigated in the Introduction, five main Chapters, and the Conclusion. In the Introduction, a preliminary status quaestionis about ancient biography is presented before clarifying the methodology adopted for reading the Parallel Lives as a unitary historical work and the reasons for choosing the Lives of Lycurgus, Lysander, and Agesilaus as the case studies to examine in detail. Chapter 1 discusses the historiographical principles that emerge from the De sera numinis vindicta: for Plutarch history is primarily the history of individuals and cities, based on the interpretation of historical events. Chapter 2 tries to verify the hypothesis that the Parallel Lives correspond to the historical project delineated in the De sera numinis vindicta. This Chapter, moreover, reassesses the literary form of the Parallel Lives by employing the concepts of 'open macrotext' and 'cross-complementarity' between the Lives. Chapter 3 analyses the Life of Lycurgus, focusing on the formation of the cultural identity and the political model of Sparta. In the Life of Lycurgus, Plutarch indicates already the intrinsic weaknesses of Sparta and the probable causes of Spartan decline in the fourth century BC. Chapter 4 is devoted to the Life of Lysander, where Plutarch narrates how after the Peloponnesian War Sparta established its hegemony over the Greeks and, simultaneously, began its rapid moral and political decline into decadence. Plutarch also seems to suggest that in this historical period of extraordinary changes not only Sparta and Lysander but all the Greeks were guilty of distorting moral values. Chapter 5 concentrates on Agesilaus, who could have led Sparta and the Greeks to great success against the Persians, but, instead, had to save Sparta from complete destruction after the Battle of Leuctra. The Conclusion recapitulates the main points of the thesis and proposes possible arguments for future research on Plutarch’s Parallel Lives.

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This thesis brings fresh light on the types of problems that contemporary democracies might face when interacting with private interests. More specifically, the study examines the separation between the state and private interests, based on the assumption that this separation is a precondition for maintaining democracy and legitimate governance. It is thereby a contribution towards understanding the social forces that allow private interests to penetrate the public realm, as well as the forces that protect the state from such penetration. Under which circumstances do private interests access state apparatus in ways that contradicts its universalistic principles? How does the state consider challenges against its legitimacy and how are such threats dealt with? These questions are answered by means of two case studies. The first concerns the interaction between a number of state authorities that receive sponsoring from business enterprises. The second concerns interaction - partially afflicted by corruption - between the state monopoly for selling alcoholic beverages (‘Systembolaget’) in Sweden and its private suppliers. Applying theories on organizational boundaries, exchange, trust, networks as well as legitimacy to these cases, the study demonstrates how state reforms, inspired by the logic of markets, has introduced new ways for private interest to access state affairs. In the case of ‘Systembolaget’, this is particularly evident. The possibility of access, the study argues, is a consequence of reshaping the internal boundaries of the state, broadening informal relations as well as extended scope of action for state employees. This replaced social differentiation as a mechanism of separation by the personal integrity of state employees. Interestingly, this finding should be considered in relation to how the state has attempted to sharpen its organizational boundaries through a strengthening of regulation and the businesslike relations of exchange.