[pt] A experiência fundamental da sociedade moderna é a de uma intensa aceleração do fluxo de experiência de cada indivíduo (ROSA, 2019a). Os reflexos deste fenômeno são observados em larga escala, coexistindo com um discurso cultural que relaciona a velocidade a limitações sociais, ambientais e individuais. Frente a isso, nota-se o surgimento de movimentos contestatórios à lógica temporal moderna, utilizados como válvulas de escape em relação à aceleração (BAUER et al, 2015; HUSEMANN e ECKHARDT, 2019; LEVINE, 2015; ROSA, 2019a), dentre os quais o Slow Movement (HONORE, 2019; PARKINS, 2004). Neste contexto, este estudo propõe compreender o processo de desaceleração do consumidor no ambiente estrutural contemporâneo, por meio do consumo sob o rótulo Slow. Como a noção de temporalidade está relacionada ao desdobramento de significados que emergem das práticas de vida, utiliza-se a Sociossemiótica (LANDOWSKI, 2014a) como aporte teórico-metodológico para entender a criação de sentido e os significados da desaceleração em torno do consumo Slow. Com base em entrevistas em profundidade com consumidores do Movimento Slow, foi possível concluir que este tipo de consumo pode equivaler a uma experiência extraordinária de lentificação, revelando-se como oásis de desaceleração (ROSA, 2019a) em meio ao contexto contemporâneo acelerado. Este extraordinário possui a estesia como elemento central, emergindo a partir da busca dos consumidores por sentido no que e em como consomem, da combinação de elementos estruturais e antiestruturais e do emprego de estratégias de desaceleração específicas. / [en] A critical experience of modern society involves an intense acceleration of experience flux of each individual (ROSA, 2019a). The consequences of this phenomenon are observed in a large scale, coexisting with a cultural discourse that relates speed to social, environmental and individual limitations. In view of this, movements have emerged contesting the modern temporal logic, used as escape valves from acceleration (BAUER et al., 2015; HUSEMANN and ECKHARDT, 2019; LEVINE, 2015; ROSA, 2019a), including the Slow Movement (HONORE, 2019; PARKINS, 2004). This study seeks to understand the process of consumer deceleration in the contemporary structural environment, assessing Slow Movement consumption. As the notion of temporality is related to the development of meanings that emerge from life practices, Sociosemiotics (LANDOWSKI, 2014a) is used as a theoretical-methodological approach to understand the creation of sense and meanings from deceleration via slow consumption. Based on in-depth interviews conducted with Slow Movement consumers it was possible to conclude that such type of consumption can ensure an extraordinary experience of deceleration, acting as an oasis of deceleration (ROSA, 2019a) in the fast-paced contemporary context. This extraordinary experience has esthesia as its central element, emerging from the search of consumers for meaning in what and how they consume, the combination of structural and anti-structural elements, and the use of specific deceleration strategies.

With the industrial revolution, the world was acquainted with the concept of speed. &bdquo / Speed

This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential. In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations. Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.

This paper presents an investigation of the human need of being needed and how dependent we are of each other. I am dealing with my fears of temporary relationships, temporary meetings and the Individualized society, it is about the fast-paced  lives we live and how there is no time for stopping and taking care of each other and our surroundings.I use my craft to reconnect, talk about new or old relationships, and the impact relationships has on the development in one another. I discuss the perspective we have on time and where we have our focus in the moment. Connecting it to the slow movement, making time for the moment that we are in, everything happens in the present.

O presente trabalho busca refletir sobre uma nova forma de ver e viver o tempo, mais equilibrada e qualitativa, a partir da exposição da ideologia do Movimento Devagar. Além disso, procura investigar sobre as razões e motivações que vem tornando-o atrativo e desejado, mesmo se visto sob o contexto contemporâneo inegavelmente apoiado na velocidade como fator competitivo e diferenciador. Frente a necessidade do Devagar precisar da vivência prática para existir além do plano teórico, busca-se aprofundar duas relações interdependentes e determinantes para sua efetiva realização: a do indivíduo com o trabalho e com o consumo. Finalmente, a partir do viés de uma sociedade em mutação, marcada por paradoxos e oscilações, espera-se levantar possibilidades interpretativas que possam apontar caminhos identitários para o devagar, tão plurais como o próprio contexto. / This paper reflects upon a new way of seeing and experiencing time in a more balanced and qualitative way, based on the exposure of the ideology of the Slow Movement. Besides, it aims to investigate the reasons and motivations that are making slow an attractive and desired option, even when the contemporary context is undeniably supported by speed as a competitive and differentiating factor. As Slow Movement needs practical experience to exist beyond the theoretical level, this paper contemplates two interdependent relationships crucial to its achievement: ones relation with work and consumption. Finally, from a changing societys perspective, characterized by paradoxes and oscillations, this work expects to raise possible interpretations that lead to slow identity traits as plural as the context itself.

Background: Kate Fletcher coined the concept of Slow Fashion in 2007, as a reaction to the throwaway society, called Fast Fashion. Fast Fashion is all about companies who choose to work in a quick and cheap way, while Slow Fashion is all about designing, producing and living in a better way for the environment and social sustainability. Purpose: The purpose of the study is to explore if, and in that case how, fashion firms can combine encouragement to Slow Fashion by their marketing and at the same time be able to increase sales in their business, or if it is even possible to combine. Theories: The PESTLE-model by Baines (2011), Sustainability model by Söderqvist et al. (2014), Seven forms of sustainable fashion by Green Strategy (2014), Slow Fashion Process by Pookulangara & Shepard (2013) and Marketing Mix by Baines (2011). Method: A qualitative method has been applied to the study, where four semi-structured interviews from selected Slow Fashion firms have been made, also homepage inspections and facts about the firms has been collected as secondary data. Conclusion: The conclusion of the study is that it is possible for fashion firms to combine encouragement to Slow Fashion and at the same time be able to increase their sales. This is possible through widening their range of products or stealing costumers from the Fast Fashion industry. / Bakgrund: Begreppet Slow Fashion myntades av Kate Fletcher år 2007 och är en reaktion på det snabba modet som idag produceras, som kallas Fast Fashion. Fast Fashion handlar om att företag väljer att arbeta på ett snabbt och billigt sätt medan Slow Fashion istället handlar om att designa, producera och leva på ett bättre sätt för att främja miljömässig och social hållbarhet. Syfte: Syftet med studien är att undersöka om och i så fall hur modeföretag kan förena uppmaningar till Slow Fashion via deras marknadsföring och samtidigt kunna öka sin försäljning, eller om det ens är möjligt att förena. Teorier: PESTLE-modellen av Baines (2011), Hållbar utvecklingsmodell av Söderqvist et al. (2014), Seven forms of sustainable fashion av Green Strategy (2014), Slow Fashion Process av Pookulangara & Shepard (2013) och Marketing Mix av Baines (2011). Metod: Till studien har en kvalitativ metod tillämpats, där primärdata är i form av semistrukturerade intervjuer från fyra valda Slow Fashionföretag samt sekundärdata i form av hemsidegranskning samt material om företagen.        Slutsats: Studiens slutsats är att det är möjligt för modeföretag att förena en uppmaning till Slow Fashion samtidigt som de vill öka sin försäljning. Detta är möjligt genom att bredda sitt sortiment eller genom att stjäla kunder från Fast Fashionföretag samt öka sin kundkrets.

Purpose: The purpose of this thesis is to expand knowledge of slow fashion brand customer by creating a persona that communicates the characteristics and aspects that influence purchase decisions of slow fashion consumers. Method: Since slow fashion consumer concept is still rather unexplored area, qualitative research strategy approach was chosen for this thesis, to get more deep data about the slow fashion consumer profile and buying insights. To address the research questions, single case study was used. The data was gathered through semi-structured interviews that were conducted with five female slow fashion consumers who had recently made a purchase from a Swedish slow fashion brand MASKA’s online store. To analyse the data, a coding approach was used. As a result of the coding process, themes that described the slow fashion consumer’s profile and buying insights emerged and were used later to create a narrative of the slow fashion buyer persona. Conclusion: In order to expand knowledge of slow fashion brand customer, a persona that communicates the characteristics and aspects that influence purchase decisions of slow fashion buyer was developed with this study. To answer the research questions and develop persona, five female slow fashion brand buyers were interviewed. Answering the research questions provided 8 different themes that emerged from the interview transcripts and made up slow fashion brandbuyer persona, which fulfilled the purpose. The emerged themes were describing who slow fashion brand buyer persona is: 1) creative mind; 2) globetrotter and explorer; 3) fond of nature, and themes that described what influences the slow fashion buyer: 4) consciousness; 5) quality over quantity; 6) shoppers of small boutiques; 7) trust; 8) esthetics. This study did not come to a firm conclusion, but rather aimed to provide more in-depth knowledge about slow fashion brand buyer and point out implications to further study the slow fashion consumer.

O presente trabalho busca refletir sobre uma nova forma de ver e viver o tempo, mais equilibrada e qualitativa, a partir da exposição da ideologia do Movimento Devagar. Além disso, procura investigar sobre as razões e motivações que vem tornando-o atrativo e desejado, mesmo se visto sob o contexto contemporâneo inegavelmente apoiado na velocidade como fator competitivo e diferenciador. Frente a necessidade do Devagar precisar da vivência prática para existir além do plano teórico, busca-se aprofundar duas relações interdependentes e determinantes para sua efetiva realização: a do indivíduo com o trabalho e com o consumo. Finalmente, a partir do viés de uma sociedade em mutação, marcada por paradoxos e oscilações, espera-se levantar possibilidades interpretativas que possam apontar caminhos identitários para o devagar, tão plurais como o próprio contexto. / This paper reflects upon a new way of seeing and experiencing time in a more balanced and qualitative way, based on the exposure of the ideology of the Slow Movement. Besides, it aims to investigate the reasons and motivations that are making slow an attractive and desired option, even when the contemporary context is undeniably supported by speed as a competitive and differentiating factor. As Slow Movement needs practical experience to exist beyond the theoretical level, this paper contemplates two interdependent relationships crucial to its achievement: ones relation with work and consumption. Finally, from a changing societys perspective, characterized by paradoxes and oscillations, this work expects to raise possible interpretations that lead to slow identity traits as plural as the context itself.

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