Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-16T19:22:34Z No. of bitstreams: 1 evandrojosemedeiroslaia.pdf: 1608620 bytes, checksum: 9e07829a8446893589fb4215999e2de0 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-17T16:15:50Z (GMT) No. of bitstreams: 1 evandrojosemedeiroslaia.pdf: 1608620 bytes, checksum: 9e07829a8446893589fb4215999e2de0 (MD5) / Made available in DSpace on 2017-05-17T16:15:50Z (GMT). No. of bitstreams: 1 evandrojosemedeiroslaia.pdf: 1608620 bytes, checksum: 9e07829a8446893589fb4215999e2de0 (MD5) Previous issue date: 2012-01-23 / O texto visa refletir sobre como as histórias da cultura popular ganharam forma no discurso televisual, construído de modo fragmentado, a partir de referências diversas, um palimpsesto. O foco principal é a tradição do pensamento em língua portuguesa, herança medieval ibérica trazida ao Brasil pelos colonizadores e que por motivos sociais e econômicos permanece mais visível no Nordeste brasileiro. Como recorte empírico utilizaremos a microssérie O auto da Compadecida, do diretor Guel Arraes, exibida em quatro capítulos, pela Rede Globo, em 1999. A história é baseada na peça homônima, escrita por Ariano Suassuna, em 1955, inspirado em folhetos da literatura de cordel. O objetivo é apontar as conjunções e as disjunções da obra em televisiva em relação ao texto seminal, e ainda entrever a herança cultural incluída na microssérie, a partir do conceito de transluciferação e de eras imaginárias. Para completar este estudo das mediações sociais lançamos mão de outras duas adaptações do Auto para o cinema: A Compadecida, de 1969, e Os trapalhões no auto da Compadecida, de 1987. Como não é possível tratar da cultura sem falar na mediação técnica pela qual ela se constrói, através da qual se difunde e na qual é reproduzida, a linguagem dos meios teatro, cinema e televisão, e suas características, também representa interesse para a nossa pesquisa. Por isso usamos a Mediologia como base, método que divide as mediações em três tempos, ou mediasferas: a logosfera, a grafosfera e a videosfera, que na nossa visão devem corresponder, respectivamente, ao teatro, ao cinema e à televisão. / The text aims to reflect on how the stories of popular culture took shape in televisual discourse, built in a piecemeal way from various references, like a palimpsest. The main focus is the tradition of thought in the Portuguese language, the Iberian medieval heritage brought to Brazil by the settlers and which for social and economic reasons remains more visible in the Brazilian Northeast. For empirical crop we use O auto da Compadecida, TV product displayed in four chapters, by Rede Globo, at 1999. The story is based on the play of the same name, written by Ariano Suassuna, in 1955, inspired by the cordel literature. The goal is to point out the conjunctions and disjunctions of work in television over the seminal text, and even a glimpse of the cultural heritage included in the microssérie, using the concepts of transluciferação and imaginary ages. To complete this study of social mediations we employed two other adaptations to film : A Compadecida, 1969, and Os Trapalhões no auto da Compadecida, 1987. As it is impossible to treat of culture without mentioning the technical mediation by which it is built, through which it spreads and where it is played, the languages of media theater, film and television, and their characteristics are also relevant to our research. So we use Mediologia as a base method that divides mediations in three stages, or mediaspheres: the logosphere the graphosfere and videosphere, which in our view must correspond, respectively, theater, film and television.

En los últimos años, el formato talk show ha vuelto a ganar protagonismo en el espacio televisivo peruano. La exposición de conversaciones privadas a un entorno público ha permitido poner en evidencia la prevalencia de determinados estereotipos de rol de género arraigados en la sociedad. Es por ello, que parte de esta investigación tiene como finalidad conocer la relación entre discurso y lenguaje televisivo; y como estos, aportan a una difusión de estereotipos masculinos y femeninos. A raíz de esto, se decidió elegir fue el programa Andrea, el único programa talk show emitido de lunes a viernes en horario familiar por la casa televisora ATV (canal 9). Este trabajo busca identificar los criterios y referentes con los que se construyen los roles de género en este espacio televisivo.Para esto se utilizó una metodología cualitativa y se optó por elegir un corpus representativo de ocho emisiones del mes de agosto de 2019. Asimismo, se diseñó un instrumento de análisis a partir de cuatro subcategorías que nos permitió identificar la relación de recursos televisivos y rol de género; el papel en el escenario de los invitados y conductora, y el vínculo entre los roles de género (hombre-mujer) Una vez finalizada la investigación, se llegó a la conclusión de que existe un quiebre en el papel de la mujer; ya que esta puede ser multifacética sin que su rol de madre, profesional y mujer se vea afectado. Asimismo, se puso en evidencia la prevalencia de estereotipos tradicionales femeninos y masculinos dando continuidad a una jerarquización patriarcal en la sociedad. / In the last years, the talk show format has gained prominence in the Peruvian television space, once again. The exposure of private conversations to a public environment has made it possible to highlight the prevalence of certain gender role stereotypes rooted in our society. Because of this, I decided to analyze the case of the program Andrea, the only talk show broadcast from Monday to Friday during family hours by the television channel ATV (channel 9). That is why part of this research is aimed at knowing the relationship between speech and television language; And like these, they contribute to a diffusion of male and female stereotypes. This work seeks to identify the criteria and referents with which gender roles are constructed in this television space. To achieve this goal, a qualitative methodology was used and a representative corpus of eight broadcasts from August 2019 was chosen. Likewise, an analysis instrument was designed from four subcategories that allowed us to identify the relationship of television resources and the gender role; the role of guests and host on stage and the link between gender roles (male-female) Once the investigation was completed, it was concluded that there is a break in the women role; since it can be multifaceted without affecting her role as mother, professional and woman. Further, the prevalence of traditional female and male stereotypes was evidenced, giving continuity to a patriarchal hierarchy in society. / Trabajo de investigación

(in English): The aim of this diploma thesis is to analyze the representation of the co-official language and Castilian in the language expression in the autonomous televisions of Catalonia (TV3), Galicia (TVG) and the Basque Country (ETB1, ETB2). Before performing this analysis, the fundamental concepts related to our topic will be defined, followed by introducing basic information about individual autonomous areas and their televisions. Subsequently, we will provide an overview of the theoretical level of the concept of language policies of individual televisions. After that, an analysis will be carried out, during which we will focus not only on the ratio of Castilian and the co-official language in individual channels, but also on the dubbing and the subtitles of Castilian and the co-official language.

Made available in DSpace on 2016-08-03T12:30:22Z (GMT). No. of bitstreams: 1 Daniella Rubbo.pdf: 1407131 bytes, checksum: ce43c90b840c99a7416eea2f87068df2 (MD5) Previous issue date: 2004-04-28 / This work intends to make one critical analysis of the discuss about science in the Fantástico television program. By the critical analysis perspective, the work tries to find signs that show the intention of both scientists and communicators discuss as well as the differences between the intention and the effective communication, as every communicative act is full of the conditions in that it was made and received. The work identifies the program as an enunciator of a discuss that is constructed by multiple voices that contribute to its construction. Since this role is identified, the analysis turns to the characteristics of the scientific information inside it. / Esse trabalho visa elaborar uma análise crítica do discurso sobre ciência presente no programa Fantástico de televisão. Dentro da perspectiva da análise crítica do discurso, busca-se encontrar marcas que indiquem a intencionalidade do discurso, tanto de cientistas como de comunicadores, bem como discrepâncias entre a intenção e a comunicação efetivamente realizada, na medida em que todo ato comunicativo é permeado também pelas condições em que foram gerados e recebidos. Dentro desse marco, o trabalho identifica o programa como enunciador de um discurso que se tece a partir das múltiplas vozes que contribuem para sua a realização. A partir da identificação desse papel, a análise se volta para as características da informação científica nele presente.