Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-04-17T14:30:48Z No. of bitstreams: 1 anaclaracamposdossantos.pdf: 2421025 bytes, checksum: a66b288e631c56bfe4337f7f9cac56ab (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-04-18T13:43:02Z (GMT) No. of bitstreams: 1 anaclaracamposdossantos.pdf: 2421025 bytes, checksum: a66b288e631c56bfe4337f7f9cac56ab (MD5) / Made available in DSpace on 2017-04-18T13:43:03Z (GMT). No. of bitstreams: 1 anaclaracamposdossantos.pdf: 2421025 bytes, checksum: a66b288e631c56bfe4337f7f9cac56ab (MD5) Previous issue date: 2017-02-07 / O objetivo geral desta dissertação é analisar de que maneira as pessoas costumavam filmar e aparecer em filmes de família na década de 1970, período em que não havia tanta facilidade, como hoje, em registrar a vida privada. A pesquisa bibliográfica abrange estudos sobre memória e vida privada, com autores como Paul Thompson, Philippe Ariès e Anne MartinFugier, acerca do filme de família, cujos principais autores que utilizamos são Roger Odin, Elizabeth Czach e Thaís Blank, e sobre mise-en-scène, com base nos conceitos de Jean-Louis Comolli, Jacques Aumont e Fernão Pessoa Ramos. Uma das metodologias utilizadas foi a das entrevistas de história oral, feita com dois cinegrafistas: um fotógrafo (Márcio Assis) e uma funcionária pública aposentada (Eliana Tolentino), apontando-se as semelhanças e diferenças entre duas pessoas com trajetórias e estilos de filmagem distintos. Após observação atenta de seus filmes, podemos definir o realizador de filmes de família como cinegrafista participante: trata-se de um sujeito que é personagem secundário da ação filmada e registra os eventos de forma testemunhal, a partir de seu próprio ponto de vista; por vezes, não tem a intenção de interferir no que está acontecendo, por outras, age como “diretor” e demanda a interpelação dos personagens. Para estudar a encenação de si (auto-mise-en-scène) no filme doméstico, foram selecionadas cerca de duas horas de filmes domésticos em Super 8 digitalizados que compõem nosso corpus. A análise fílmica foi feita, principalmente, com base em conceitos definidos por Carlos Gerbase sobre enquadramentos, movimentações da câmera, etc. Com este estudo, foram criadas sete categorias de encenação das personagens: fotográfica (personagem imóvel), normal (aparentemente não percebe a câmera), simulada (sabe da filmagem, mas age “naturalmente”), esquiva (tenta se esconder da câmera), encabulada (demonstra vergonha ao ser filmado), gestual (personagem faz um gesto para a câmera) e espetacular (atuação feita aparentemente em função da câmera). Com esta investigação pretende-se colaborar, especialmente, com os estudos sobre filmes de família – escassos no Brasil – e sobre a auto-mise-en-scène no cinema. / The general objective of this dissertation is to examine how people used to film and appear in family films in the 1970s, when it was not as easy as today to record private life. The literature review covers studies on memory and private life, with authors such as Paul Thompson, Philippe Ariès and Anne Martin-Fugier, about home movies, whose authors are Roger Odin, Elizabeth Czach and Thaís Blank, and about mise-en-scène, based on the concepts of Jean-Louis Comolli, Jacques Aumont and Fernão Pessoa Ramos. One of the methodologies used were oral history interviews with two moviemakers: a photographer (Márcio Assis) and a public servant who is retired (Eliana Tolentino), pointing to similarities and differences between two people with distinct trajectories and filming styles. After a careful observation to their movies, we are able to define the family filmmaker as a participant camera: he/she is a subject who is a secondary character of the filmed action and records the events in a testimonial way, from his/her own point of view; sometimes he/she does not intend to interfere in what is happening, sometimes he/she acts as a "director" and demands interpellation from characters. In order to study self-mise-en-scène in home movies, we selected about two hours of digitized Super 8 home movies that make up our corpus. The film analysis was made, mainly, based on concepts defined by Carlos Gerbase about framing, camera movements, etc. With this study, seven categories of self-mise-en-scène were created: photographic (immobile character), normal (apparently does not perceive a camera), simulated, elusive (tries to hide from the camera) and spectacular (performance made apparently for the camera). This research intends to collaborate, especially, with studies on family films – which are scarce in Brazil - and on self-mise-en-scène in cinema.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-04T15:48:53Z No. of bitstreams: 1 jhonatanalvespereiramata.pdf: 4302518 bytes, checksum: 9dcce0bb15fbc3e7e02072e759602166 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-05T11:36:27Z (GMT) No. of bitstreams: 1 jhonatanalvespereiramata.pdf: 4302518 bytes, checksum: 9dcce0bb15fbc3e7e02072e759602166 (MD5) / Made available in DSpace on 2018-04-05T11:36:27Z (GMT). No. of bitstreams: 1 jhonatanalvespereiramata.pdf: 4302518 bytes, checksum: 9dcce0bb15fbc3e7e02072e759602166 (MD5) Previous issue date: 2017-12-14 / PROQUALI (UFJF) / O amador no audiovisual brasileiro contemporâneo estabelece um vínculo ―híbrido‖ com as produções de telejornalismo, que mescla autoria, curadoria e audiência por parte dos ―não-jornalistas‖. Nesse ambiente, a redefinição – ou por vezes indefinição- de fronteiras entre o amadorismo e o profissionalismo são as principais responsáveis pelo caráter híbrido das referidas relações. Analisamos, por meio dos Quadros colaborativos: ―Outro Olhar‖- TV Brasil e ―Parceiro do RJ‖- Rede Globo, a TV como fenômeno de cultura e prática social. E, desse modo, o papel do cidadão comum, enquanto ―jornalista colaborativo‖ no cenário atual do telejornalismo brasileiro. Ambos os quadros abrem espaço para a atuação de cidadão nas funções de jornalista (repórter, pauteiro, cinegrafista, assistente de edição, etc.). O objetivo é perceber se o jornalismo colaborativo no país, por meio de nosso recorte, colabora para uma prática jornalística mais plural, promovendo descentralização nas abordagens e escolhas daquilo que se transforma em notícia. Nossa tarefa principal consiste, portanto, em mapear, por meio de dois quadros colaborativos da tevê aberta no país, como se processam os encaixes (TODOROV, 2004) do amador no audiovisual, os níveis de (in) subordinação ao relato ―profissional‖ do telejornal, quais tempos e espaços são apropriados pelo não-jornalista ao irromper (no) ou interromper o noticiário, com produções equalizadas em maior ou menor grau com o discurso das emissoras e de suas linhas editoriais. Como objetivos específicos, buscamos compreender as contradições e semelhanças que possam existir entre o material produzido pelos cidadãos comuns na televisão pública (TV Brasil) e na comercial (RJTV-Rede Globo). Para o procedimento metodológico, trazemos a Análise televisual (BECKER, 2012), que permite uma leitura crítica de conteúdos e formatos noticiosos que utilizam a linguagem audiovisual e os recursos multimídia na TV e web, considerando que a expressiva participação das audiências, a transmidialidade e a hibridização de linguagens são características relevantes dos atuais processos de comunicação midiáticos. As etapas dessa metodologia consistem em 1-Descrição do objeto, 2- análise televisual (quali-quantitativa, com 6 categorias básicas e 3 princípios de enunciação) e 3-interpretação dos resultados. Estrutura do texto Temática, Enunciadores, Visualidades, Som e Edição são as categorias apliicadas na análise quantitativa, enquanto Fragmentação, Dramatização e Definição de Identidades e Valores integram os princípios de Enunciação utilizados na Análise Qualitativa.Como resultados, descobrimos que ―o conteúdo audiovisual colaborativo é colocado à margem do agendamento operacionalizado pela produção noticiosa.Essa conduta, por parte das duas emissoras, confere aos quadros colaborativos, pela pouca ligação com o restante do ―corpo‖ do telejornal- produzido por ―profissionais‖- a sensação de que são uma espécie de ―produto enxertado‖ na narrativa, fragmentos audiovisuais pouco contextualizados, que operam uma quebra do fluxo discursivo do telejornal. A desnaturalização deste procedimento revela que esses enxertos audiovisuais são apostas e não certezas de valorização e incorporação do discurso alheio e implicam os ônus e bônus da segregação a que são submetidos. / The amateur in the contemporary Brazilian audiovisual establishes a "hybrid" bond with the productions of television journalism, which mixes authorship, curation and audience by non-journalists. In this environment, the redefinition - or sometimes indefinition - of frontiers between amateurism and professionalism are mainly responsible for the hybrid nature of these relations. We analyzed, through the Collaborative Frames: "Outro Olhar" - TV Brasil and "Parceiro do RJ" - Rede Globo, TV as a phenomenon of culture and social practice. And, in this way, the role of the ordinary citizen, as "collaborative journalist" in the current scenario of Brazilian television journalism. Both paintings open space for citizen participation in the role of journalist (reporter, curator, cameraman, editing assistant, etc.). The objective is to understand if collaborative journalism in the country, through our clipping, contributes to a more pluralistic journalistic practice, promoting decentralization in the approaches and choices of what becomes news. Our main task, therefore, is to map the levels of (in) subordination to the "professional" narrative of the amateur in the audiovisual, through two collaborative tables of open TV in Brazil. television news, which times and spaces are appropriated by the non-journalist when breaking in or interrupting the news, with productions equalized to a greater or lesser degree by the broadcasters' speeches and editorial lines. As specific objectives, we seek to understand the contradictions and similarities that may exist between the material produced by ordinary citizens in public television (TV Brasil) and commercial (RJTV-Rede Globo). For the methodological procedure, we bring the Television Analysis (BECKER, 2012), which allows a critical reading of news content and formats that use audiovisual language and multimedia resources in TV and web, considering that the expressive participation of audiences, transmidiality and the hybridization of languages are relevant characteristics of the current media communication processes.The steps of this methodology consist of 1-Description of the object, 2-televisual analysis (quali-quantitative, with 6 basic categories and 3 principles of enunciation) and 3-interpretation of the results. Structure of the text Thematic, Enunciators, Visuals, Sound and Editing are the categories applied in quantitative analysis, while Fragmentation, Role Play and Definition of Identities and Values integrate the principles of Enunciation used in Qualitative Analysis. As results, we discover that "collaborative audiovisual content is placed on the fringes of the scheduling operationalized by news production. This conduct, by the two broadcasters, gives collaborative pictures, because of the poor connection with the rest of the "body" of television news produced by "professionals" - the feeling that they are a kind of "grafted product" in the narrative, little contextualized audiovisual fragments that operate a break in the discursive flow of television news. The denaturation of this procedure reveals that these audiovisual grafts are bets and not certainties of valorization and incorporation of the discourse of others and imply the onus and bonuses of the segregation to which they are submitted.

Made available in DSpace on 2014-08-20T13:49:08Z (GMT). No. of bitstreams: 1 Leonardo Costa da Cunha.pdf: 3270686 bytes, checksum: 7edeedc58654378f740d44f12cbc6936 (MD5) Previous issue date: 2012-03-16 / With my personal relation with the object of study, added to the concerns of researcher, the dissertation Entre a Laguna e o Oceano: histórias de um futebol tries to understand how the amateur soccer was settled, as well as the meaning of this soccer to the local comunity. This study was elaborated through two articles that, even they complement each other, are independent. The first one, named Outros tempos, outro futebol: o campeonato amador de São José do Norte , talks about the historical events of the amateur soccer league city of São José do Norte, city located on the southern coast of Rio Grande do Sul Brazil. This one talks about the events since the first championship, in 1959, until the year of 2011, showing the social relations created by the amateur soccer clubs in their comunities, as well as the economic influence, both the peak and in decline of the city soccer and the insertion of players from other cities in the local soccer. The second article, named De um clube comunitário a um time vencedor: as relações sócio/históricas do Sport Club Barrense , talks about the history of the oldest football club in activity of the city. Founded in October 18th, 1931, S.C Barrense belongs to Povoação da Barra locality, which is characterized as a fishermen comunity, 16km distant from the city center of São José do Norte. Analyzing its 80 years of history the study shows two distinct phases of the club: from an entity with a strong social appeal in the comunity to the 80‟s, the club starts, from de 90‟s on, to prioritize the creation of competitive teams to the dispute of the amateur championship football, reinventing its relationship with the community / Com minha relação pessoal com o objeto de estudo, somada às inquietudes de pesquisador, a dissertação Entre a Laguna e o Oceano: histórias de um futebol busca compreender como se constitui o futebol amador em São José do Norte, assim como o significado desse futebol para a comunidade local. Tal estudo foi elaborado através de dois artigos, que apesar de se complementarem, são independentes. O primeiro, intitulado Outros tempos, outro futebol: o campeonato amador de São José do Norte , trata dos acontecimentos históricos do campeonato municipal de futebol amador de São José do Norte, cidade localizada no litoral sul do Rio Grande do Sul Brasil. Esse discorre sobre fatos ocorridos desde o primeiro campeonato, 1959, até o ano de 2011, demonstrando as relações sociais produzidas pelos clubes de futebol amador em suas comunidades, assim como a influência econômica, tanto no auge como no declínio do futebol do município e a introdução de jogadores de outras cidades no futebol local. O segundo artigo, intitulado De um clube comunitário a um time vencedor: as relações sócio/históricas do Sport Club Barrense , discorre sobre a história do clube de futebol mais antigo em atividade do município. Fundado em 18 de outubro de 1931, o S.C Barrense pertence à localidade da Povoação da Barra, que se caracteriza por uma comunidade de pescadores, distante 16 quilômetros do centro da cidade de São José do Norte. Analisando seus 80 anos de história, o estudo demonstra dois momentos bem distintos do clube: de uma entidade com forte apelo social na comunidade até os anos 80, o clube passa, a partir dos anos 90, a dar prioridade à formação de equipes competitivas para a disputa do campeonato amador de futebol, reinventando sua relação com a comunidade

(in English): The thesis looks at the transfer of humour in audiovisual texts in sitcoms. The theoretical part introduces the topic, including types of jokes, strategies relating to the transfer of humour and the factors influencing the choice of a particular strategy. The empirical part is based on the analysis of professional and amateur subtitles of the British sitcom Miranda. This part analyses the humour of the series from the polysemiotic perspective. It focuses on the strategies of the transfer of language-dependent, cultural and complex jokes, the functionality of translation based on whether a humorous effect is produced or not, and the differences between the strategies of professional and amateur translators.

Research studies indicate that, by determining the physiological load placed on athletes during competitions, it can aid in the development of strength and conditioning programmes, according to the specific demands placed on athletes (Deutch et al., 1998; Kay&Gill, 2004). Physiological data, specifically on rugby union players, are furthermore limited and more information is needed (Banfi et al., 2006; Deutch et al., 2007). The aim of the study was to investigate the physiological demands of South African male U/21 club rugby players and to establish the correlation between physiological demands experienced during rugby games and practice sessions. Scientific methods to describe physiological demands in sport that are used are heart-rates and blood-lactate measurements (Eniseler, 2005). A group of U/21 rugby players (n=15) of the University of Pretoria (Tuks) rugby club participated in this study. Components that were tested included blood-lactate concentrations and heart-rates during rugby match and practice sessions. The data of the Tuks U/21 team was statistically analysed with descriptive statistics (means and standard deviations). Significant differences between match and practice sessions, at a p-value of P < 0.05, were determined by a dependent t-test. An independent t-test was used to determine significant differences between the forward and backs group (Thomas&Nelson, 2005). The results showed that statistically significant differences (p<0.05) were found between mean heart-rate in the rugby match (154.40 ±13.53) and practice sessions (138.33±4.81). No significant differences were found between peak lactate measurements in the match (5.39 ±2.44) and practice sessions (4.93±1.83). Between the forward and backs group no statistical significance could be found for average heart-rate and blood-lactate levels in practice sessions and the match. The findings of the present study indicate that rugby union matches for club level U/21 players are an intermittent type of activity, with both the use of aerobic and anaerobic energy systems. Additional research on more amateur rugby clubs is needed to extend the knowledge of club level coaches. / Dissertation (MA)--University of Pretoria, 2012. / Biokinetics, Sport and Leisure Sciences / unrestricted

Title: Comparison of selected minority sports in the Czech Republic from the player, spectator and management aspects Objective: The aim of this work is to analyze the current situation in American football, frisbee and lacrosse in Prague and make suggestions for future improvements. Methods: The applied methods included the study of literature, collection of information, questionnaire examining players motivation and SWOT analysis. The research was conducted through surveys among athletes doing this sports. Results: Research has shown that the best prospects are waiting for frisbee, which benefits from minimum requirements for equipment and space. American football and lacrosse will probably never become mass sports, but using the above suggestions can improve their current position. Key words: amateur sport, american football, frisbee, lacrosse, SWOT analysis, motivation

This dissertation is one added piece to the puzzle in how environmental factors can contribute to a positive affect to and development within a sport by looking at how environmental models can be used in an amateur format for the first time. The purpose of this thesis to adapt both the ATDE and ESF working models to an amateur environment in soccer, and if necessary, perform an intervention which might improve the positive effect the environment could have on its athletes.  Results showed many of the features and factors found within elite ATDEs could be replicated at an amateur soccer club. Moreover, an intervention based upon previous ecological studies involved connecting the academy and senior-level players through multiple channels. Results showed positive experiences from both sides of the intervention, as youth players began to understand how they could still play at the adult level - balancing an education or job with their sport. In summary, the results demonstrate three key concepts: 1) both ATDE and ESF models can be adapted an applied by practitioners and researchers to the amateur environment, 2) a successful  ecological interventional can be as simple as providing the room and space for interaction between senior and junior-level athletes, and 3) future research into ATDEs and ESF of amateur environments could help many young female athletes stay active into their adult years.:Statement of Authentication 3 Dissertation-Related Publications and Presentations 4 Table of Contents 5 English summary of the dissertation 7 Deutsche Zusammenfassung der Dissertation 8 Chapter 1: Introduction 10 1.1 The role of amateur sport 10 1.2 Soccer as a world sport 11 Chapter 2: Talent Detection, Identification, and Development 14 2.1 Traditional model of talent development 15 2.2 Talent detection and Identification 17 2.3 Criticisms of talent identification 20 2.4 Talent development models 23 2.5 Summary of talent identification and developmental models 27 Chapter 3: Ecological Approach and Models of Development 28 3.1 Bronfenbrenner’s Bioecologocal Model 29 3.1 A call for the ecological approach 31 3.2 Henriksen’s ecological studies 32 3.3. Ecological intervention and a successful ATDE in soccer 47 3.4. Other ATDE Studies 52 3.5 Summary and future directions 53 Chapter 4: Purpose of Dissertation 55 4.1 Dissertation objectives 55 Chapter 5: Study I - A description of the ATDE and ESF 57 5.1 General methodology 57 5.2 Study I - Selection of the club and participants 59 5.3 Study I - Research methods and instruments 60 5.4 Study I - Procedure 63 5.5 Study I - Results 66 5.6 Study I - Description of the environment 68 5.7 Study I - Factors influencing the success of the environment 76 5.8 Study I - Discussion 82 Chapter 6: Study II - An ecological intervention 102 6.1 Introduction 102 6.2 Study II - Description of the Intervention 102 6.3 Study II - Research methods and instruments 104 6.4 Study II - Analysis and interpretation 105 6.5 Study II - Results 105 6.6 Study II - Discussion 108 Chapter 7: Reflections and applications for practitioners 115 Literature Cited 124 Appendices 137 Appendix 1: Interview guidelines for players, staff, and coaches in study I 137 Appendix 2: Interview guidelines for parents in study I 138 Appendix 3: Interview guidelines for Players and coaches in study II 139 Appendix 4: Node trees developed from analysis of interviews and observations 140

Comment comprendre ce qui lie la passion musicale au territoire, ou en d’autres termes, ce qui articule la « scène » au « local » ? Le monde du metal constitue un objet de choix pour observer les manifestations de la passion musicale de ses amateurs au travers d’un continuum de pratiques, qui les inscrivent à la fois dans les sphères de la consommation et de la production des scènes locales. Pour attayer ce propos, il s’agit de faire l’étude ethnographique des mécanismes de coordination de la production musicale en région, en s’appuyant sur l’observation de trois scènes locales de musique metal en France. La thèse montre comment l’action collective de ces amateurs est toujours attachée à un territoire, autant qu’aux objets musicaux qui guident leurs pratiques et leurs trajectoires. L’observation des ancrages et des mobilités, à la fois des objets et des humains qui composent ces scènes, démontre ainsi que l’action collective au sein d’un territoire de proximité est toujours pris dans de multiples enchevêtrements d’échelles et de réseaux d’acteurs qui ne peuvent se réduire à l’observation d’un monde musical à huis-clos / A multisited ethnography of three local metal scenes in France. Amateurs practices, networks and territory. How a musical passion can be connected to the territory or, in other words, what links a musical "scene" — in the sense of a local world of art — to its location ? The world of metal inform the manifestations of the musical passion of its fans through a continuum of practices, which are the supports of the sphere of consumption and production of local metal scenes. To reach a better understanding of this local anchoring of the world of metal, we have implemented an ethnographic study of the coordination mechanisms of musical expression and production in the context of local scenes, through the observation of three local metal scenes in France. This ethnographic study shows that the collective agency of music amateurs is always attached to a territory, as well as depending of the musical objects — local and translocation — that guide their practices and their trajectories. The observation of the forms of anchoring and of the mobilities, both of objects and humans, that contribute to the production of these scenes, reminds us that music amateurs always operate within the frame of a local territory. Their collective action is always caught in an entanglements of scales and networks actors, meaning that we cannot reduce the observation of a musical world to practice operated alone and behindclosed doors

My thesis's topic is radio and its influence on society in the First Czechoslovak Republic. The topic of this thesis is approached form a perspective of history of technology. This historical discipline is most widely used within the Western Europe, especially in the Netherlands. The history of technology pays attention to the technology not from excessively technological view, but rather from sociological and cultural view. One of main interests of this historical discipline, lies in the scientists, whose work led to the discovery and technological progress. In my thesis, I will first of all pay attention to the radio as a technological phenomenon. I am going to try to present a new interpretation of the radio. Main interest of this thesis, is going to be technological development of radio from its conception to the spread of this technology, political discussions within the parliament and cultural reflections of this new technology. Key words: radio, history of technology, Czechoslovakia, technology, amateur radio operator, HAM Radio

The amateur – the one who loves is an assay about the conditions of existence for amateur theatre in the region of Västerbotten, Sweden. During the last 20- something years the number of active amateur theatre-companies has gone from being a well-established form of cultural expression to being absent in the majority of the Västerbotten-communities. The purpose of this essay has been to understand why the people who are still active amateur theatre-performers-and- (volunteer)workers is interested in this form of art and which kinds of conditions of existence matters and enables these people to live their amateur theatre-lives. To be able to answer to this purpose it has been important to meet and speak to people from different parts of Västerbotten, why the study is multisited with shorter visits to several different places. By doing so, I have interviewed 12 people who still are, or used to be, engaged in amateur theatre, and I also visited three different amateur theatre companies to observe while they were rehearsing. Theoretically, the starting point has been the term culture and cultural theories such as a gleaning from Pierre Bourdieu's theories of practice where field, conditions of existence, habitus and symbolic capital has been identified in the empirical material and clarified with the help of feeling-work from Erin Hurley and orientation from Sarah Ahmed. The results have shown that the participants who has been interviewed all have (or used to have) three things in common: a great passion and love for the arts, an urge for self-realization and a longing to be part of a field or community of practise. But depending on where you live and where you come from, your conditions of existence differ quite a lot - even within the region of Västerbotten.