Made available in DSpace on 2016-04-26T18:11:33Z (GMT). No. of bitstreams: 1 Arlete Aparecida Taboada.pdf: 1905174 bytes, checksum: e34d4ae897ae479d0015f9c1d13b1b89 (MD5) Previous issue date: 2012-03-27 / This research had the objective of verifying the structural composition of the language systems of the Hertzian radio and web radio, parting from the distinguished nature of both, identify the differences and likenesses between them to point out the movements occurred in terms of sound language, and the possible transformations resulting of the production, writing, and editing processes of radio programs in the relation of the boundary line between radio and web radio. There are various experiences on the internet, since the transportation of the systemic model of radio to the web, until sound experiences with subtitles and static pictures. However, little have been thought on how radio language changes from one system to another and which transformations occurs on the processes of radio programs production. We part from the following hypothesis: 1. Web radio is obligated to present a programming that can be listened to in different moments: a) repeatedly and in a time that was decided and planned by the web listeners, when accessing the internet; b) filing the programs for posterior listening; c) as much as the radio the program can also be listened at the present time live as long as the time have been previously established and the web listener have also been previously informed. 2. In the production, writing and editing of the programming the time flux changes. If in the traditional broadcasting stations it is the programming that defines the time of transmission filling in sequence the whole of the 24 hours, on the web, the time flux has no sequence, because the programs are permanently available regarding the different listening moments summoned on the previous item. The programming is live every time the web listener is online. The methodology of this study is the qualitative comparison of language systems, both radio and web radio, having as information a constituted wed broadcasting station, the educational Radiowed São Judas, to analyze the movements occurred in sound language and the transformations on the production, writing and editing processes of radio programs that started to consider this new time flux, the present time of the web listener, receiver and emitter at the same time, and no longer the present time of the emitter. This research had its theoretic foundation on studies about semiosphere and boundaries, from Iuri Lotman, about means of communication, from Marshal Mcluhan, about radio, from Armand BALSEBRE, Carmen Lúcia José and Marcelo MEDEIROS; and about hypermedia, from Lúcia SANTAELLA / Esta pesquisa teve o objetivo de verificar a composição estrutural dos sistemas de linguagem do rádio hertziano e da radioweb e, a partir da natureza distinta de ambos, identificar diferenças e semelhanças entre eles para apontar os deslocamentos ocorridos, em termos de linguagem sonora, e as possíveis transformações decorrentes nos processos de produção, roteirização e edição de programas radiofônicos, quando da relação de fronteira entre o rádio e a radioweb. Há experiências variadas na Internet, desde o transporte do modelo sistêmico do rádio para a web até experiências sonoras acompanhadas de legendas em verbal-escrito e de imagens visuais estáticas. No entanto, pouco se pensou até agora em como ocorrem os deslocamentos da linguagem radiofônica de um sistema para outro e quais transformações ocorrem nos processos de produção de programas radiofônicos. Partimos das seguintes hipóteses: 1. A radioweb é obrigada a apresentar uma programação que pode ser ouvida em diferentes momentos: a) repetidamente e no tempo planejado e decidido pelo ouvinte-internauta, quando acessa a internet; b) após arquivar o programa para escuta posterior; c) como no rádio, o programa também pode ser ouvido no tempo presente ao vivo da emissora, desde que o horário da transmissão seja previamente estabelecido e o ouvinte-internauta avisado com antecedência. 2. Muda o fluxo temporal na produção, roteirização e edição da programação. Se no rádio hertziano é ele quem planeja a transmissão dos seus programas, preenchendo sequencialmente as 24 horas, na web, o fluxo temporal da programação não é seqüencial, pois os programas estão disponíveis permanentemente para atender aos diferentes momentos de escuta, citados no item anterior. A programação está no ar sempre que o ouvinte-internauta entrar no ar. A metodologia deste estudo é a comparação qualitativa dos dois sistemas de linguagem dos meios radio e radioweb, tendo por corpus uma emissora web constituída, a educativa Radioweb São Judas, para analisar os deslocamentos ocorridos na linguagem sonora e as transformações nos processos de produção, roteirização e edição dos programas radiofônicos que passaram a considerar esse novo fluxo temporal, o tempo presente do ouvinte-internauta, receptor e emissor ao mesmo tempo, e não mais o tempo presente do emissor. Esta pesquisa teve a fundamentação teórica nos estudos sobre semiosfera e fronteira, de Iuri Lotman, sobre meios de comunicação, de Marshall Mcluhan, sobre rádio, de Armand Balsebre, Carmen Lúcia José e Marcello Medeiros; e sobre hipermídia, de Lúcia Santaella

For almost a century, Virginia Woolf has enchanted readers all over the world with her novel about the gender fluid and time travelling character Orlando. British director Sally Potter adapted Orlando into film in 1992, and her adaptation has since gained immense fame and a continuous presence in world cinema. Potter's Orlando has been the object of a great deal of scholarly interest. However, previous research has predominantly focused on questions of gender and sexuality. Considerably underdiscussed is the film's fascinating conception of time and space. This thesis therefore sets out to analyze Sally Potter's Orlando in order to demonstrate how time and space is shaped in the film.  Theories developed by George Bluestone and André Bazin form the theoretical framework of this thesis. Through a close reading of the film, this thesis demonstrates that Potter establishes an unconventional temporality and spatiality through constructing a nonlinear, often contradictory temporality conveyed through contrasts between the organic and the fantastic, the real and the fictitious. Furthermore, the analysis finds that spatiality in Potter's Orlando is presented as multidimensional, allowing certain characters the possibility to inhabit a "fluid spatiality". Through presenting the past and the present as fused, Potter's Orlando can be understood through the optics of Bluestone's concept of "the flux of time" and Henri Bergsons la durée réelle. Simultaneously, breaks in the narrative presented through intertitles can be read as representing Bergsons idea of l'étendu, while also establishing a tangible spatiality.